Subtitles of the Movie

OK, in this last movie we saw how drop down easy it is to just work with 3D Painting in Carrara. I forgot to mention one thing that I wanted to before we move on to Fixing Broken Normals with some models that we're going to take a look at, the main thing is, if you have a Wacom Tablet or something like that, this Paint program is Wacom Tablet aware and you can use pressure sensitive things. Let me clear this Layer and just show you what I mean real quickly. I'm just going to go ahead and lightly push and then expand with the brush a little bit. Now this doesn't look like anything here but when we go ahead and take a look and do a Render on the object, or an Area Render, you'll see that pop up. So, our Bump Map depressed in there. So, there you go, gee whiz. Well, let's take a look at another problem that you'll run into when working with 3D Paint. I want to get out of the 3D Paint just like any other, or working with the Vertex Modeler, just click on the Hand for Finished Editing and that will work. Let's create an empty scene. Now, Carrara comes with just a ton of models. We'll open our Browser and go get some. If you're adding cars to a scene and want to put some rust on the fenders or something like that you can do that, but first let me find, oh, let's go to Objects first and look for something like Autos or Cars, or something. Mesh Models, that'll work. Oh, look. It's somebody's compact. Let's use that. I'm going to go ahead and well, I'll leave it like that and we'll just zoom into it by pressing the keyboard shortcut zero. Now, to re-enter Ð or before we do this, let's take a look at the model real quickly in the Instances Ð this was not made by Carrara. In fact, this model's exceedingly old. I've had Carrara since before it was Carrara and this model was a part of that program, too. I don't know who made this model. I don't know where it was made, all I know is that this model and many of the mesh models here play by completely different rules because they haven't actually had any UV Mapping applied to them. Color, when you put raw color on an object, doesn't require a UV Map. The program just understands that we're going to put down all this color, we're done. But 3D Painting requires UV Map instructions to work well, so let's Disclose this compact. Everything's conveniently named Facet, so let's make our life easier by coming up to the Interactive Render Settings, choosing All Walls, and OK. When we select objects now it'll be easier for us to see exactly what they are in the scene by looking on the wall. So, let's say we want to add some rust to this fender. We'll zoom into that a little bit more. Well, though, the first course of action you would do is say, well let's just come up and start painting on this. We do that, we get the familiar dialog for that. I'll close my Browser Tray there, and we can come to color and say, well, let's just add a Texture here and the dialog comes up like that. You say, yep, I want to change that. Let's make it 1024. We'll start out with white just so we can see it plain as day; we won't work with the Bump Channel, and choose OK. Let's save this to 3D Car, and instead of Facets let's give it a little more meaningful name like: Left Front Fender, and we'll save it as a Photoshop file for the reasons we discussed in the last movie, even though you may not have Photoshop, and choose Save. Well, it does that and that's great. We come over to Tool, let me pick red, I'm going to make my brush a little bit smaller, and then I start Painting and nothing's happening. Nothing at all. And you may be going: well, what is Ð is Carrara just gone south? Well, it has to do with the UV Maps on the object itself. What we need to do is select that; it is selected right now, and we need to go to the Modeling Room. You'll notice it says: No parameters. As we learned in working with Vertex Models when you get an imported model it looks at it like just one big chunk. Even though it's made out of polygons it just uses a 3D Model Primitive for that, so we're going to convert it to another modeler: the Vertex Modeler, and I'll choose OK. It converts and we can see it, and all that's really happening is that this is lacking 3D instructions. Now there is a specific function for UV right up here in the top right-hand corner Ð UV Editing. If you haven't gone through that portion of this Series please consult that because I covered that in a little more detail, especially about what I'm about to do. I'm going to click on this. I'm going to come down to Unfold. I'm going to choose Pin. I'll click off the object right here, select that, and that is our Pin right there and I'm going to say Unfold. Nothing happened here, so let's come to Operations and I'll chose Frame To Box, and Apply. I'll come back to Unfold. Let's Split our View so we can see the UV screen; hold the Shift key down and click that again, and what we've done is taken this Vertex Object, we've confined it to the UV space that we learned about on the Vertex UV Unwrapping area, and now things are going to work correctly. Let's go on back to our Assembly Room. We're still in the Paint Mode. You can tell, the Paintbrush shows up, because we haven't finished editing, and so now with the red selected I can go ahead and begin painting on my object and everything will work exactly the way you want it to. Now, that's nice. Let me go ahead and close this down. We're using Normal Projection here. If you want you can use Fast UV. It will still work because we UV Mapped it. The key fact is that you simply need to create a set of UV instructions for some of these imported models, including some you may find or purchase online. So, that's the basics of working with the 3D Paint. The last thing to do would be to close this 3D Paint operation and then set up your final tweaks and adjustments in the Shader Editor itself. In our next Section we'll go ahead and start working with adding Natural and Environmental Elements.