So picking up where we left off, I want to continue talking about textures and the ways that we can work with textures that are a little bit more variable than Bitmaps. So right off the bat, we're looking here at this Bitmap that we left off on, and the thing that I left off on was talking about how these various different noises can be different ways that you can generate similar looking effects procedurally. Now what do I mean when I say procedurally? Well basically the idea with Procedural Textures is that they don't really exist, they're just math and that math is just crunched in various different ways until it's time to render. What that basically means is that we have a high degree of variability and this is a good thing as far as Substances are concerned. However the bad part is that they take up a lot more processing power. So when you are thinking about designing your own substances, you have to think about the various different ways that these inputs are going to interact. We have our Uniform Color and this is going to be very, very light on your processor, doesn't take up hardly anything so Uniform Color is always a good one to use. SVG, likewise, is going to be very light on the processor and it's not going to take up a file size so it's a really good option. You always want to use SVG whenever you have a change. The Bitmap is going to be a little heavier on the file size because it does have pixels and those pixels need to be stored, however, the advantage of a Bitmap is that it doesn't change and therefore is not going to take a lot of processing power. However when we come over here to our noises, these are going to be highly variable. If I come over to something like say our Black and White Spots, which we looked at previously and drag that in, you can see when I double-click on this that we do have a parameter and that parameter is Disorder. And whenever we change this, the texture updates, meaning this, this is a Procedural Texture and the basic functionality of that Procedural Texture is that it will be completely variable in whatever ways that we want. However, it will also cause a lot more rendering power to be consumed than something a simple Bitmap like this, because at the end of the day this is fixed, where this is variable. Now the heart of what makes these noises and patterns that we find in our Base Elements Folder, what they are, is our FX Map. So let me just go ahead and bring up an FX Map and by clicking on my graph and then clicking the Spacebar and you can find the FX Map along with all the Common Filters. So the FX Map Node is a little bit more complex than our SVG Node but it has a lot of the same features, so it has a background input. You can see here that we can put in color or black and white and it has a color output and it also has an input pattern and of course, this can take color or black and white as well. The basic idea here is that we can work with these FX Map Nodes to create textures. So if I double-click on this, you'll find that we don't have anything in our FX Map Node currently. The way that we get something in there is by Context Clicking on it and saying Edit FX Map. Now when I do that, you're going find that we get a second graph that pops up, here's our Untitled Graph and this second graph is actually inside the FX Map Node. It has it's own graph and it has it's own nodes that are relevant for FX Maps. Now I'm going to spend a whole chapter talking about FX Maps because they're just that complex. However the thing that we need to do for this particular video, is we just need to come over here and double-click on our quadrant and then come over and choose a pattern. So right now we have no pattern but if we choose something like say Disk, you'll see that we get an image down here of a disk. If we come over to see Gaussian you're going to see we get a different image down here and so on and so forth. I think the one that I'm going to choose is Ridged Bell like that; I like that one and that's going to be the image I choose. So if I just go ahead and close out this graph now, you'll find that, that image is now inside of our FX Map. Now we could come over here and we could say our Uniform Color becomes now our background and that FX Map is now composited against that Uniform Color and although we could continue on with chaining different nodes together. The interesting thing about working with FX Maps is that they can be almost anything that you want them to be, by choosing to edit them, you can do an awful lot of variable things. And these noises and patterns are basically here to give you a really good idea of all the various different things that you can do. So if I come up here to Patterns for instance, you'll see we have a lot of different patterns to look at and if I just start clicking on some of these to open them up, you'll see there's an FX Map and then it's filtered in various different ways. And then there's an output, if we come over here to say Checker, you'll see there's our FX Map and then it's filtered and output. If I come over and say Mesh, there's our FX Map, filtered and output, like, likewise if we come down to Noises, we do Black and White Spots, you'll see there's three FX Maps and then these are filtered and then output. So that was all that was making up that Black and White Spot noise, was these three different FX Maps that you can see here and these are again, all edited the same way. If I come over here and I Context Click on this and I say Edit FX Map, you can see that there's a Node Tree that's specific to that particular FX Map that's going to be variable in whatever way that, that is variable in. So if I come down here and I just choose one of the others like say Clouds, this also is comprised of three FX Maps that are filtered in various different ways and then set for an output. So at the end of the day, if we come back down to our Untitled Graph, this output that we're seeing here is the output that was on all of those various different trees. So this, what we see here and this Disorder is the result of those three FX Maps being blended and then set as a output right here. And that is basically the core fundamental concept of our Procedural Textures. Now like I say, very complex and something that we're going to spend a whole chapter just looking at our FX Map Node and the different ways that we can work with that. And then we're going to spend another whole chapter looking at our noises and patterns because that is also a very complex topic. So this is something we will definitely revisit, if you didn't understand everything that I talked about, that's okay because we're going to spend a lot of time talking about it in the future. But as far as you're concerned when you're thinking about, I'm going to create a substance, what type of inputs do I want to use, your preferences in terms of your processor speed is going to be Uniform Color as the fastest, then SVG, then Bitmap and then finally FX Map as being the slowest. So just think of them in those ways, now of course this also highlights some functionality of Substance Designer which is important to talk about. Substance Designer is a hybrid textural generator and basically what that means is that, it's working with Bitmap Graphics which is what this Bitmap Node represents. Vector Graphics which is what this SVG Node represents and Procedural Textures which is what the FX Map represents. So those three things together are ultimately what's going to make up any given substance and that's really the heart of what a substance is made of. And then from here on out, it's all about filtering these various different inputs.
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