![]() More passes will mean finer details but lower performance. Sets how many times the effect will be generated and overlaid. Sets how much variation is generated for the fine distortions. Sets how much variation is generated for the large distortions. Sets how much the large details are distorted. Sets the detail level of the primary ripples. Sets the detail size of the turbulence procedural. Sets the strength of the turbulence procedural. Sets the size of the area immediately outside the tile regions.Ī Turbulence layer can be useful when adding variation to grunge masks. Sets how deep the area immediately outside the tile regions is in 3D space. Sets how deep the area between the tiles is in 3D space. Sets a secondary, relative height value for the space between tiles. Sets a secondary, relative width value for the space between tiles. Sets the size of the area between tiles, which controls the size of the tiles as well. Sets the maximum amount of rotation variation for each tile in the Z-axis (spin left/right). Sets the maximum amount of rotation variation for each tile in the Y-axis (tilt left/right). Sets the maximum amount of rotation variation for each tile in the X-axis (tilt up/down). Sets the initial seed which can be adjusted to create a unique variation of the effect. Sets how much each tile will be randomly rotated in 3D space. ![]() Sets how beveled or rounded the corners of each tile is. Sets how smooth or round the beveled areas are. Sets how deep the beveled area is in 3D space. Sets the size of the beveled area along the edges of each tile. Sets how much each tile will be randomly pushed in or out. Sets how deep the primary areas are in relation to the grout and shadow regions. Sets how far every consecutive row will be moved. Sets the number of tiles in relation to the canvas. Sets the strength of the tiles procedural. Sets the color of the shadowed area immediately beyond the tiles. Sets the color of the areas between tiles. Sets the color for the primary tile region. The Tiles layer is useful for quickly creating tiled surfaces, such as brick walls, and it allows for quick customization of the tile count, dimensions, and more. Resets the original settings for this layer. Sets the initial seed, which can be adjusted to create a unique variation of the effect. More passes mean finer details but lower performance. Sets the detail level for the fine distortions.ĭetermines whether to create a soft or pixelated effect. Sets the amount of distortion for the fine details. Sets the detail level for the large distortions. Sets the amount of distortion for the large details. Sets the detail size of the Perlin procedural. But while you move it is quite noisy, so for a clean image, you’ll have to wait.Sets the strength of the Perlin noise procedural. The raytracing mode gives a closer approach to cinematic/film rendering while keeping it faster than other renderers as it is semi-realtime, meaning you won’t have to wait as much and can see/tweak in real-time. I understand they took them off for realistic lighting in raytracing mode, but I feel it is a bad move for the raster mode. ![]() I’ll explain this:Įven though I like the implemented stuff such as the new AO and the ability to tint it, as well as having render passes, for easier post-processing, I do really miss the distance and attenuation curve parameters on the lights. I appreciate this as it gives you the ability to work with realistic accuracy using ray tracing or in a more stylized way using the raster mode.īesides this, I think they have to develop the raster mode a bit more, as it feels a bit handicapped. You’ll be able to work with draft quality which is equal to the rocket mode, use the raster mode which is like the good old renderer but with some new stuff to it, and the new star, raytracing. They also added a cool feature – in Marmoset Toolbag 3, you had the rocket mode to work faster and then the full quality mode, but now you have an extra mode. I personally feel it is slower to work with, but pays off in the results, so getting used to it will be key, I think. The rendering possibilities in Toolbag 4 is a wide subject, so I’ll try to shorten it.
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