Відео

@kristinafernandes1400 Yes, the techniques shown in this tutorial are compatible with the 2022 version of Autodesk Maya. If you encounter any differences or issues, feel free to drop a comment, and I'll be happy to assist you! 😊

@massimilianoferretti3649 Thank you so much for your kind words! I'm glad you enjoyed the video. Stay tuned for more content, and feel free to share any topics you'd like me to cover in the future!😊

@RonAdamsky Hi there, Thank you so much for your kind words! I'm thrilled to hear that you found the tutorial helpful in understanding XGen principles. Your support and feedback mean a lot! Feel free to share any suggestions or topics you'd like me to cover in the future. 😊

@alitaher7574 Hi there, Thank you so much for your kind words and support! I'm thrilled you enjoyed the video. Stay tuned-more exciting content is on the way! 😊

@RonAdamsky Hi there, Thank you so much for your kind words and support! 🙏 I'm thrilled you’re finding the content helpful, especially as you explore texturing in Substance Painter. It’s such a fun and powerful tool once you get the hang of it! Stay tuned for more tips and tutorials-I’m excited to share more with you. Let me know if there’s anything specific you’d like me to cover. Happy creating! 😊

Look for Duck model it is a similar and will be useful for you.

@mrcausaxd0 Hey there, thanks for your comment and support! 😊 I’m so glad you’re enjoying the content. Modeling Chicken Little sounds like a fun challenge! I’ll definitely keep it in mind for a future tutorial. In the meantime, you can check other modeling tutorial series on my channel, You will find similar contents. Here's the link: www.youtube.com/@sunitdrozario/videos Thanks again for the suggestion, my friend. Stay tuned and keep creating! 👍

@@RonAdamsky Hi there, thank you for the suggestion 😊. @mrcausaxd0 Here's the link for the Duck model: ua-cam.com/video/ehpY1VJDcDw/v-deo.html

@watchmypaws Thank you! 😊 I'm glad you liked it.

@mongodb5166 Hi! Thanks for watching, and I’m glad you enjoyed the tutorial! For scaling the any object without adjusting the Scale X, Y, Z transforms, you can use the scale tool in world mode. Press 'R' on keyboard for scale tool. Then by holding ctrl key, shift key and right click simultaneously, you will get the options to change the scale tool in World mode, object mode, component mode etc. Make sure you select World mode, so that when you scale any object from one axis, it will not affect the values in channel box 😁. However If you scale it from the middle, then all the values in scale X, Y and Z will change. As for switching between different viewport layouts, you can quickly maximize a panel view by hovering over it and pressing Spacebar. To switch back to the default four-panel view, press Spacebar again while hovering over any panel. I know Maya's shortcuts can be tricky at first, but learning a few essentials can really speed things up. Feel free to ask if you have any more questions-I’m here to help! 😊

@@sunitdrozario thank you!! :)

@@mongodb5166 Your most welcome 😊

@darkbegin Hey! Glad you enjoyed the tutorial! 😊 If your character’s fur is looking more like grass, it could be due to a few common issues with Xgen's grooming and shader settings. Here are a few quick tips to help you out: Adjust Guide Width and Tapering: Check the width of the guides in Xgen. If they're too thick, the fur will look coarse. Try reducing the width and adding a taper for a softer look. Increase Guide Density and Randomness: Adding more guides or adjusting the density and randomness can help achieve a more natural, fluffy effect instead of a grassy look. Refine Your Shaders: Make sure your shader has some variation in color and specularity. Fur has subtle highlights, so tweaking these can help make it look more like fur and less like grass. Experiment with Clumping and Noise: Use clumping and noise modifiers in Xgen to break up the strands. Too much uniformity can sometimes make it look unnatural. I have another video on my channel which you can refer, where I have explained how to use different modifiers as per the model. You can watch the video given below 👇: ua-cam.com/video/ehpY1VJDcDw/v-deo.htmlsi=apiU5MGsjqbl9QGr Let me know if that helps, or feel free to share any specific issues you're seeing - I'm happy to help troubleshoot further! 😊

@CATOZZY_GAMING I used Autodesk Maya.

@@sunitdrozario oh ok

@katrusyayakushenko7002 Thank you so much for your kind words! It means a lot to know that the video resonated with you and helped you tackle those tricky details. I’m truly grateful for your appreciation and thrilled that it added value to your work. If you have any more questions or areas you’d like covered, feel free to reach out. Thank you again for watching and for your support! 😊

@@sunitdrozariothank you, I would like a similar tutorial where you animate the anchors points of the flag

@@massimilianoferretti3649 Thank you for your suggestion! Animating the anchor points of the flag is a great idea and can add a lot of realism to the animation, especially when simulating wind effects. I’ll definitely consider creating a tutorial on how to animate anchor points for a flag in Maya, using techniques like joint/locator placement, nCloth simulation, and wind dynamics to achieve natural movement. Stay tuned for upcoming content, and feel free to share any specific aspects you'd like to see covered in the tutorial!😊

@Omgcatisreal Hi, if you are asking for duck reference image, then you can find it on the link given below. Baby_Duck_Reference: drive.google.com/drive/folders/1abLOFXd3WVaRfq_AkB5RNs8N-OeEPGaS?usp=drive_link

@LegendJ0e4 Hello, thank you for following my video and for the comment! 😊 If your flag is stretching, try these steps to fix it: 1. Check nCloth Properties: Select your nCloth object, and go to the Attribute Editor. Adjust the 'Stretch Resistance' and 'Compression Resistance'. Increase these values to help the cloth resist stretching and maintain its original shape. 2. Input Mesh Scale: Make sure your input mesh scale matches the scene's scale. If your flag is too big or too small compared to the standard Maya units, it can affect how the nCloth behaves. Adjust the scale of your cloth object if needed, and test the simulation again. 3. Set Substeps in Nucleus Solver: Open the Attribute Editor for the nucleus node. Increase the 'Substeps' (start with 2-4) to improve the accuracy of the simulation. This will make the cloth less likely to stretch, especially with fast-moving wind or dynamic forces. 4. Check Constraint Setup: If you've used constraints like pins or nails, make sure they’re properly attached to your cloth object. Sometimes, a loose or incorrect constraint can cause stretching. Re-apply them if necessary. 5. Enable Self-Collision: Ensure 'Self Collision' is enabled in the nCloth properties so the cloth doesn’t pass through itself, which can also lead to odd stretching. You can adjust 'Thickness' under the collision properties if needed. 6. Experiment with 'Rigidity' and 'Bend Resistance': Increase the 'Rigidity' and 'Bend Resistance' parameters slightly to make the cloth behave more like a stiff material. Too much rigidity might make the cloth too stiff, so adjust these values gradually. Give these steps a try, and let me know how it goes! Hopefully, this helps fix the issue you're seeing with your flag.

@@sunitdrozario Hi, it's still not working.. do you have discord if i could send this maya file to you, could you work it out for me please? i really want this done for my ship... thanks been stuck on this for 6 hours now ..

@@LegendJ0e4 Hi! I know how challenging nCloth can be, especially when things aren't behaving as expected. I don’t have a Discord, but I'd be happy to guide you through this here. It's often best to work through these issues yourself because it helps build your skills for future projects. To reduce or fix stretchiness on nCloth, you can try the following: Increase Stretch Resistance - In the nClothShape node, increase the Stretch Resistance value. This will make the cloth less likely to stretch. Substeps and Solver Quality - Under the nucleus solver, increase the Substeps and Solver Quality. This can help the cloth behave more accurately, especially for stretchy areas. Input Mesh Attract - Adjust this setting to keep the cloth closer to its original shape, but avoid setting it too high, as it might make the cloth too rigid. Also, if you're using nCache, remember that every time you make any changes to the simulation settings, you'll need to replace the cache. Otherwise, the changes won’t reflect in the playback. I'd encourage you to experiment with these settings yourself. Troubleshooting this way can help you learn more about nCloth and be better prepared for future projects. Let me know how it goes, and I can help further if needed! You've got this!

@siegbraud4658 You're very welcome! I'm glad you found it helpful. Feel free to ask if you have any more questions-happy to help! 😊

Hi @heykeyo9939, No worries, I’m happy to help! Since you're using a scalp for the fur and won’t be rigging the model, you can still move the fur with the character by using a skin binding or parent constraint method. Here’s what you can do: Skin Binding: You can bind the scalp (and fur) to the model using basic skin weights. This way, as you move the character, the fur will follow the underlying geometry without needing a full rig. Parent Constraint: If your character will be in a static pose or with minimal movement, you can also use parent constraints to attach the scalp to the model. This can be quicker and easier depending on your deadline. Feel free to reach out if you need more detailed steps, and all the very best with your project! 😊

@@sunitdrozario Thank you for answering :') You are saving my final project... In the skin binding method both scalp and base model has to have the same UVs? Because the base model is using UDIMs, while for scalp I made all textures to fit in only one of it for texturing the fur... And in the parent method, I tried to parent the scalp and it works but the fur doesn't move at all, I don't know if I have to do something more before parenting. Thank you again :'D

@@heykeyo9939 Regarding your question about the skin binding method, it's generally best for both the scalp and base model to share the same UV layout for optimal results. If your base model uses UDIMs, it might complicate things, as the scalp's UVs need to align properly with the corresponding texture maps. You might consider adjusting the UVs of the scalp to match the UDIM layout or create separate textures that fit within that framework. As for the parenting method, if the fur isn't moving with the scalp after parenting, make sure that the fur is properly weight painted and that it's correctly assigned to the scalp's vertex group. Additionally, check if the fur is set to follow the scalp's transformations (like scale and rotation) in the object properties. Here’s how you can ensure the fur follows the scalp’s movement: Parent the scalp to the model as before (select the scalp, shift-select the base model, and press P). If the fur isn’t moving, it's likely because it's not bound to the scalp correctly. For XGen or similar fur systems, ensure that the fur or guide hairs are bound to the scalp’s surface. Open the XGen Editor and check that the fur guides or descriptions are linked to the scalp. If the guides aren't following the scalp, you may need to reassign the scalp as the bound surface in the XGen settings. Here's how you can do that: Go to Windows → XGen → XGen Editor to bring up the XGen interface. In the XGen Editor, make sure you have the correct Description (the fur or hair setup) selected that you are working with. Look for the Preview/Output tab within the XGen Editor. In the Bound Mesh section, make sure the scalp mesh is selected. This tells XGen which surface the fur should be bound to and follow. If the scalp mesh isn't assigned or is incorrect, click the button next to Bound Mesh to select the correct scalp geometry. This ensures that XGen knows the scalp is the surface the fur should be attached to. Sometimes, after reassigning the bound mesh, you may need to regenerate the guide curves to ensure they properly follow the surface. You can do this by selecting the guides and using the Rebuild option in XGen. After ensuring the guides are linked to the scalp, move the scalp or base model and check if the fur follows. The fur should now move with the scalp. I hope I have answered your question. If you have any other questions, feel free to ask me anytime. I will be more than happy to answer your questions.😊

@@sunitdrozario I fixed that, was a minor detail I couldn't noticed... May I ask why patering would work? Because if I want to move the whole model it can be easily done by that method, but if I just want to move some faces (like the whole leg or any other part), it can't be done by parenting, right? There isn't another way except binding I fear... And I can't do that :')

@@heykeyo9939 Glad you fixed the issue! Let me clarify why parenting works in some cases but has its limitations. Parenting links the entire transform node of one object (like the scalp) to another (XGen hair). This means that any full-body movement will apply to the hair, which works great for moving the entire model. However, if you're trying to move individual faces or specific parts of the geometry (like just a leg or arm), parenting won’t work because it doesn’t account for vertex-level deformations. If you want an approach without binding, one method you can try is using a deformer-based setup. Here’s how it works: 1. Wrap Deformer: You can use a Wrap Deformer to connect the XGen hair to the base geometry. A wrap deformer allows the hair to follow the deformations of the mesh without needing to bind it. It can track specific areas like the face or limbs, following them as they deform. Here are the steps you can follow: Select your base geometry first (e.g., scalp or mesh where the hair is placed). Then, select the XGen guides or description. Apply the Wrap Deformer from the Deform menu. 2. Blend Shapes for Specific Areas: If you're dealing with localized movement (like just a leg or face), using Blend Shapes for the model while leaving the XGen hair parented can work. You can sculpt the shapes that you need to adjust and apply them to your model. The hair will follow the parented geometry’s transformations and still remain in place for more general body movements. 3. Rigid Bind with Cluster Deformers: Another option is to use Cluster Deformers on certain areas of the mesh (like the leg or arm) and parent those clusters to the joints. The XGen hair can then follow that localized movement as the clusters handle the deformations. These methods offer flexibility in managing movement without needing to dive fully into skin binding. I hope these methods will help you. If you have any other questions, feel free to ask me anytime. I will be more than happy to answer your questions. 😊

@FunnyGamerAkash24 Thank you so much 😊

Hi @heykeyo9939, Yes, you can make XGen fur colors based on a texture from the model. To achieve this, you can connect a texture map to the XGen description’s color attribute, which will allow the fur or hair to inherit colors based on the underlying model’s texture. Here’s how you can do it: Ensure your model has a UV map, and the texture you want to use for coloring the fur is applied to the model’s material. To assign the Texture to XGen: Open the XGen Editor > Select the description that you want to apply the color to > In the XGen Description Editor, go to the Preview/Output tab > Under Primitive Attributes, find the Color attribute. Now to connect the textures: Click the small checkerboard icon next to the Color attribute, and select File > In the File Node, browse and select the texture you are using on your model. You may need to adjust the color balance and other settings depending on how the texture is mapped and applied. Once the texture is applied, XGen will use the color information from the texture to drive the color of the fur or hair. You can preview the results in the Viewport. Then you can fine-tune the texture mapping, fur length, or other properties to ensure the color distribution looks natural on the fur. This method allows you to transfer the color information from the texture to the fur, giving a more realistic and integrated appearance. I hope I have answered your question. If you have any other questions, feel free to ask me anytime. I will be more than happy to answer your questions.😊

@@sunitdrozario Thanks a million times <3333 I'm new on grooming so this is super helpful.

@@heykeyo9939 You're very welcome! 😊 I'm so glad the tutorial was helpful for you, especially as you're just starting out with grooming. Don't hesitate to reach out if you have more questions or need further guidance-happy to help anytime! Best of luck with your grooming journey! ✨

Found out i had to untick "smooth mesh" at the export LMFAOO how does this make sense

Hey @celianbsht, I am not sure why unticking "smooth mesh" at the export settings is working 😅. But when exporting an FBX from Maya to Substance Painter and encountering unsmoothed geometry, it's typically an issue related to how the smoothing information (normals and subdivisions) is handled during the export process. Here’s a step-by-step guide to ensure your model appears smoothed in Substance Painter: 1. In Maya, when you press 1, you view the unsmoothed mesh, and when you press 3, you view a smoothed preview. However, pressing 3 does not actually apply subdivisions; it’s just a preview. If you want to export a smoothed mesh, you need to bake the subdivisions into the geometry before exporting. To bake the smooth preview into the model: Select the model. Go to Modify > Convert > Smooth Mesh Preview to Polygons. 2.Make sure your normals are set correctly because they also influence how smooth your mesh appears. To ensure the normals are correct: Select the model. Go to Mesh Display > Soften Edge to smooth the normals. 3.When exporting as FBX, ensure that the correct settings are checked to preserve the smoothness: Go to File > Export Selection (or Export All if needed). In the export dialog, select FBX export. In the FBX export settings, under Geometry, make sure the following options are enabled: Smoothing Groups Smooth Mesh Tangents and Binormals These options will ensure that smoothing information is retained in the FBX file. 4.Once imported into Substance Painter, make sure you have the Tangent Space properly set to match your Maya setup, and the software should recognize the smoothing. Following these steps should ensure that your mesh imports into Substance Painter with the desired smoothness applied. This is the actual process, but what I usually do for video purpose, is I duplicate the model, and then apply smooth on the duplicated model. So that I have one high poly model and one low poly model. To apply smooth, select the model, then by holding shift, right click > click on smooth. After that I export out the high poly model and import it on substance painter to texture out the model. And once texturing is done and if you want you can export out the texture maps from substance painter and import those texture maps on low poly the model in Autodesk Maya. I hope I have answered your question. If you have any other questions, feel free to ask me anytime. I will be more than happy to answer your questions. 😊

@@sunitdrozario Alright, so it was because i never actually smoothed it i only pressed « 3 » haha. But figured out that if you untick « smooth edges » at the export you will save the model as it is when you press 1. Thank you!

@@celianbsht I never knew that 😅. I have to try it😁

@@sunitdrozario Yeah you should! I asked a student from the same school i go to (she is 2 years above me) and she said sometimes they actually smooth the mesh and sometimes they will do as i did, depending on the project. But definitely give it a try imo!

@celianbsht The UV mapping technique you choose depends on the complexity and shape of the object. Some objects only require unfolding, while others need planar mapping (or other projection techniques) before they can be unfolded. For objects with complex shapes (like organic models or highly detailed surfaces), using projection methods like planar, cylindrical, or spherical mapping can give a quick, rough UV layout, but these layouts need to be refined further. In such cases, you use a projection to initially map the UVs and then use the Unfold tool to relax and optimize the UVs, reducing stretching and overlapping. For simpler geometry (e.g., planes or cubes or cylinders), the topology is straightforward enough that you can skip projection and directly use the Unfold tool, which works based on the object's existing UVs or basic cuts. In these cases, the UVs already represent the object's surface reasonably well, so unfolding them directly gives good results. I hope I have answered your question 😊.

@@sunitdrozario Thanks a lot, you did. I guess i’ll just understand better how all of this works after a few months of practice!

@@celianbsht yes it's all about practice. The more you practice the more you will learn and understand new things. 😊

@celianbsht Hello! Selecting edges from the UV editor while sewing edges can sometimes cause issues because the UV editor only shows the UVs of the geometry, not the actual 3D edges. The UV layout doesn't always represent the exact spatial relationships of 3D geometry. This means the edges you select in the UV editor may not align properly when you sew them, causing distortions in your UV map. Sewing edges based on the UV editor view can lead to misalignment if the 3D geometry doesn't match the UV layout. This could result in improper seams, causing texture stretching or breaks. Another thing When you are selecting edges in the UV editor, you're only seeing the flattened version of your 3D model. You might sew edges that are far apart in the 3D space, which can lead to unwanted connections or distortions. And if your UVs overlap or are close together, selecting edges can result in sewing incorrect edges, which can cause further confusion and errors in the UV layout. It's usually better to select edges in the 3D view to ensure you're sewing the correct geometry and maintaining the model's integrity. Use the UV editor to monitor changes, but rely on the 3D view for precise edge selection to avoid distortions or misaligned UVs. I hope I have answered your question. If you have any other questions feel free to ask me anytime. I will be more than happy to answer your questions😊.

@@sunitdrozario Thank you so much! You re the best to explain everything.

@@celianbsht Thank you so much for you kind words. I am really glad it helped.😊

@HarshSharma-jl5mg In 3D modeling, whether or not it's okay to place a screw inside a model without snapping it to another object depends on your purpose: If the model is for rendering or animation: It’s generally fine to place the screw without snapping it, as long as it looks correct from the camera's perspective. If the screw isn't visible in areas where it's not supposed to be, it won't cause issues for the final output. If the model is for 3D printing or physical production: In this case, you need to ensure that the screw fits and is properly positioned, as the physical object will need to align perfectly. The screw should be modeled accurately in relation to the other parts. If it's for game engines or real-time applications: Having a screw placed inside without snapping may cause unnecessary hidden geometry that could affect performance. It’s better to properly align and snap objects to avoid excess geometry. So, for visualization or animation, it’s not an issue. But for real-world applications or interactive projects, snapping is important. I hope I answered your question. If you have any other questions, feel free to ask me.😊

@celianbsht Haha, right? Sometimes you just gotta roll with the surprises! Glad you vibed with it! 😁

Hi @celianbsht, If you delete an edge by simply pressing the Delete button on your keyboard, it will remove the edge, but the vertices associated with that edge will remain. This can lead to leftover vertices that are not connected to any other edges or faces, potentially causing geometry issues or unnecessary complexity in your model. To properly delete an edge along with its associated vertices, you should use the Delete Edge/Vertex option: Select the edge(s) you want to delete. Then either go to Edit Mesh > Delete Edge/Vertex. OR hold shift, right click > Delete Edge This ensures that both the edge and any associated vertices are removed, keeping your mesh clean and free of unnecessary components. I hope I answered your question. If you have any other questions, feel free to ask me.😊

@@sunitdrozario Thank you so much! Explained very well. I ll definitely have more questions watching your others videos later hahahha

@@celianbsht I’m glad to hear that! Just remember, the more questions you have, the more videos I get to make-it's a win-win! 😉

Yes mate ☺

Update : I've just done the whole cylinder step again and worked as expected. I dont know what i did wrong the first time though so if you have any explanation im here for it. Thanks!

@@celianbsht Hi, I think there were some extra vertices which was causing that issue. If you face these kinds of issues, I will recommend doing a cleanup for your mesh using Cleanup options, before applying extrude on the mesh. You will get the 'Cleanup option' under 'Mesh'. Go to cleanup option box, and from there select, 'select matching polygons' and '4-sided faces'. Select these two options and leave the rest as default. Then apply. It will select all the 4 sided faces, of the mesh leaving the faces which doesn't have 4 sides or having some issues. Then you can fix it accordingly. If it doesn't fix or you are not sure what's going on, it is best to start it from the beginning, which you already did😊. Thank you for following my video. I am really glad. If you have any other questions, feel free to ask me. 😊

Thank you so much. I am glad you liked it.

@AakarVerma Thank you so much. I am really glad you liked it. 😊

Thank you so much.😊

@XyzZ-rn6uo Sure will make it. Stay tuned. 😊

@@sunitdrozario thank you!! Real time would be awesome :) looking forward to it!

@@donnamarshall1790 You’re welcome! I’m glad you’re excited! I’ll be doing real-time videos from the next one onwards, so stay tuned! 😊

@robsonhenrique4346 Thank you very much. 😊

@marypresenta6245 Hi, thank you for waiting. It was really fun to make that model. I hope you enjoyed it 😁. The rest of the parts are coming soon.😊

Sunith how to use edit edge flow. After selecting the edges what are you doing?

I am in the final semester now Sunith. I have to make 2 to 3 minutes short film as my project. My UG was not in Animation so i don't know the basics sorry for troubling you for each silly questions Kindly bare... I have purchased a turtle model but it is not satisfying my needs. Now I started modelling the model by seeing your tutorial. I was a little stubborn to make only this turtle story because this story made me become a writer. So I want to give life to this story. September last week was the submission. I was really worried when I saw this tutorial I felt some relief inside me. I don't know how much i conveyed my thoughts now only learning your language is understood by you that would be great. Your modelling skill is so good and the turtle is looking very nice. Once again thank you so much

@@marypresenta6245 Hi, to use edit edge flow, first select the edge that you want to apply, then hold shift and right click on the mouse simultaneously. There you will find "Edit edge flow". And after that you can press 'G' on keyboard to repeat the last command. I am really glad that it helped. No worries, feel free to ask me any questions you have. I will be more than happy to answer those questions. Apologies for the late upload, I was quite busy with my work lately. Thank you for your support, and all the very best for you future. Take care.😊

@incendium6615 Thank you very much for your kind words. I am really glad you liked it. 😊

@madceee Thank you so much. I am glad you liked it. 😊

@Waiwaiiiii Thank you. I am glad you liked it. 😊

@FunnyGamerAkash24 Part 4 is already there on my Channel 😊. You can check out the link below : ua-cam.com/video/_LNMF8jlPzk/v-deo.htmlsi=YWGGxY_GBF9q45KU

Hi @dombee3388 Thank you so much. I am really glad it helped.😊 Sure, I will make more tutorials like this, stay tuned.😁

Hi @kuanhonglim9804, I used "Adobe After Effects". First I did a camera track using "3D camera tracker" in After Effects, and then with the help of a free script "AE3D Export" I exported out the camera track for Maya. 😊

​@@sunitdrozario thank Q, bro, i am using Maya 2022 which version adobe can provide perfect matching?

@@kuanhonglim9804 You can use adobe after effects 2020 and higher. I am not sure if the versions older than that will support or not. But you can use 2020 or higher versions.

@ValentinaRosas-q6y Thank you, I am glad you liked it.😊 I think maybe you don't have enough subdivisions on your model. OR If you have enough subdivisions and still getting hard edges, then you can go to edge mode and select all the edges of the model, and then by holding shift right click, go to "Soften/Harden Edge", and then select "Soften Edge". I think it will solve your problem. If you are still facing any issues, feel free to ask me. 😊

Hi @keepwatching8953 You will find the link for the reference image in the video description itself. 😊

@sheenakataria1333 If you are applying normal map then no need to add height map again. While both normal and height maps give our low-poly models the appearance of more detail, they are used for distinctly different purposes. The most obvious difference is that height maps are greyscale only, because they only portray height differences. Black is 'down', white is 'up', and 0.5 gray means no change of height. Normal maps, on the other hand, do not contain any height information whatsoever. Instead, they contain angle information. They are colorful because the RGB value tells the renderer which direction the slope is facing and how steep that slope is. The most important advantage of this is that we can use angle information to artificially bend edges of adjacent faces toward each other to produce a beveling effect. This cannot be done with only height information, because the renderer would have no way of knowing in which direction the edges should be bent. And that's why I didn't use height map, since I am using normal map. I hope this clears your doubt. If you have any other doubts, please feel free to ask me. 😊

@@sunitdrozario bro I applied with substance. Substance tab mai hota hai na vo jo ek baari Mai pick krleta h. Par usme. Dikat ye h ki shape hi khrab hogyi. Texture daalne se

@@Adeniumlovers1333 If the shape of your model is getting distorted, that means maybe you need to adjust your displacement value. Select the displacement node from hypershade, and then in attributes, under "Arnold" tab, you will find "Scaler zero value". Try to change that value and see if the result is coming out proper. I hope this will help. Feel free to let me know if you are still facing any issue.😊

@PolygonPimp Your welcome. I am glad you liked it 😊.

Hi, Thank you so much, I am glad you liked it 😊. I think XGen Interactive Grooming doesn't directly support UDIM textures natively within the tool itself. However, you can still use UDIM textures in your workflow by manually assigning them in your renderer. For example, if you're using Arnold Renderer with Maya, you can assign UDIM textures to your groomed geometry by specifying the appropriate file paths in the shader network or using a texture node that supports UDIMs.

@marionrapisarda6612 Thank you. I am glad you liked it. To convert XGen hair to polygons, in the Outliner or the XGen Editor, select the XGen description you want to convert. Then go to "Generate" on the top menu bar, and under that you will find "Convert XGen Primitives to Polygons". Click on that then a option box will open. From that option box, only make sure "Combine Mesh" option is turned on. And keep rest of the settings as default. What "combine mesh" option does is, it makes all the hair in one single polygon. If you don't turn on "combine mesh" option, then it will create every single polygon out of every single hair. After that click on convert. This will create a new polygon mesh based on your XGen hair description. Once the conversion is done, you should see the new polygon mesh in your scene. You can further tweak or refine this mesh as needed. I hope I have answered your question 😊. If you have any other queries, please feel free to ask me.

@srikanth9307 Cool. I am really glad you liked the tutorial 😊

@princeraghav5849 Sure mate. Stay tuned 😊

Thank you so much, I am glad you liked it 😊

@ilya6299 The link for the reference is provided in the video description. 😊 Or you can check the link given below: drive.google.com/drive/folders/1rae4jMK46vm6prF5D5-oh78uMtNQVWOV?usp=drive_link

Hi @nurinarifah285, around 3:03 I have applied circularize components to make the faces circular in shape. By holding shift key on keyboard and right click on the mouse simultaneously, you can select the option 'circularize components'. And after that I pressed 1 on keyboard for rough quality display settings. Previously it was pressed 3 which is the smooth quality display. 😁 I hope I answered your question. Please feel free to ask me if you are still facing any issues. ☺