In this video, I'll show you how we can set up Marmoset to get the best possible final renders. Create a new scene inside of Marmoset and let's import just our low poly model. Remember, we don't need the high poly anymore. We just need that for the baking step. So I got my game ready model. It's in my scene and I'm going to start applying some of the texture maps to it. Let's take a look at some of these presets for our skylight. This is going to be the basis for our light, and though we'll add more lights later, it's starting spot for our light is. I want to pick something nice and bright like this one. Then I'm looking at the materials that were imported. I'm going to organize them by naming the body and glass so that I know which ones I'm working with just by being able to click over there. Open up body, and we can see a whole series of different tabs, we see Normal, Gloss Albedo, Specular. This is we're going to start dropping the different maps from substance banner. So I drop the Normal map into the normal slot, and we can see it automatically applies to the surface. It's included all those extra geometry details we made. We do need to flip the y-axis, the weights out of what it's baked, and where it's coming from substance painter. The y-axis is flipped on those Normal maps. I want to make sure SRGB color space is checked off on this normal map. We want to be using linear space. SRGB is a color correction, that can really screw up the way our Normal maps behaves. So we want to make sure a lot of these maps that that's turned off. Next, we've got our roughness map which we're going to drop into gloss. This is where that goes. You'll notice that it's reverse though where it should be. We also want SRGB turned off. But we notice things that are in the wrong direction, when we're bringing this from substance painter which need to click the little Invert tab. Because it's a roughness map not a Glossiness maps, so they work in the opposite direction in terms of black and white. Now, I drag my base color into the Albedo map slot. In this case, I do want SRGB on because I do want the color correction for colors. Under reflectivity, I'm going to change this to metalness and drag my Metal map in here, and metalness should also not have SRGB on. If I come down to occlusion, I can add an Occlusion map. I don't want a cavity map. So I'm going to check that off and I can drag my A0 into the occlusion slot and turn SRGB off here. I do need an Emissive map because I made one for my little light bulb there. We're going to drag our Emissive map in here, and we'll be making some adjustments to the intensity. So you can see it's providing itself illuminating which is what the Emissive does for us, and we can alter the intensity right from here. We can even alter the color. Now, we needed to do the same setup for our glass. So just like before, we're going to drag in a Normal map and we make sure we hit Flip Y. Let's invert our glossiness value and drag in our Roughness map. Get our Albedo map in there, put on our metalness and our Occlusion, and we do not want to Cavity map, so we'll turn that off. One of the reasons we separated these by material is, we are going to work when we apply something in here Transparency, and instead of Dither, what we're looking for is refraction. We have a couple of different dials that we can play with here. What we really care about though is this index of refraction or IOR as it's sometimes called, and depending on the material, is going to be how refractive it is. There's actually a lot of great charts online. I found this chart on Opticians Friend that can shows refraction indexes and here we see different types of glass that are used commonly. So right here, we see one of the most common lens materials available is an index refraction of 150. So I know if I put a 1.5 in, that's going to be the proper index refraction for this object. Now, that my materials are set up, let's take a look at our sky settings, because we want to start playing with the lighting. Our model we might think, "Hey, it looks pretty good now but you'll see with a little lighting changes. How nice we can present this model." Really a little bit here goes a really long way. We can see that we already get a lot of these nice presets and they're going to give us different types of lighting conditions which are going to show different things off from our model. I like to pick something nice and neutral but maybe has just a little bit of color in it. I like to add color to my lights. I think it provides a lot of nice visual interest that we wouldn't get from very white light. I've chosen to go with this move [inaudible] gallery on this one. So we can see we have a couple different sliders here that we can work with. We want the backdrop. Right now, it's set to Ambient sky. I actually want this to be a solid color. This is going to help the details of our background stand out better, and so you can pick a nice neutral tone, something pretty dark for this that's going to help it stand out in the lighting and a little bit of color, but you don't want it to affect how the object is going to look. So I go pretty dark with this, and you can see it's already making the object feels like it stands out a lot more than it was before. Because the black sort of fades into the background for us. I really don't like putting models against white backgrounds unless it's very special circumstances. Often it doesn't quite look right. Now, let's click up into our render and let's play with some of these Render Settings. Right now, the resolution is one-to-one and if you can and you set it up to double, it will sample at a higher rate which will give you a smoother result. It'll take a little bit more time. So if you find this is loading down on your computer, feel free to turn it off but my computer seems to be able to handle it all right and still be able to adjust the lights, and just giving me more pixels to work with which is giving me a smoother final result. We also have things like a Wireframe and we're going to be doing a little Wireframe screenshot with this. It's nice sometimes to be able to show what the geometry on your model is overlaid in the same scene that you made it in. It's pretty unprofessional to show Wireframes screenshots from something like Maya. Under the Lighting tab, I'm turning on Local Reflections which is going to let the lighting bounced off of the object onto itself. It gives it a lot more of that bounce lighting. Again, it's more intensive but I like it and I'm going to turn on this Ambient occlusion, and this will slide up that screen space Ambient occlusion that we're building in the various scenes. So I have my own Ambient occlusion that I baked and then I'm layering this on top of it. I'm going to leave the shadow resolution here at high, and I'm going to turn on Enabled Global Illumination. To me, this is almost like this is what really sets this apart, and Global Illumination is this global bounce lighting that is setting throughout the scene. It's giving the light a lot more complexity which makes it a lot more visually interesting. To me, this is when I hit that switch that makes a huge difference. Of course, it takes a lot more system processing, but it looks a lot better too and it's going to help me produce really nice final renders. The Global Illumination is calculated by this Voxel method, and we can see basically it creates a Voxelized version of our model to approximate how the light should be bouncing off of a simpler sort of a model. We can show that just to help us scale this so it's hitting the right amount of area in the right amount of detail to give us the result we want. But the settings I have here, I find are working pretty nicely for my model. Now, I'm going to select my main camera and change some of the ways the view port is viewing my model. I'm going to start in limits and I'm going to check on use limits and view port just to test it out. This is going to let me by clicking these on. Let me control how far someone can get from my model or how close it can get to it in the viewer. What I'm going to make out a little Marmoset viewer that I'm going to put on art station for this later. I can control these orbits because maybe I don't want someone zooming too far out from the model because it would be too tiny and that wouldn't make sense. So I don't want them getting that far away from it, and I want to limit how close they can get to it because it's game ready model. I don't want them zooming in super close and seeing them details that or scrutinizing details in the model that I don't feel like they should need to. I can set the near and far just by positioning my camera where I like, I would say this is as close I want to get and then set near and do the same thing with far. I think this is like a little step, that's a nice touch whenever I see someone uploading one of these Marmoset viewers onto their art station profile. It's really nice when I'm examining a model to be able to tell and really rotate around something and see some of the details that screenshots really won't give me. Moving down to the next tab, we actually can control our lenses and we'd get the field of view, which is exactly how we control a camera as with its field of view. So sliding this will give us either a fisheye or a telephoto effect. Just like it would on a regular film camera. I find that I turned out to like I don't like too much fisheye on a nice presentation piece. With 45 is the default that usually gives us though. The next thing I want to take a look at here is the Post Effects tab. Let's come down to focus, and here we have depth of field. These are really nice sometimes when I'm doing a close-up detail on something, to really blur in every other object and focus just on one thing. So for some of my screenshots, I might use this a little bit. Generally, I don't want to use this though on my full body shot because it would blur out areas of the model itself. Further down, we have Flare which is depending where lighting is. It gives us that little sun flare blooming effect which is neat, and you can see there's a couple parts when I was rotating that I get that little haloing effect around the camera. It can be cool but I don't really play with it too much. Again, it's something I find is going to distract from the final presentation of my model, more than it's going to show off what's good about it. There's also a whole host of really interesting distortions we can do in terms of modifying or breaking with the image is going to look like. Like this Barrel or Pincushion effect, the Chromatic Aberration which separates the RG and B channels the way like old televisions and things used to do it. These are some cool effects that you might use for some types of presentation. But again, I'm going to leave those alone for here because I just want a nice clean look. Let's come down to the post effects and we can see there's quite a few different presets already put in here. That give us different styles that you can play around almost like Instagram filters. But I'm going to play with these directly. You can set it to Aces which is the method of color correction used by film cameras. But I'm actually here going to use Linear. We can see I can change the exposure to bring up the overall brightness of my scene, and change the contrast values between light and bright. I can also adjust some of these brightness values and my Bloom, give it a little bit of that software glow wherever light sources hitting a part of our model. I can give it a nice little Vignette if I want which sometimes gives a nice focus down and takes a strong look at our model itself and I can add a little film grain down at the bottom too.