This tutorial is sponsored by environment textures.com high quality images for 3d artists and game developers Hello there beautiful people and in this video tutorial or video tutorial series depending on which way you choose to view it I'm going to be showing you How to go about making this beautiful low polygon barrel and it's using a high polygon to low polygon workflow, so What you will do is using a reference image such as this one here You're going to create a low polygon mesh like this from a high polygon Mesh like this one so you can see this one's got quite a lot of beveling going on And you can see that the number of triangles in this is well over 6,000 Which would be very wasteful for something like a barrel So we're going to use normal map baking to reduce that number down to in this case I've got 352 and it's got a massive amount of detail in it We're also going to be looking at using a PBR shader So in this case we're going to be using the Stingray PBR and you can see That without all that detail on this is what our Low polygon barrel looks like so we're going to put a lot of work into this we're going to create a really Beautiful normal that seeing see this is just the same polygon count, but look how detailed it now looks We're going to use a metallic map to tell it which parts of the the shader should show as metal We're also going to add a roughness mapping so that the wood looks wooden and the metal looks shiny Obviously, of course the important one to make it look right. There'll be a color map on there as well a diffuse map To finish that all off If you want to take a look at the finished file itself the actual Maya file where I've created the barrel as well as the Texture files that I've created in Photoshop Then you can access those by becoming a patron if you look at the link below you can go to patreon Look at my page and if you want to support me Then you'll get access to pretty much everything I do on this channel as well as if you want to become a patron You can ask me additional questions. I'm about to start doing a monthly Session maybe one to two hours where my patrons will be able to join me in a Google hangout You know we'll talk about modeling. I'll make some stuff. I'll show people answer questions whatever so You could consider that if you want to be a part of all of that But I think that's enough Introduction east off done. We should probably get stuck in to making this barrel. Shouldn't we shouldn't we okay? stick around we'll move on to step one In a sec Okay, so we're going to make a start on getting this barrel made and as always the first thing I want to do is set a new project for this so We're going to click on file. We're going to go to project window and I'm going to make a new project. I'm going to call it barrel Because it's a barrel. It's a good name and the location just because I like to keep all my things to Like somewhere I can see them and then I tend to move them later I'm going to put it on my desktop for now and Then all of these folder names are going to be fine. So I'll click on accept Okay, with that done what I now want to do is find the images I will need and so I'm going to go out to environment textures.com which is just here That's lovely big staring man looking at me Okay, so this just so happens to be the sponsor for this video as well So I'll give them a shout out. This is what I'm currently using to find pretty much all of my reference images and texture files as well So what we need first of all is a picture of a barrel to work from so the search function on here is pretty good So if I search for a barrel I'm hoping that's what I'll find Lovely so I can see there are lots of metal Oil drum looking barrels But the kind of barrel I want is the first hit which is this handsome looking barrel right here. Oh Oh That's nice Okay, so I think I'm going to use this to work from I probably I'm going to make a little change I don't think I want that metal band on the top But I think I do want these four and the proportions look good. So I'm going to take this so if I click on this I'll have that one ready to go Right. I'm also going to need some texture files for this You can see I'm probably going to need a wooden one and a metallic one as well So I think what I'll do next are looking categories And there's some really good wooden ones. So let's go to Wood Yep, and the sort of thing I'm looking for I think in this instance is going to be planks and probably bear Bear is in no pain to anything not bear is in a bear made out of wood. That'd be ridiculous Okay, so let's see what we've got here Something that looks nice and barely This is quite good. I think I want something that looks a bit Bit more aged. I'm going to go with this one So I'm going to try and make my barrel look a bit bit more gnarly than the one in the reference I quite like this. So I'm going to take this image as well. I think There's got some nice scratches and things on it. So I'm hoping that'll come through nicely in the normal map that we'll create So I'm going to take that one Right, I need some metal next So let's find something metallic Let's try plate metal Galvanized metal doesn't look bad. Maybe that's the one I'll go for or scratches metal. Let's try scratches I'd already kind of decided on the other two I was going for but I hadn't decided on My my metallic one these look nice. I might go one of these they're good Yeah, let's see what this one looks like at the top this one and The good thing about these textures is they're all really high resolution Maybe I'm not a massive fan of that one Try the next one. What's this one like? It's got bits on it. I don't like the bits. Let's keep searching Hmm Okay, so we're not going to go scratchers. Well, we might we might come back to scratchers But let's have a look at galvanized Yeah, I like this one. So I'm gonna go for metal plate three that should give me something to mess around with Yeah, so we'll save that one as well Okay, so I've got my three Materials So what I'm going to want to do is find my barrel project Just stick that over there and in my sourcing we just folder which is where all your textures should live I'm going to drop these one To Where's to the one three So I've got wood Barrel and that will be there the galvanized metal. Let's rename these ends. So I'll have metal Barrel reference and Wooden Okay, so That is the images found. So thank you very much environment textures Thank you for sponsoring this video and thank you for providing me with some beautiful pictures. That's wicked, right? We can kill that for now And then the next thing we need to do is get back into Maya and set up the the reference image So I'm going to go into my front view. I believe and I'm going to click on view. I'm going to go to Image plane and import image and because I've put my images in the right place, which is very good practice I can see my barrel reference image. So I'll open that There it is and what I'm going to want to do Is move that up so that it kind of sits Roughly on the bottom now. There's obviously some perspective to this image that kind of needs to be addressed But as long as it's in roughly the right place, I'll be able to work with that okay, so that about wraps up the first part which is Kind of preparing the scene so I'm making sure that you've got your reference image and your texture files ready In the next step, we'll start building the high poly version of the barrel. I will see you there in the next step Bye Okay, so here we are in step two It's going to be a little bit of a longer step than the last one We've got a bit more to do and now we're going to start making the the high polygon version of the barrel So we're going to start by building it out of planks. So our first plank is going to be a cube And at this stage it's just a good minute. It's a good idea to move that back out of the way So I'll do that and then I'm going to start just shaping Myself something that looks plank like so something like that Yep, right. I'm just going to try and get it to a height that I'm pretty happy with Yeah, and what I really want to do just to make my life easier Especially if I was importing this into a game in your life on real I Want to try and line the bottom up with the grid just so I know where that's going to be I'm quite happy with that But I actually want the The plank to be on this side and that's so that I can line up the bend later So what I'm going to do is Rotate it around so that it's not facing that direction So let's get the rotate tool up. I'll begin moving that around and then my channel box I'll notice that I have been rotating it on white. So I'll call that 90 degrees lovely Then I'm going to Hold my D key In fact, I'm going to put a move tool on first hold my D key and then hold my V key Which will snap to vertex and that will just drop my pivot to the bottom of the plank Which I want to do and then I'm just going to move this out To the edge Like that and then what I need to do is bring that pivot back into the center. So now I'm going to hold D and I'm going to also hold X on the keyboard X will snap to grid grid points And I'm just going to put that pivot bang in the center of the grid So I'll try to show you that as best I can you see the pivot is now there and what that does Is if I was to rotate this now that I've moved the pivot point It goes around the center. I'm going to use that to create the Villa outline of the barrel Okay, so now what we need to do is duplicate this first plank that we've got and so that it creates a Full radius a full round the barrel II thing so the way I'm going to do that is by Using duplicate special and I'm going to create 15 copies that'll give me 16 in total which is a nice a nice round number for this And I'm going to instance them instead of creating straight duplicates, which means that if I change one Ideally the original in fact, let's rename that to Plank so that I know which one the original is So if I with instance thing if I change the original it will change all of the others Which means that I can continue to edit even though I've got copies. You'll see what I mean So if we go for edit Duplicate special Right, here's my duplicate box. I'm just going to go to reset settings. So we've got a Like a brand new duplicate special tool. So you're looking at the same as I'm looking at so I want instance on there and I'm going to rotate each copy 22.5 degrees on the y-axis And if you do your maths, I think 22.5 is what happens if you take 360 and divide it by 16 And I want 15 copies. So if I now click on duplicate special You will see That that creates That amazingness, which is what I wanted So I can make changes to this but what I can't do is just scale it with Instancing for some reason it doesn't like that. It won't be copied on the others And so what we'll do is we'll put it into vertex mode select all the vertices and Using the scale tool will just scale it out like that and you'll see That's being matched by all of the others. I'm not going to push it out all the way yet I'm just doing it to get it to get it quite close I don't need it to be a hundred percent. We'll we'll be fine that later But it's just to give us a much nicer looking Circumference is that the right word? That's what I'm going with so you see that's still plank So I know that's my original the others are named appropriately plank one plank to whatever So I need to do a little bit more work on plank one to get this looking more barrel like So the first thing I'll do is I'll bevel this plank So I'm going to open my modeling toolkit for this which lives up here, and if I scroll down, there's my bevel operation and I'm going to go 0.1 for the fraction and I'm going to have two segments. I think And that just gives a nice smoother edge on each of the planks, which is what I like The next thing I want to do is get that bend that bend there So the way I'll do that is first of all, I'm going to need some extra edge loops So my current favorite way of adding edge loops is something I learned from Mike Hermes If you haven't checked out his channel MH tutorials, I think it is it's worth a look. It's very good He starts all these videos with hi guys welcome back to my channel, which I like he's got a crack in little accent that guy so We need to use this this tool so insert edge look tool click on your up in this box You'll probably start on relative distance from edge go to multiple edge loops and we want five so we'll type five in that box Okay, and then To get five edge loops on the height You have to click on one of the the edges that's running up and down So I like that and you'll see that it places edge looks one two three four five and they're Equidistant equal distance from each other and that's wonderful and that sets us up to be able to bend this plank So I'm now going to go back into object mode and select my original plank Just going to the channel box to make sure that's what I've got and Now I'm going to apply a bend deformer So that lives in this little menu here deform If you click on this and you look for nonlinear The first option there is bend and by default it should be facing the right way. So we'll click on this and hope it works So that's applied to bend deformer. We need to go into the attribute editor To find in fact, we could probably do it from there But I like it from the attribute editor if we're going to bend one you can see there's a curvature slider and that Whilst it looks amazing is not what I'm looking for Okay, so if you find that Your bend is going in the wrong direction. This is not useful to us at all The way to change it is if you go to your bend handle tab and Have a look at your rotate and I can see here I've got 90 on Safety, so I'm just going to put that back to zero and that should sort it and see now That's that's bending outwards. So I've got a good idea of how that should look. So now I'm going to go back into my front view I'm going to try and match up The curvature of The barrel, so let's bend this In a little bit. I think I might just go in slightly more than that Yeah, I'm fairly happy with that. So that's a nice even bend So you can see that the bend on this bow is actually not consistent But I I want mine to be consistent. So I'm happy with that So let's have a look Yeah, that's looking a lot better. So we can now say that we've got a nice Barrely shape So next thing we need to do is do a little bit of tidying up on on this plank to make sure that they all sort of mesh together nicely okay, so in order to do that we need to go into our vertex mode and I'm just going to select the first at the top put my scale tool on and Just bring these in I'm going to have to do this a few at a time I think you see I'm quite happy with that one, but these ones aren't quite right. So I'm just going to correct this as well Like that and it should it should only really matter on these front ones that they line up Because when we're only going to be able to see those we're not going to be able to see the outside ones So I just need to take care to get these lined up to where I like them And I'm trying to get a bit of a gap I don't want them to match up perfectly because there's no point doing the planks if that happens I want to be able to get a bit of detail on on my normal map so I Don't want them to go quite through each other So let's have a look at this Ping that out Yep, okay. What does this one need to do in our out? Now like that And Okay, and the position of the vertices do matter on this one because this can be seen on The normal map wasn't a very good selection. There we go And then just get this one right as well Let's put this into object mode see if I'm happy with it. So that's okay Yeah, that's pretty nice. I Walk at the top. Yeah, so there's a little gap in between But all in all It comes together quite nicely, which I like Okay at this stage. I'm pretty much happy that I'm done with that bend modifier So what I'll do is I'll select That that one plank that's got it applied I'll go to edit delete by type history and that will just make that that bend permanent That's now part of the mesh and the deformer's gone now So that's all nice and neat Okay, so the next thing we'll do is create another set of planks for a lid So that's just going to be another cube So I'll just create one. I'll bring this up and I just need to size this out so it just needs to Just intersect my geometry there and I want a bit of width on it Maybe slightly wider than the planks that make up the outside of the barrel and I think just to stop things from looking too uniform I'm going to offset it slightly as well like that and then if I go into vertex mode I can see that I've created a little problem for myself. So I'll just correct that push that back inside and I'll have the same issue at the top. So get older that push it back in. Oh, yes, mate Okay So now I'm just going to put this back into object mode This needs a bevel on it so that we get a bit of extra detail. So let's go back into modeling toolkit Drop a bevel on that. I definitely want two segments and Let's try not point to my happy with that and not point one Zero point one. Yes. Okay So now what I need to do is duplicate this a few times So that it so that it works So I want to get in nice and close on this just to make sure that they're meeting That's nice and I'm going to do shift and D to get another one. Obviously. I need to correct those a little bit Okay, I'm going to get these two and Duplicate them and bring them this way and then as long as I can get this Meeting up nicely. I'll be happy Yeah, about there Okay, and now what I need to do is just sort the vertices out on these so let's Scale them in make sure that they're not protruding at all And get these verus as well So they definitely need to come in These two here need to go right in over here. Oh didn't get them all Try again chain.  What are you doing? There we go, right Handsome isn't it? Look at that beautiful nurse Okay, so now what I need to do I've got that and I'm happy with it. I need to duplicate it Because there's no Shape on the bottom. So let's just bring that down and when nothing's sticking out about there That should be good suggests I didn't Position those verus real well Okay, am I happy with all these these ones look all right? Yeah Okay So that is pretty much all though the wooden high poly geometry done The next thing we need to do is add the metallic bands, right? So the next shape we're going to need in order to do this Is this one polygon pipe and I'm going to scale it up so I can see what I'm doing Maybe that's a bit big and I'm going to go into the inputs for the shape poly pipe one and the Thickness needs to be brought down The height obviously needs to be brought under control and then what I'm going to do you just come into this view here and Try and get this into a position that I'm happy with so I think somewhere like That I might end up being happy with I'm just going to size that down a little bit more Okay, let's just go back out into this view and see if I'm happy with that Yeah, I am actually so Let's turn the grid off. It's getting away So from this sort of view, I think that looks okay, but from the bottom It really doesn't so in order to sort that I'm going to get the faces on the bottom And just so I clicked once then I held shift and double clicked on the one next to it And that's like to do the whole edge loop for me And then I'm going to try and scale these in a bit just to try and keep that consistent So I'm happy with that one What I'll do next is I'll duplicate this one and I'm going to move it up to the top Now obviously that's not oriented the right way So I want to flip this on the y-axis and the way to do that is Scale y needs to be inverted So you can see it's set to 1.8 575 put a minus in there That flips it around. It just turns upside down. It's an amazing little trick. I love zip Okay, so I'm gonna pop that one about there. Do they look about even? Yeah, so I'm happy with those two What I need to do next is select this one and I'm going to duplicate it Bring it down to be sort of in line with the next place. It needs to be and scale it out and I'm going to change the height on it as well So it looks like a similar height to the previous one And let's see if I'm happy with that I'm very happy with that. That's fun Tabulous. Okay, so I'll duplicate this one more time to bring down to where the Last metal band will be Okay, I'm going to Invert the height on the wire scale. So at the moment it's minus 1.5. So I'm gonna get rid of that minus And that'll flip it around And then that should be good So what I'm gonna do now because it's getting a little bit difficult to see I'm gonna use this here, which is a wireframe unshaded Which will just help me to see where things are Yep, that's looking okay. I'm just gonna turn that off. Okay So what I need to do now is bevel these just so that the edges aren't too hard So let's get these outside edges. So that one and that one Bevel them and I definitely want two segments again. I shouldn't need any more than that and The fraction let's do this by eye Like no point two is nice. So I repeat that for the other ones. So there's this one and need to get That edge and that edge bevel Two segments 0.2 Next one Come on mate get an edge mode, right that one that one bevel Bevel them up good 0.2 and two segments There's only one more left to do this one Let's bevel it. I know what we're doing The edges bevel the edges she That one that one. Yeah, bevel 0.2 and Two sections, okay, let's put that back into object mode Right At this stage we can call the high poly done. I'm happy with that. That's cracking so what I'll do now is select the whole thing and then going to Combine it into one mesh mesh combine and I'm going to rename that to high Underscore poly underscore barrel Okay, so that's brilliant. That's finished. What we'll do in the next step Will be we'll spend some time Retapologizing I think I'm saying that right so we will create a new barrel from scratch But it will be Much lower polygon will have no bevels on it will have no kind of additional geometry We're just going to try and match it as closely as we can to this high poly version So that we can take the detail from this one Using normal that bacon and put it onto the little polygon one which should be good So I look forward to seeing you in that next step Okay, in this step we need to make a low poly version of this barrel Right, so what we need to do first of all is make sure that we're not going to accidentally interfere with this one anymore We're going to add it to a layer and make that layer a reference so that we don't you know Break anything so let's have this selected in your channel box at the bottom You've got layers click on layers and we're going to create layer from selected So it will put what we have selected into a new layer And we'll double click on that to give it a name which will be high Poly and save and Then with this you can do things like turn the visibility on or off and here you can change it to reference So now once I deselect it can't click on it no more because it's reference.  Oh, it's because it's in reference, you know take take the arrow and it'll be fine. Okay? So now what we need to do is create a brand new Shape so we're going to go with a cylinder wicked now importantly we want to try and get the same number of Subdivisions on the axis as we have planks of wood which will make life a bit easier So I'm going to change that to 16 because we've got 16 planks of wood Right, let me just scale this up a bit So we can see what we're working with and I'll just move it up What you should be able to see if I zoom in is that these aren't quite lined up. There's like an offset. So each One of these is kind of like halfway past the other if that makes sense and to fix that We're just going to rotate it on the waxes by 11 and a half degrees and They will now match up perfectly Which makes our job a little bit easier Okay, so what we'll do next is try and match the height so I'm going to get Vertices I think so I'm gonna get my top row of verts and Then I'm going to press and hold V on my keyboard which will snap to vertex and Then I'm going to click to move up and I want that to go as high as it will possibly go like so and Then same for my bottom row. I'm going to hold V. I'm gonna move that down like that and That will just mean that the height is Absolutely perfect or it definitely should be they should now match up Which is really good The next thing we know is to get the curvature as we want it We're probably going to need five subdivisions going along the height So in order to do that I Need to be back in object mode and I'm going to go to mesh tools into edge of tool and This is still set up from when we used it previously so I can click on that and The job is a good one Okay, so now what we need to do is try and match up the radius of each one of these rows And what I would recommend doing because it's symmetrical on the y-axis top to bottom I would work on a couple of rows at a time So I'm gonna make sure I'm in edge mode. I'm gonna click my top edge and My Bottom edge Now I'm just gonna do it one row at a time because I'm gonna have a problem otherwise. So I just get my top edge right Let's get into this Nice and close So I can see what I'm doing. I might even go to show. No that I want the shading Why a frame on shaded? No, that's not what I'm looking for X-ray that's what I want and it'll just make it a bit thicker easy to see so then I'm gonna scale that in Until it matches As close as I can get it to where that is so you can see now if I just zoom in on the corner here See that pretty much matches up, which is what I'm going for. I need to do that on each row and I'm scaling from the center Because I want this to scale uniformly and stay that'll just keep it as a circle Which is kind of important that on there bring this one in to Next one And I'm just matching up with the topology with the mesh of the high poly version Make sure everything is found avidosie. Oh That's nice Okay, so I put that back into object mode and back into my perspective view perspective view, sorry Right, so now if I flick on and off the visibility of the high poly like this The shape pretty much stays there. It's quite happy with that Which is what I'm looking for. That's good. That's real good Okay, right next we need to work on the top and the bottom and this is gonna be extruded and then With some snapping we're gonna try and match things up hopefully so let's get These Faces on top, so I just need to make sure I've got all these going Nice, okay, and then I'm gonna hit ctrl and E on the keyboard Which is the keyboard show got fixed rude But you can also use the icon there or there's an extrude in the modeling toolkit somewhere So, you know, it's not like it's hard to find but ctrl and E is my my favorite this way of doing it Okay, and then Unhelpfully the pivots over here. So if I tried to like scale it Actually, it would be fine, but I'm not gonna scale on that axis because it freaks me out So I'm gonna press R on my keyboard I want to scale from there and so I'm just gonna scale in and then move it down I want to try and match up the height With what I've currently got so I'm gonna get in nice and close on this I oops, I can't always Come back and change this later I want to get it as close as I can straight away And that actually looks pretty spot-on so you can see I've just I'm almost tracing the high poly geometry So that's my first extrusion then I'm gonna hit ctrl and E To extrude again this time. I'll put my move tool on and move it straight down And I'm just trying now to match There we go with where the the planks are and Then I'm just going to push that out and again and I'm matching to get the curvature Like so so I can now put that back into object mode. I'm happy with that that end and again if I just Flick the visibility on and off you can now see that there's very little difference The only difference that is really popping out is The metal bands, which is good. That's what I want to see And I just need to repeat that process on the bottom Okay, so now My low poly barrel is basically finished as well. That was nice wasn't it? That was easy. I like it when things are easy That was lovely. Okay, so let's get naming. This one's going to be called low underscore Poly underscore Barrel lovely and I'm going to add this one to its very own layer layer create layer from selected and I shall call this layer low poly Le are what? Pe are the yeah And save Okay, we kid That's now pretty much set up to do your texture baking with There is only one other thing that I think it's useful to do to get a cleaner normal mat bake or what something I found from my own experience anyway is To soften the edge of your low polygon mesh. So in order to do that you just click on mesh display and you will see soften edge And if I just hide the high poly You'll see that it actually looks kind of weird It looks a bit confused but The the harder edges should come back when we do the the normal map baking hopefully Okay, so in the next step we will be Texture baking we're going to bake a normal map from the high poly geometry to the low poly geometry Which should look really good. So I'll see you in that step Okay, so what we need to do now That the low poly is complete is UV map it No one likes UV mapping, but I think if we work together We can get through it So we're going to map different parts of this At a time. So let's just get into face mode and we'll select All these faces that go around like that How have I selected the bottom? I didn't want to do that. Okay, let's just get the selection in this view Okay, so I just want those faces around the side first of all and then we're going to go to I'll open my UV editor so I can see what I'm working with Okay, and Can I just make that a little bit more visible? What does that do? Yeah, that'll help Okay So we're going to click on UV and we're going to do a cylindrical map because you know We're working on a cylinder that makes sense and we'll click on that and That actually looks Very clean. We don't need to do anything else to that that just worked So I'm just going to move that up out of the way for a minute. I'm pretty darn happy with that Next thing is to do some other bits and bobs so let's go back into This face mode and I want That ring there, and I'm going to UV map this one with a planar projection on the y-axis And that's just that bit there so Let's move that over there and I want the one on the bottom as well and we'll just perform the same sort of projection on that Move that one up out of the way. So I know that they go together Okay, whilst I'm working on the top and bottom. I'll get this one here done Beautiful and that's going to be on the way axis as well So You can go there and then I need to do the bottom. So select all these faces It's gonna be a quicker way of doing this and then we're going to go to UV Play now There we go, right now You can see that I've got these weird little things going on here and what they are Are these bits here and these need to be cylindrically mapped as well So I'm going to try and do these hello at the same time So let's do UV cylindrical and that looks okay, and I'm going to try not quite I'm just going to scale this up a little bit so that it goes to the top and bottom of that as Near as I can get it just to try and match those up Because that will make my life easier in Photoshop. Yeah, that looks okay Right All I've got to do now is get all this to fit in the zero to one space so that I can Have this ready So I'm gonna click on this and see if it will just give me a favorable layout Sometimes it does sometimes it doesn't let's see where it goes me That's something I can work with I'm not happy with that. I think I'm gonna do it manually so I might not get the most efficient layout doing this But I like to be in control. Ah get off to the shell Okay, so I'll get those three shells and move them in And I want these to pretty much Be the width of my zero to one space So I think I need to go full screen for this. I want to be able to see what I'm doing Okay, I'll move that down to the bottom Okay, next I'm gonna get these two and see that I'm gonna have fun making these all fit What I'm gonna try and do To maximize the space is I'll bring these in around those Trying to give myself a little bit of space Like that. I think that looks okay, and I've got one more of these up here Try and get that kind of centered on there bring that in. Yeah okay, so I'm pretty happy with that. I think I've given myself enough space So as UV maps go That's pretty tasty. Okay. What I can see though. I'm not particularly happy about is that I've got some There are red and that means that they're not facing the right way The normals are in the wrong direction So we need to flip those normals and then we'll have a beautifully clean UV map. Hopefully So select something red if you have anything red and just click on this and it will flip it around and Basically just take it from being red to being blue Which is all we need there we go right that is Damn fine UV map. It will probably be a little bit better if my sizes were a bit more consistent Which is really how he's supposed to work, but okay Right now that UV mapping is done and we're happy with that in the next step We're going to do the actual baking So we're going to bake the normal data from the high poly mesh onto the low poly mesh So I hope you will join me in the next step for that Okay, here we go. Let's bake some maps right right. All right. Okay. I Have here my low poly mesh. So first thing you need to do is click on that make sure that's selected change from your modeling menu set to your rendering menu set and then the tool we're looking for is in lighting and shading and It's called transfer maps. So let's give that a little clicky Wonderful right the first thing I'll do is reset this so that we're looking at the same thing Right so because We had this selected when we open the tool it's loaded this in under the target mesh and Whenever you're baking Normal maps your low poly mesh will be the target mesh because that's the thing you're looking to keep So that one goes in there in the source mesh I'm just going to hide that one and bring back the high poly mesh and just stop it being referenced a minute so I can click on it and I'm going to Click on add selected. So that is going to be where it sources the information from and I can just Reference that again and bring the The low poly back as well Well, then you need to choose what kind of map you're after and I want a normal map And we're going to change some settings. So click on the little folder. I Do want it my source images folder.  I would say to you always use tangent space I can't see a reason that you would use object space if anybody knows what that reason is feel free to leave comment But I'm all about the tangent space. So I'll leave that as it is this bit here Connect maps to a shader and connected to a new shader What that will do is once we've baked the normals It will assign it to a Lambert and that Lambert will be placed on the low poly mesh So it means we can preview the results straight away. So I'll leave that where it is and then the Maya common output Normally you probably wouldn't want too high of a texture resolution on a barrel But because it's the only thing that we're interested in we're going to go fairly high We'll do a 1024 by 1024 map and the sampling quality will do at medium Which should be good enough for what we're doing Okay, so that's most of the settings done the only thing we need to look at is What's going to be captured within this bake to check that you've got for your low poly barrel back up at the top You've got This little display section and at the moment it's displaying the mesh, which is the actual low poly mesh And there's another thing called an envelope, which is this pink thing here. I Would say it showed both but basically what you need to do if it might for you start off something low But you can say when it's at zero percent. It's not Everything needs to be encapsulated within this search envelope because that's what's going to be included in your bake So you need to make sure that basically you can't see any gray you can only see pink so in my case That appears to happen at three point eight. I'm quite happy with that so That's now set up. I'm happy with that So what we can do next is Bake it. Let me just check in here. Is that right? Am I happy with that? Yeah, that's all good. So what we'll do is click on bake and close What will happen now is that is sampling and baking the normal data into an image file and understanding that to a shader So when that's finished, we'll have a look at the result Okay, so my baker's just finished and I thought I would wait and we would preview the results together I feel like we'll bond more if we do it that way. So So let's hide the high poly mesh. You can see this is the low poly mesh which is There it is So what we'll do is that materials already applied but because we aren't showing Textures, we can't see it so you can either click on this icon here Which is textured or you can press six on your keyboard, which is what I'm going to do And you'll see that that detail that we had on the the other mesh is now showing through on this one and Let's see what it's looking like on top. So you can see that there are now lines where the planks that we put were Okay, I think so I've got a dirty black line at the bottom, which is probably because It maybe sticks out a little bit too far there Which I could fix in fact, I will fix it. Let's see if we can fix that So I'm going to go back into the high poly and we're going to get Let's take out a reference. Okay edge. We're gonna get these edges. I think That one that one and that one and we're just going to scale them in Like that, what's the top looking like? Yeah, the top's okay, so I Brought that in to hopefully get a cleaner bake So stick that back into reference And now what I can do is I'll just hide that perform the bake again But I should get some different results out of it. So let's see. I don't know how different but hopefully slightly better. So lighting shading Transfer maps everything set up as before so we don't need to bother going through everything again We can just click on bake and close and not replace a normal map. We have so I'll see you in a sec fingers crossed It'll all be brilliant next Okay, so that baits finished it's improved it a bit, but it's not perfect. I think it's Generally when you've got quite a high angle on this By the time it's textured, it won't look as bad. So I'm happy with that We've now got a normal map that we can work with Okay, before we take this into Photoshop for texturing. We're going to create one more map for it Which I'm going to call a color color ID map Which will make it easier to kind of place textures around a bit a bit faster So in order to do that and we'll just do it as quickly as we can we're going to apply some colored Materials take that a reference to Everything on this so what we'll do is we're just going to go to Back into model and we're going to go mesh and separate so everything's a separate polygon again and We're just going to bang some colors on this So I know that I want the metal to be a separate color So I'm going to assign a new material to that it's going to be a Lambert And I just want it to have a color Where is that? Lambert six so I'm just going to choose quite, you know Bold color, so I'll use red in this case Okay, and then I'm going to sign existing material to all the ones that are going to have the same material on this so Sign existing material Lambert six sign existing material Lambert six Right, and then what I want to do is be able to break up the different planks So this first plank I'm going to assign a new material to which will be a Lambert And the color of this one will be yellow Why is that not worked? Assign new material Lambert Yellow there we go right and then the one next to it In fact, let's just assign This so I'm going to do it to every other one Okay, so I've done that now what I want to do is do the alternate ones with another Equally kind of contrasting color. So let's assign a new material a Lambert and this time I'm going to use Green and now I'm going to apply that to all the other alternating planks Okay, and then I just need to repeat that for the planks on the top and the bottom and I'll be complete So that will make it really easy to pick out different areas of the the map when we're in Photoshop later So we're going to bake this out to another map So let's just recombine this so Mesh combine I want to give this the name Hi Underscore poly Underscore barrel again and because this is now seen as a new object. It won't be part of that high poly layer anymore So we're going to make sure it's selected Right-click and add selected objects and now I'll be able to hide that and Turn it to reference if I need to So let's just load in Transfer maps again So we're going to go to Enduring We're going to go to a lighting shading and the transfer maps I'm going to use a different type of map this time. So we'll get rid of the normal We're going to use a diffuse map this time and that'll bake the color from one to the other So the source mesh needs to be the high poly. So let's just load that in then we can turn that off for a little while and Then we're going to choose diffuse and we're going to call this one color ID, but I don't need that capital L there. That's cray-cray and we're going to do a target again and click on save and Everything else should be set up fine from what we did before Which it is So now we're going to bake that from one to the other. Let's click on bake Okay, so the big just finished and you can see that it now looks ridiculous but The cool thing is we've now got a little bit of an idea of Where that metal would be if you look at the mesh without the texture? There's no indication. So even on the UV map We wouldn't know exactly where to put them in the metallic type parts of the texture, but we can now see That that's where it'll go So that's really good. So if I can just show you What we've created in Photoshop. So this is the normal map. There you go So you can see all that detail is on there that we created which is lovely and if we have a look at the color ID map as well and All the color ID map exists for is so that we can Sample colors and put stuff there so we can create like masks using those colors It's just about being able to select different areas so We are now done With the modeling we are done with the texture baking All that is left to do is to create the actual materials in Photoshop so we're going to create the different texture maps So there'll be a diffuse or albedo map. There will be a roughness map. There will be a metallic map There will be maybe another kind of map that I'm forgetting But in the next section, that's what we will be covering. It'll be all about texturing So hopefully I will see you in the next section for that Okay Here we are in Photoshop. Let's see if we can create some Awesome textures Right, so I'm actually going to start on the color ID map This is the one I'm going to create is like my or treat as my base material. So I'm going to file save as I'm just call this Barrel texture Master and I'm gonna try and put all my different texture maps into this one file And I can just save them out one at a time, but we'll we'll get to that Okay, so I don't want this as a target I want this as a Photoshop file because I need to save everything in this So let's click on save That's all this is going to be is like a reference layer when we're never actually going to see this So I am going to duplicate it just so that it's not a locked background layer I'm just going to rename this to color ID Okay, so the first thing I probably want to do is to get a That the wooden materials on here. So that's what I'll concentrate on first of all So I'm going to open What am I going for wooden planks? This is going to be the first The first thing I need Okay, so let's just Select pretty much everything. I don't need that white band on the bottom so And I'm just going to copy with control and see Go back into my texture master and I'm gonna press control and V to paste that in and that's gonna need some Serious resizing so I'm holding shift. In fact, let's go through the whole process control and T to turn on your transform tool And then every time I click on the corner. I'm holding shift because I want to keep the dimensions So I want to distort this at all There we go. So I'm just going to try and keep the height about right so about There's something like that Okay, now pretty much all I need to do is Put some planks in place So I might just put this kind of in our room Yeah, I'll put it over and I just move it over a bit at a time probably right So let's just press enter to save that control and zero and then let's Get some selection. So the first thing is I'm going to get rid of All of that so press Backspace and then I'm going to grab that which is going to be an entire plank hopefully and With my move tool, I'm just going to move it over And I'm aiming to cover the green and on the one above it the yellow area. So I'm going to hit control and T To free transform this and I can overlap slightly But I'm just covering that with with a plank really and Then what I need to do is Repeat that again So I'm gonna grab the next plank and then with my move tool. I'm going to move this over again And again, I'm going to go over slightly I think because I'm going to use some masking to sort this out like that. So that's working out. Okay, isn't it? So that's two. I'm going to repeat this with one plank at a time Until I've covered all the green areas Okay, so I've just finished laying my sort of first layer of planks So now what I want to do is I'm just going to hide that for a second and I'm going to use my magic wand tool to select All these green areas Okay, so what I'm going to do is just select a green area for a start. I'm going to go to select similar Okay, and I'm going to press Alt my keyboard and just de-select these yellow chunks up here and Replace them green chunks. Sorry De-select all the green chunks and I'm going to replace them with the yellow ones So I'm now going to hold shift on my keyboard To add in these yellows Like that. So that should now all be the pieces that I want to be selected and then With that selection in place, I'm going to go back to this layer. I'll just turn it on and Making sure that selection is still there. I'm going to click on this here, which creates a mask and then you can see That that plank has only gone Where I want it to There are a few places though that still need a little bit of work That haven't quite copied through so in order to get that I'm just going to get a white brush and Use my paint brush. So I'm going to click on the actual layer here Just bring that up Bring that brush size down Make sure it is a hard-edged brush. I'm just going to paint in the mask In any areas that I'm not happy with Turn that opacity up. That's why that's not working So I've got a bit of black there showing through that I don't like So this would probably be all right on the final Map, but I don't particularly want to risk it So I'm just tidying things up where I think I might need to I think I also Need to add these areas to the mask as well I'm just going to do that and I just don't want to leave any areas With blank. I can overlap a little bit on this Because the two maps in a sec I'm going to kind of cross this with another map and the two maps should work together So I just need to get this in place Okay, so I'm pretty happy with that For my first kind of layer of planks. I Now need to repeat that on another layer So I'll speed that up and I repeat the process to get Two two lines of planks, which is what I'm going for okay So what I've done in this instance is I've just created a layer With all all the planks going across like that Which should work okay in a sec. So what I'm going to do is just go to my color ID map I'm gonna select all the red. So click on one bit of red go to Select similar and then I'm gonna go back onto my This layer here that contains all the planks and just hit backspace just to bring that that red back through I'll turn on this layer as well So now you should be able to see that they're they're working together now So I've got a nice bit of variation going on for for this barrel. So that's so far so good. I think What I'm gonna do now because I'm pretty happy with that is I'm just gonna merge these two layers merge layers like that and that layers finish now I'm happy with that. The next thing to do is Work on these layers up here. So what I'm gonna do for that is Create Some new masks, I think Okay, so the next job is to get some textures going on on on these So all I'm gonna do is get some more Get another sample of these wooden planks. I need kind of a square area So I quite like that and I'm just gonna copy that over a new layer for this And that's obviously going to need scaling down and Rotating around and putting in place Okay, so what I'll do is I'll knock the opacity down on this one so I can see where I'm putting it I'm gonna try my absolute bestest to line this up without having to do one Plank at a time So you can see I'm lining that edge up with that one there. I'm just gonna bring that in as well as I can I'm happy with that. So that doesn't need to be too neat because I'm gonna overwrite it with These textures on there. So I'm happy with that one. That's nice And then I'm gonna get another sample of wooden planks To put on the other side Just zoom out again. I'm gonna paste this one in place and scale it down and rotate it around Knock the opacity down so I can see what I'm doing Zoom in and again, I'm gonna try and put this in place. So it starts about There pull that in like that. Can that here now? So now needs moving down to line that one up and I can pull that up. Yeah, that's close enough so I Put the opacity back up on those and I'll zoom out press control and zero to go full screen Now if it wants to work There we go Right, so I'm happy with both of those. They look grand. I'm gonna merge those layers Merge layers Okay, now I need to hide those for the time being and I just need to get some Individual pieces of wood that go over these pieces here And once I've got those I'll be happy. So I'll show you how to put a few of those in and then once they're sorted You can you can do the rest. So we just need to place those around so all I'm gonna do as well I'm just gonna do it for one and try and transfer it over to the other side just to save time. Okay, so Basically what I'm gonna do is as I like normally you would resize like that But if I hold control as I do it I can skew the actual dimensions of This and it'll kind of just fit in nicely With the shape I'm going for So like that And then what I'm gonna do is I'll reuse these wherever I can so I'm just gonna duplicate that layer and Then I'm gonna move this To here. So I'm probably gonna do the same one every third so we're gonna do a Free transform and rotate this around Until it fits in place That looks like a good fit and Then I'll duplicate that again and I think you kind of get the idea of what's happening now So I'll go all the way around and get my other samples in merge all those layers together and then we'll move on To get in the metal on so you'll see how this comes together Okay, so now you should be able to see that I have gone all the way around This particular part of the UV map and I'm happy with that But what I need to do is merge all that into one layer So it starts here. So I'll click on that top one all the way down to the bottom one Hold shift set to all the layers right click and merge layers And then I will just get my move tool to make sure that they all move together. They do Okay, so I'm happy with that and then what I'll do is duplicate that layer by dragging it onto there Let's see if we can move that straight across and get it as close as I possibly can That's pretty close. And I'm gonna hit control and T And I'm gonna hold alt and shift when I resize this so that it scales from the center I want to interfere with the bottom of this too much So it's okay Hopefully so now I've got a Lot of layers that I can now merge. Let's merge all these together. Wait wait. Don't merge them It's very important before I merge anything That these layers that I've just created these circular ones go on top So that then I don't have to worry about what else can and can't be seen and then I'll merge all of these Okay, and I'm just gonna call this layer wood diffuse So I am So ecstatically happy with that that is now that part of The material complete what I need now is to create the metallic part so I Need to go back into my color ID map I'm gonna hide the wood for now and I'm going to open the Metal There it is right what I'm going to do is Select almost all of it. I'm just not going to bother with the bottom again Now I'm not convinced that this is a seamless texture. So this might create a seam If you want to create a seamless texture, there are ways of doing that. There are many tutorials For time reasons, I'm not going to worry too much about that if I get a visible seam It can be something that I would just correct later But you would you would make this probably a seamless material first Anyways, I'm going to go to control and see to copy that and I'm going to bring it in here and I'm going to press Control and V to bring in this metallic layer and then I'm going to press control and T on here and Scale this down so that it kind of fits where I want it to fit Which is just over the areas where? There is some red So it's going to start about there I don't mind there being a little bit of distortion on this about there Right, so that's now on the layer. I'm going to go to my color ID map and just hide that for a second Select anything that's red select similar So I've got a selection of just red go back to my metal layer and put a mask on there And you can see that that now shows where the metal should be so that's good. I'm going to call this layer metal Diffuse right at that stage We've we've done it. We have a diffuse Texture Now I'm not quite happy with if we zoom in There's a I think a little bit of yellow and green showing through So what I'm going to do is I'm going to delete this mask Delete it I'm going to go back to my color ID Click on red again select similar And I'm going to select and I'm going to modify I'm going to expand this By one pixel just to make that selection a little bit bigger so that I'm not going to See any of my color map underneath that and then I'll go back on to my metal diffuse and I'll put the mask on Yeah, and that looks much cleaner Right, so that is my diffuse texture. So I'm going to save this out at this point. So file Save as Target and I'm a call this Barrel Diffuse and you can see it's going to my source images folder, which is good save Right is a question for you if it asks you do you want 24 or 32 bits per pixel? Unless something's going to be see-through. So always 24 32 bits per pixel gives you a Transparency alpha layer so we don't want that Okay, so that's that first material Done what we need to do now is create a Roughness map So what I'll do is I'm going to set both of these Right-click and I'm going to in fact not right-click I'm going to go down here and create a new folder for them, which is a group and I'm just going to call that diffuse Wicked Okay, what I want to do now is Copy both of these layers I'm going to take them out of my diffuse Just move them below there. That's it, right? So take them out of my diffuse group I can close that and this is now going to become my wood Roughness and you are going to become my metal roughness like that Right, and now I'm going to modify these so that I get something that's quite rough. So on my wood layer.    So I think I'm going to try leaving that where it is. I could always come back and change it if I want to So that's okay. So I think at this stage, I'm going to save out my roughness map file save as Okay, so I'm going to save it as a target This one's going to be called barrel Roughness roughiness no Barrel roughness good and I don't want half channels. So go to that save Right, so I'm now going to put these in their own Layer gonna put them in their own folder. So this is going to be roughness Or are you do each any SS? Okay Right, I'm going to copy these again get the two copies and just get them out of those groups Right this time. I need a metallic map And that's very very easy because first of all the things are either metallic or they're not So for the wood diffuse I actually don't need that to be part of this I'm going to delete that layer and I only need metal. So let's just hide the diffuse layer again and hide the color ID Maybe I do want the wooden layer.   So Let's put these two into a group and call this one metallic And then I'll be hiding that Right now what I need is my sampled normals. So control a control C. I'm going to copy this in Just above the layer with my color ID map. So we'll paste that there So that is the first part of a normal map, but we can actually do a little bit better than that and The way I'm going to do that is I'm going to copy the wood and the metal diffuse layers again So let's get a copy of that and Then I'm going to If it will let me just drop those on the lake just in front of the normal map I'm then going to merge them. So merge layers And I'm then going to desaturate them image Adjustments and de-saturate Okay, so you can see that that's now laid on top Now Photoshop if you've got the right version has got a very Wonderful filter in there if you click on it go to 3d you can generate a normal map And I'm going to generate a normal map off of this wood and metal So let's give it a second. It'll give us if you can see there the kind of fine detail Which will make the normal map look a lot It'll just make it a little better edge. You know, I mean, that's what we want It's gonna make it look a lot better so you can you can mess with all these settings I'm just going to go with the default Because it should give me what I need so I'll click on okay Like so and I now have a normal map that sits on top of this And what I want to do with that normal map is blend it now There is a better way of doing what I'm about to do. I'm just going to do it the quickest way so with the wood diffuse copy layer on top I'm going to go to Here which is your blending style and I'm going to go to overlay And you'll see that blends them together So now I'm getting both sets of normal information and that will be wicked So I'm going to save this out as a normal map file safe as And I'm going to call this one once it's a target file to the target barrel normal safe Okay, right I'll just do a little bit of tidying up here before we move on. So let's get both those layers. So we've got We'll call this detail normal Or what if I could spell the actor detail normal and this one here is going to be sampled normals Come on Shane. What are you doing? Like that and we'll put these in a folder No, try again folder And we'll call this Okay, now we're just going to save this Photoshop file so We've saved all the different maps onto different layers and into different folders so we can come back and make any Changes that we need to But what we'll do now is we'll tie up the texture in part Because it's taking ages and it Jesus Okay, so what we'll be doing in the next and final step is we'll be back in Maya and we're going to build a Material that will show all this beautiful detail off. So we'll be using a Physically based rendering Shader which looks miles better than your standard sort of lambets or Fongs or blends so I will see you in the next step for that and then we'll be finished Yes, okay, dudes here. We are back in Maya. Let's get stuck in with texturing. So you can see at the moment Our low poly barrel still looks ridiculous so let's get into the hyper shade and Basically, I've got a buttload of textures. I don't need so I'm just going to delete them all Well, if it will let me If they're assigned you can't delete them. That's new Well, maybe maybe you can Okay, so my vowel should now be green because it's angry. It's got no material good. Let's create a new material. So I Want to create a Stingray PBS so I've got a feeling if I type in stingray, it's not there Right and this can happen And if it does you just need to go into windows settings preferences and the plug-in manager And you're looking for shader FX Plug-in there it is make sure it's loaded and make sure it's on auto load Then when you open your hyper shade You'll be able to see that you've got a stingray PBS that you can create so let's create a new stingray PBS Okay, here it is. This is the the shading node now We need to make sure we can see this because we're going to need to keep clicking on it Okay, and we know what different maps we created so we know that we had a color map a normal map a metallic and a roughness map So we're going to use all four of those on this barrel and then if you scroll down a bit further you can choose your texture map So the color map I'll click on that and then I'll assign the file. It's going to be barrel Diffuse there it is click on open and Then you see I now can't find where to assign my other textures So what I need to is click back on this stingray PBS one node over here, and then I can go and add my normal map and Then we'll find that one barrel normal open And then back on this purple node here, I'm going to add my metallic map. So where's that one? Barrel metallic open and Then click on this one more time to add the roughness map if I can find it roughness And click on open Well, that's it you've built the material so then all you need to do is assign that material To your barrel so I did that just by right clicking sorry middle mouse clicking and dragging to put that on Okay, so let's now Zoom in on this and you should see so straight away My my metal band is looking a little bit too rough So I might go back in and just even that out in the material if I was going to spend more time on this And But the the actual barrel itself is looking pretty nice now a good way to get your normal detail to show through It's to create a light. So let's go to Create lights and we'll do a directional light I think Let's move this out so we can see it and we'll press seven so That we can see that happening And what we'll do is we'll just rotate this around and you should be able to see especially here the graininess of the wood Which looks kind of nice? That's pretty isn't it? So all that extra details coming through Because we baked from the high detail and we've spent a lot of time in Photoshop making that look really cool One final thing before we wrap this up They say it's worth while taking a look at if we click back on this stingray shader node and scroll up You can actually turn these off and you can see what each map's doing so you can see Just with a normal map on how much details coming through from that normal map. So that's really nice You can see if you want just what the metallic maps doing so you can see it's telling which areas are going to be metallic If you pair that with your roughness map Then you actually get a lot a lot more detail But again, you can see that these really hard edges are there So if we bring in the normal map, they'll then make sense because they add some depth and if we add the color map It'll look like a barrel okay so That about wraps this Tutorial up. I hope you found it useful. I hope it will help you work on your high poly to low poly workflow It's also a good way of working on a PBR texture map workflow as well for things like unity and unreal Especially unreal. I've used the unreal texture maps for this one the metallic roughness method If you want to download this exact barrel that I'm using here Then if you choose to become a patron using patreon, then you'll have access to my shared folders And you'll be able to download this barrel the texture files that I made And you can have a play around with them yourself as well as asking me any questions If you got stuck on anything or get stuck on anything put a comment below the video I'll help you out if I can I want to say a big Thank you to my current patrons that are helping me to create these videos that are supporting me In case you're wondering my patrons have paid for this which is a brand new microphone And I've got a mic arm as well so that it this will really make it easier for me to just sit down and record You chose you won't even believe what a fact it was before I got hold of this I'd also like to thank the sponsor of this video environment textures.com Thank you so much for giving me the opportunity to have a sponsor That just makes me feel like I'm special and think letting me download the Textures to be able to create this this tutorial. I really do recommend that you check out environment textures.com There's some really really good stuff on there. There's some models on there There's some scans 3d scans of real life geometry as well, which is really cool There is a link below the video for you to check that out. So please do go and take a look I think you'll you'll think it's a really good site. I do, you know, I'm all into using it So you should check it out. And so as always, thanks for watching and I'll see you in the next one


Everybody's getting more and more excited. Every kind of one is exciting. But this is really cool. I saw some of them. It's really cool. It's white. It's really bright. It's really cool. Sirocco Station. Good station. Fifth Street Station. Brooke Station. Point Station. Doors normally open on the right. There's actually aren't any on it. That's a big station. Yeah. Malta Station. I'll have to watch. Downtown West Kirby Station. No. Kirby Station. West Station. Street West Station. Sixth Street West Station. Street West Station. Third Street West Station. Street West Station. Center Street Station. City Hall Station. This is a northeast train. If you are traveling south, please transfer to a Somerset Bridalwood train. Thank you. Up is Bridgland Memorial Station. Oriole Station. Rezoo Station. Exbell Station. Lynn Station. Hondle Station. Hathorn Station. Night West Wind Station.


It's been six months since the Navy launched the Career Waypoints program, or SEAWAY, which is the program you use to apply for a re-enlistment quota. SEAWAY gets you your quotas faster than Performed to Serve did. The head of enlisted plans and policies said Performed to Serve applications would go through a rack-and-stack process that could take up to six weeks. Now, through SEAWAY, if you're in an open rating, you'll get an approval almost immediately. So far, the overall final disapproval rate for SEAWAY has been less than 1%. Learn on having more control of your own SEAWAY fate when the seller portal is launched later this year. You'll be able to see your application before it is submitted and tell your career counselor about any changes that need to be made. Go to ah.mil to read more about SEAWAY. From the Defense Media Activity, I'm Petty Officer Tyrell Morris.


The study synthesizes milligram-O and MNO2 nanoparticles using chamomile flower extract, which reduces the growth of acidovorax orazii, AO, strain-IS, 2x62.9% and 71.3%, respectively, and significantly reduces biofilm formation and swimming motility. The antibacterial mechanisms involve cell membrane destruction leading to cytoplasmic content leakage, and flow cytometry reveals a significant increase in apatotic cell ratio. Overall, the synth-sized milligram-O and MNO2 nanoparticles could serve as an alternative approach method for managing BBS. This article was authored by Solobomia leitinogonimi, Phung Jong, Yasmin Abdullah, and others.


Lunch break and welcome to this afternoon's session. We have three talks two in presence and one online and We are happy to welcome Liliana.  So thank you very much for coming and I would like to thank especially to the organizers who persisted in organizing this a nice activity in person and Who were really very helpful in finding all kinds of last-moment solutions? To enable us to to come and to be here and I'm going to talk about the implementation of a thermal machine operations in QE systems and the formal Description of that on how to optimize how to describe the the performance and a way to optimize it So first problem Well something yes and This is a work with has been done in collaboration with all these colleagues a Pablo abuso from Barcelona Vivek Vandari who was here in Trieste when we started the work and now he moved to Rochester Pablo terreno Alonso from Buenos Aires PhD student in my group Sarofatcio from here from Trieste Felix from from open from Berlin Martí Perornolovic from Geneva and Fabio Tadej from Pisa and This study is partially motivated by a some nice recent experiments on thermal transport in qubits. This is an example where a the thermal Conductance in a cubit place between two reservoirs at the different temperatures these two reservoirs are made up of By the surrounding circuit in different configurations with and without resonators which show very impressive features of coherent transport through the qubit and also by this other type of configurations where qubits are manipulated in order to exchange energy and In this case to implement a Maxwell-Demond operations The our goal is to implement thermal machine operations here and as I said before to Develop a formalism in order to have control also on the performance what come to our mind when I Mentioned thermal machines are these type of cycles that we Study in high school But I'm not going to speak about exactly this kind of cycles which operate quasi statically so They basically operate at in the regime of zero power But on these other type of operations where there is some mechanism which is a a permanently Operating in order to overcome in this case the Gravity the influence of the gravity but in our case it will be some similar operation in which we inject work in order to a To a Refrigerate or to extract a heat from a cold reservoir against a thermal bias or The other the reverse operation in which the heat Flowing from a hot to a cold reservoir can be used in order to generate work in a similar way as these Archimedes a pump operating in their in reverse And To Present these ideas. I find it useful to first of all introduce the concept of pumping and quantum pumping Which was a very popular a subject? Already 20 years ago in the context of electron systems. This is a Very well studied device where we have an electron quantum dot which is a Affected by These two a voltage gates these two voltage gates control the Degree of contact with the neighboring reservoirs in a way that for instance this gate opens Electrons come inside this gate close while this other one opens. So the electrons in inside a flow towards the The right lead. So this is a Possible protocol for this operation with alternating voltages with a face lag and the net result after a cycle is a net a Charge flow from the left reservoir to the right reservoir, which is measured here So remember these plots this is basically a measurement of the electron Charge from the left to the right in a cycle as a a function of the face a difference Imposed in the to a gate voltages The question is if we can achieve a similar operation, but with heat Instead of charge and with a qubit instead of a quantum dot and The well the answer is yes, and I'll show you how this works in a while and we can think up in The qubit in terms of these qubits implemented in these circuits in these superconducting circuits in which We represent the the surrounding circuit as a gas of Many modes In our case because they will play the role of a reservoir we have this Hamiltonian for the qubit and These parameters this qubit the the parameters entering in the qubit Hamiltonian can be operated in time and This is the coupling between the qubit Sorry the qubit and the the circuit or the reservoir Which in which enters here some Pauli matrix so this toe is some Pauli matrix that can be x or set Or maybe y but I will consider x or set and this type of coupling can be a Architecture by the design of the circuit So now consider that the qubit is coupled to two of these surrounding circuits in principle for the for the moment at the same temperature and Imagine that we implement the coupling with a different Pauli matrices To the left and to the right so in in our case we choose a sigma x in the coupling to the left and sigma set in the coupling to the right and now let's a perform this type of cycle so implementing this this kind of a of a different coupling means that if we We prepare the state of the qubit aligned in the x direction It couples to the left and if it is in the set direction It couples to the right and then we can implement this cycle when we change So this is a as a function of time the cycle in the bx and b set a plane and Let's assume that at a given time we couple to the left reservoir and a the qubit a allows the reception so there is some exchange a Of energy which is a Received by the qubit from the reservoir now we make the qubit evolve Introducing also a set component component and increasing the modulus increasing the level separation here in this way in this protocol, we will increase the Amount of energy stored in the qubit and at some point we couple only to the a right Connecting with this sigma set when it is perfectly aligned in the set a direction So the energy is delivered from the qubit to the right reservoir at the end of the day as in the case in a similar way as in the case of a charge we will have After a cycle and net a pumping of heat from the left reservoir to the right reservoir Of course during this process we are implementing time-dependent a protocols So we are also generating some dissipation into the system a So this is pure pumping, but we can also make a similar game Introducing a temperature bias between the two reservoirs and in this case We will have something very similar to this archaic midis pump operation because the pumping will enable to Working as a refrigeration refrigerator, sorry The the pumping will enable to Inject energy from the cold to the a hot reservoir. So this is a more or less the picture we have in mind and Now I'm going to Tell you which are the Theoretical tools we develop to study this in more a precise way So the theoretical challenges are the following we are we are treating a problem Which is all the time out of equilibrium is So there is no quasi static evolution at any time of the cycle and We have to take properly taking into account the effect simultaneous effect of the temperature bias and the driving and Our aim is to a provide a proper description of the dissipative effects as well as the heat work conversion mechanisms, which are the the ones which Are the essence of the thermal machine operation Well, this was a proposed in this work already published just before the original date of this conference and and The the geometric idea comes because in the description of the pumping and the heat work conversion Mechanism Concepts like the very face are really very Useful and important This is the the general setup So in our case, I'm going to tell you the case of the qubit here Place between two reservoirs one hot one cold the these two have a different Temperatures and It will be operated by So that the theory is formulated by N a driving parameters and I'll focus on the case where these parameters change in time very slowly because of that. I'll Mention I'll talk about adiabatic Driving and also in I'll focus on the case of Small bias temperature bias. So this delta T is on also small parameter So this is the operational regime I'll focus small velocities for the change of the time dependent parameters small temperature bias, but I in principle for this general Formalism we cannot make any assumption about the degree of coupling between the the driven system and the and the reservoirs so the energy balance Is as follows we have some a heat flux into the left reservoir some heat flux into the right reservoirs the addition of these two will be equal to the Total a power delivered by all the external sources But I'm going to distinguish from this Heat currents some component which is Which is exactly the same but with different sign In the two reservoirs. So this is the the current that goes from one reservoir and is injected into the The other one on top of that. There is a dissipative a component of the heat current and We can distinguish a two operational And two operational modes for this system for this device one in which as a consequence of the driving As a consequence of the driving we of course have a dissipation But we can use a part of the heat transported from the hot reservoir into the cold one to generate some Useful work. This is the heat engine operation and the reverse operation is the refrigerator in which we inject a some Power and we extract a heat from the cold reservoir and inject it on the hot reservoir in addition to the this Dispensive flow which should be smaller than the other effects in order to have something to have the this operation in in reality From the formal point of view the strategy is to implement a linear response Treatment in the velocities and in the in the Temperature bias and To analyze the geometric properties in the Space of the parameters of the driving parameters. I'm not going to provide the details So these are the two References this in this reference we implemented this adiabatic linear response and we in the work in this work we combined with the Latviger theory in order to also include the thermal bias as a Velocity in this formalism and in this way we could treat these two objects together but what I'm What is important? I would like to tell you is that the In the these calculations for the heat Fluxes and for the powers using these These expansions the coefficients that appear the transport coefficients that appear in these expansions can be collected in this Object that has the structure of the of a tensor and we Call it the thermal geometric tensor as it is interesting that the if we Focus on a zero a temperature and we eliminate the reservoirs this this tensor contains only the this Asymmetric component at this asymmetric component is exactly the one that Wolfgang Belsig presented early today, but in our case we will have this also this Symmetric component and it is precisely the symmetric component which is associated to the dissipation While the other one is associated to the use useful work The structure Given these Expansions for the network over a cycle and the transported component of the heat is the following We have a first term which accounts for the Dispation here enters the symmetric a part of the of the tensor and is bilinear in these velocities while we have this additional a term which is proportional which can be expressed in terms of a line Integral and is proportional to the temperature bias and This process is precisely the interesting one the one that describes the heat work conversion As for the charge and we have this first component this first component here is the same line integral as here with different sign and Describes the They pumped a heat so you see that this This component of the transported heat is not proportional to delta T So this is something that exists even if we don't have any Temperature difference while this other one is the usual thermal conductance and is the purpose is proportional to Delta T in the heat engine Operations of these expressions are valid for both heat engine and refrigerator operation in the heat engine what we want is to extract useful work and the way to achieve that is to Gain with this term is this term gains against dissipation. So we need here some negative contribution so negative in this sign conversion means that the work is extracted from the system and This is a cheap Precisely when we have pumping from the cold to the from the sorry the hot to the cold Reservoir the other operation Implies that we need to extract so to refrigerate we need to extract heat from the Cold reservoir. This is done Thanks to this pumping component which is negative here and then here in the heat war conversion Term appears as a positive Contribution so I have to inject some extra work in order to get this This operation So interestingly this part so this this part in green that is the one identified as the heat work conversion term Has formally some similar structure as the one we get in Carnot cycles but now We have not only this component, but also a dissipative a one and this is Evaluated over The whole cycle performing a line Integral This is a as I mentioned before associated with the Antisymmetric part of the thermal a geometric tensor and with all these components of the turn the tensor we can build up at this very a field and Explicitly express this component as a very face The same something very similar happens in the case of the of the charge Pumping in the case of charge pumping. You can also express the pump charge as this Something that has the form of a of a very face. So This is just to highlight that the pumping of heat is somehow similar In The adiabatic regime as a pumping of charge which has been widely investigated Well In passing I mentioned that there are also other Interesting pumping a mechanism which are nowadays studied in the literature and these are related with the others components of the thermal geometric tensor if they have some a Antisymmetric component and this is pumping a between yes between the different driving forces not between Different reservoirs and so I'll show you the results for the examples of the driven qubit the way to solve it was by Recourse assuming a weak coupling between the qubit and the and the reservoirs I'm writing here the The references, but I'm not going to present a Technical details is basically to work with the suitably defined master equations Which in which we have some a frozen component the frozen component means that we freeze the Hamiltonian at a given time and Then we add some adiabatic correction. The adiabatic correction is precisely proportional to the velocities Associated to the rate of change of the driving Parameters From there we can compute the currents and we can compute in particular the the heat the pump heat So I said when I showed the charge pump I I told you remember this picture and you see that we have here the same picture for the For the heat so this is the pump heat is Shown here in a black and in red. We are showing the dissipation the way to calculate this this is by solving these equations Defining properly defining this vector field and Given these protocols these different protocols with different phase lags we calculated the average over the a Period for the heat current so I told you the How to get this a pumping and this pumping guarantees the operation of the thermal machine And I presented a geometric framework to describe that The point is that we can take advantage of this a geometric framework Also to control and to optimize the the performance and to optimize the performance We need to control the dissipation and the nice thing is that dissipation can also be described by a Geometric concept so I the dissipation was bilinear in the velocities and what appears here is the a symmetric component of the of the tensor and This integral has the structure of so the symmetric component has the structure of a metric in some strange space defined by the parameters and this Quantity can be related to the length in this between two points in this strange space with this metric And it can be shown that the dissipation is Lower bounded and this bound is saturated by a lens which corresponds Which corresponds to the To the the connection So sorry by a protocol which corresponds to a lens Connecting two points at which the heat production is constant at every time So something like moving at the constant velocity, but now generating heat In the at the constant rate and For instance in the case of the heat engine Operation the same equations I show before can now be rephrased in this way so we have here this a Heatwork conversion, which I expressed before in terms of a very Carbatch of a very face Which can be a by records to Stokes a theorem be expressed in terms of a of an area with a strange Carbatch are defined by the very Carbatch are and The dissipation as the square of the lens in this space with the strange metric So if we want to get the maximum power so the power is the total work divided by the duration the the period of the cycle the Efficiency is the work divided by the heat With if we want to optimize this for instance the the power We get expressions like this that the maximum power can be expressed as a ratio between an area and a lens in this space with a special metric and This Area defined Wait with the thermal with the with the with the very a Carbatch are so this is a Problem so the the the maximum power corresponds to the optimal ratio ratio between this a quantity We know that in Euclidean space. This is this a circle, but In an arbitrary space is something That this is still an open problem in mathematics. This is a list of a mathematical works devoted to investigate that problem But it is still useful if we build a Protocols to see which are the results. So I'm finishing now This is an example of a protocol that optimizes this is the Again Very Carbatch are represented in the parameter space to different protocols and we can show that this kind of a elliptical protocols are the ones we Optimize in this a problem this ratio So this this is all and I would like to thank you very much for your attention Thanks for talks any questions Maybe a bit provocative question Well, we understand that of the geometric phases very face is purely classical object And we also understand that adiabatic limit is not necessarily semi-classic limit So where is the quantum component in your in your theory? What is quantum the qubit? It's only qubit, which is quantum the qubit and the Hamiltonian. Yeah, of course the very face. This is the very face can be defined for Quantum as well as a Classical system so very first is not a mark for quantum And but In this case it's useful to analyze the so it appears naturally and In the structure of the problem So the quantum is the is is the system itself and the fact that the it's operating in some coherent regime So it's the context Not the formalism Nice talk in which kind of reservoirs are you thinking on because for example in circuit quidi you have your You know your resonator which would be at the same temperature of the of the qubit But the environment could be a room temperature. So you unify and you choose a unique reservoir So I'm thinking I mean That you're talking about the Delta T is so it's not a single Resonator so this is something which is a resonator with the many modes and is the typical Device where people analyze the spin boson model for the so the qubit operating as a spin boson model or for instance the this this type of experiments in which so This the upper where you can sound how if these resonators which are in touch with the qubit are strongly coupled to the To the to the rest of the of some long transmission lines and so on you can define a reservoir out of that of course, I'm not thinking about the And these temperatures to be room temperature. So these are small temperatures because otherwise you don't have the structure of the So Maybe it's a little out of context. I'm not an expert on this sort of thermodynamics but it looks like this is closely related to the long land our principle because It's a matter of the qubit you're you're sort of using as a bus And the question of storing information and what is the efficiency of entropy transfer from one to another? In terms of efficiency, do you really saturate the land our limit exactly? Yes in some limit We recover that the limit. So this limit is recovered for instance if you make very long loops a very long cycles Which are very close to to quasi-static cycles and you recover exactly a land our Result We don't we are in general we are out of the We are away from a land our result so land our result is a limit where you have an almost quasi static quasi static cycle otherwise you are out of equilibrium and So it's it's worse than having transience because you are having the heat leak all the time So you are all the time operating out of equilibrium Yeah, I was wondering you have this experiment here that Where you kind of couple and the couple from the reservoirs because you have those filters at different frequencies So it's like a frequency selective coupling In your case it was like the coupling was turned on and off because of the matrix elements because you had the different operators So I'm just wondering that which one is more efficient or can you comment on that like your scheme or that scheme or? Yeah, not yet. We are actually now playing with other type of a couplings and even with the with two qubits I think that the I mean the The way to optimize efficiency is very complicated because of that I presented this geometric formalism because To optimize efficiency is not only to optimize this heat war conversion term but to optimize to minimize a dissipation and It's very counter intuitive to To figure out which protocols give you less dissipation. So the It's tricky. I cannot answer for for the moment If you have to go into the details, there is no easy answer for that Okay, thanks again. Thank you


Hello. Hi. This is Teddy Jaspy. We're going to go over a break that we did tonight on Fanatics Live. Sunday, September 3rd, that was today. Six bucks, half a case, PYT number five. Myself and Joe Jaspy were the breakers. Let's look at the participants and the teams here. Thank you so much guys for getting involved in this. Alright, let's have a gander at some of the hits here. Everything that was top-loaded. We're going to start with some of the bigger base rookies and refractors. Starry Knights. Extraterrestrial talent. Corbin Carroll. There's a launch into orbit. Francisco Alvarez. Altman. There's a Yoshida Nucleus. Austin Riley, that looks like orange out of 25 for the Braves. Launched into orbit. Salperez, McCutchen. Goldschmidt. There's an orange Matt McLean for the Reds out of 25. Polanco Gold. Jose Ramirez. Who's the boxer? Volpe, Green Speckle. Here comes some of the short prints. Juan Soto, the Sun from Planetary Pursuits. Francisco Alvarez, Sun. Couple of autos here. Bobby Witt Jr. Extraterrestrial talent. And a DL Hall for the Orioles. Again, that was PYT number five from Fanatics Live Sunday night, September 3rd. I'm Ted.


So Ishmael, four matches, four goals. Congratulations. You must feel good. I feel amazing. Thank you so much, guys. Thank you so much. Izzy, you know when you do the pre-game show and you score a goal, you have to come back every game now and do the pre-game show with us. Yeah, that's what I was thinking about it. So guys, please make sure we stay in the same routine. Well, it was a great performance from you. Obviously, the creation. I mean, it took a long time for you to get the goal. What do you think was lacking up until you got the goal? Was it just Atlanta United being so difficult to break down? Or were you missing a little bit of creation? We knew before the game was going to be a very fighting game. We knew that Atlanta is very, very hard to play. They play man-to-man all around the field. We have to move the ball quickly. We played very well, I think. Just in the last third, we missed the last touch. But we keep doing our thing until we get our change and we scored the goal and then in the end is the most important thing that we get the three points. You get the three points and now you get to focus on DC United. First time this season that you'll get a second chance at a team and a chance to avenge that loss on opening night. So I'm sure you're looking forward to this on Sunday. Of course, of course. We have a revenge to do against them. We remember the first game of the season. We lost, was very, very tough game. But we know we're ready. We have to recover very quick and get ready for Sunday and get the three points again. That is it. Congratulations on the goal and the win. Thanks for joining us. Thank you so much, guys.