Once you have each of the files created, open all three documents at once and change the mode to grayscale for each if they aren’t already set that way. GIMPĬreate each of your Occlusion, Roughness, and Metallic textures in GIMP as individual files and save them with names that explain which texture each is. You will also need to use an appropriate blend mode, such as multiply, for each layer contributing to a specific channel. You can even use multiple layers to make up a single texture, just be sure to set each layer style to the correct channel. Since I am setting the layer style for the occlusion map, I check the red channel and uncheck the green and blue channels.ĭo this procedure for each layer and you will see that the channels reflect the layers exactly. In the Layer Style window that opens, you will select the channel the layer will display in by checking the appropriate channel under Advanced Blending. Right-click on the layer name and choose Blending Options… from the top of the menu. I also named the layers with the appropriate map name, so it is easier to understand which layer needs to be packed into each channel. The image below shows my textures on separate layers but notice the channels all display the Occlusion texture since it is overriding the lower layers. Adobe PhotoshopĬreate a document that contains each of your textures on separate layers. Create your textures as you normally would, and then follow the instructions for your desired package below. There are several ways to create a channel-packed texture but I will touch on three packages, Adobe Photoshop, GIMP, and Substance Painter. Going forward, I will refer to this channel-packed texture as the ORM texture for Occlusion, Roughness, and Metallic. The textures need to be packed into the channels of your texture as follows: The Ambient Occlusion, Roughness, and Metallic textures are saved in a single channel-packed texture to reduce the number of texture loads. The Base Color, Normal, and Emission textures are saved as individual files, preferably a PNG as the format is lossless. The format does expect the textures in a specific format, however. The glTF format supports the following textures for the Metallic-Roughness PBR model: Keeping control over the export gives you more power to create assets that look exactly the way you want them to. Command line tools will need to make guesses at times if the asset doesn’t conform to expected guidelines and can result in assets that don’t render as intended. The other reason, which is the more important consideration, is to ensure that the mesh and textures I author are translated into the format correctly. If I am already using an authoring tool, having a path to glTF right from the tool without needing to run it through a converter will speed my process. There are two main reasons for this and the first one is speed. In this post I am touching on authoring tools such as 3ds Max, Blender, and Substance Painter even though there are several command line conversion tools available for glTF. If your model was not created in one of these packages (or you are using Substance Painter to export) you will need to save your model into an exchange format that can be imported into these packages such as COLLADA. The tools that can export a model and textures into the glTF format at this point are 3ds Max, Blender, and Substance Painter with more exporters coming soon. Otherwise, you can create your model in any package you prefer.
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