Adobe Substance 3D Painter to Autodesk Maya Workflow using Arnold

hello everyone reza here welcome to another substance video in this one i'm gonna show you how to export maps from adobe substance 3d painter into autodesk maya how to reassemble those maps and all the do's and don'ts and considerations you need to know about let's get started [Music] let's start with substance painter and go through some preparations starting with the model the model that i have actually i have downloaded from substance 3d assets website here's the website i put the link in the description so you guys can download it so you basically go to adobe substance 3d assets and search for high top sneakers model we have a variety of formats fbx is what we want once that get downloaded and by the way i made some minor changes so i kind of carved out this area here so if i go control alt and right click i get to soul and you can see in this bit i've actually carved out bits and pieces and put some bubbles in there gave these bubbles emission value made them emissive and with those minor changes i went ahead and start putting my maps on each texture set so i've got some texture sets and nothing too special to be honest with you and this workflow can be applied to any model then i went ahead and baked all of my mesh maps so it really doesn't matter how well you bake your mesh maps because at the end of the day when you would like to export your maps you can bump up the resolution or even you can rebake your mesh maps but you do need to do that step of course so if i go and press b you can see this is my thickness my normal my word space normal my id map which i prepared from maya and then i've got ambient occlusion and i have curvature and all in all these maps do help you to get a better result regardless of the item that you have inside substance painter i press m to switch back to material now let's go through the process of exporting and see what we can export how we can export them and those tips and tricks that you need to be mindful of now first things first definitely go through each texture set and make sure you have necessary channels enabled for example in this texture set i need this emissive line emissive bar if i turn it on and off you know exactly what object i'm talking about right now i have color enabled metal enabled roughness enabled and emissive enabled the question you need to ask yourself is do you really need all of these maps if i turn off roughness on this particular bar there is no change in its visual appearance same with the metalness even same with color so to some degree you need to really sit down and think about all right what maps do i need and what maps i don't need and based on that you turn on and off these channels i'm going to turn on color just in case if i change my mind or if i want to lo use a map for my emissive and get some support from my base color but i really didn't need to have metal or roughness enabled so that's one round of cleanup that you can always go through the next round of cleanup is unnecessary layers if you have a redundant filter layer if you have a redundant field layer and in my case if you have just the default paint layer that you started with and you're not going to even use it toggle it on and off and if you don't see any change press delete and just get rid of it so these calculations and clarifications can really help you to achieve a better result next item that you need to take into consideration is lighting sometimes you want to take this model to a completely different environment and you've got a separate hdr image for it that is fine but sometimes you would like to get exactly the same look the same result that you see in this very scene in that case you need to think about what type of hdr you're using and export that hdr to your scene to get the closest look to what you have right now how do you do that you go to display settings and you can see in my environment map i have soft one front to back hdr selected all you need to do is to go to the right hand side assets library and go to your environment and find that map if i hover my mouse here you can see soft one front two backs which is the lighting settings that i'm using here so all you need to do is just select this right click on it and export that resource put that into source images folder in maya's project directory with that you can just assign that to your skylight or ai skydome light and get the result that you see from here from the lighting side of things of course for many cases you really don't need any of these maps you will bring your object or prop to a much bigger scene and you probably are going to have some other lighting setups but for me i just want to get the exact same result inside of the desk maya all right with those considerations out of the way let's go to the next chapter and see how we can export these maps to export the maps i'm going to go to file and export textures ctrl shift e as you can see is a really nifty shortcut and by default you can see all of these texture sets have already been enabled it can go into these three bars and check all uncheck all or customize your checks i'm just going to go and check all on the right hand side this shows the path what exactly you would like to export it to what sort of template you have in mind i will be using arnold in maya so i picked ai standard from arnold but i believe that default is just a normal roughness pbr so you can change it to your preferred render file type png exr tiff they're all acceptable what i don't recommend really is jpeg because it's just way too compressed the size of course what type of size you have in mind based on your project brief and your need so you specify that as well and of course padding which by default should work for you next tab is output template and that is a kind of important one because not only you specify what you need but it's time for you to add a channel if you need it for example one channel that i think i need is ambient occlusion i would like to export my ambient occlusion for certain texture sets the way to do that is to go ahead and customize what you have and if you think this is something that you will be doing from this point onward it's not a bad idea to go ahead here and duplicate the node that you use the most for example i used arnold all the time so i can create a duplicate out of it i can right click on it and let's say i'm going to rename it and i'm going to call this plus ao so i know that because this default arnold a standard does not have ao i can probably create one with ao and i will be able to use that from this point on board you just save time based on these minor adjustments but if i just go to arnold ao's ai standard you can see i have base color which i will be exporting metalness i will be exporting roughness normal height and emissive of course if you have opacity then that's a different story you need to take care of that before you get into this stage inside adobe substance 3d painter we already have videos on that on this channel so hopefully you know how to do it but let's say i'm just gonna go to ai standard plus ao and i would like to add my ao in here all you need to do is to create a channel and always think about what type of channel i have is ambient occlusion map a grayscale map or is it in their rgb map well ambient occlusion is definitely a gray scale map then you need to think about all right what type of naming convention i have for the remaining of the maps i would like to follow the same naming convention so ctrl c ctrl v and instead of emissive i'm just going to put ao followed by any udems that you may be using i'm not using any udems but if you were to use your dims then you need to make sure that that is added to your naming convention next is to actually assign ambient occlusion to this output map because this map has got the right color space has got the right naming convention but nothing has been assigned to this map just yet we've got our input maps here mesh maps here and converted maps here mix ao is a converted map all i can do is just to left mouse drag and drop it in here and go it's going to be a grayscale channel and you can see i've got a little indicator right next to the map showing that this map has been used in this list you can see emissive it's been used in this list that's why i'm getting a tiny cube right next to it so as metallic height roughness so on and so forth if you're kind of unclear about any of them then probably best thing to do is to select the preset and just go ahead with it and of course we have list of exports which gives you a really good overview what you're about to export and you can see i've got quite a few maps that i need to attach of course i'm not going to connect all of them in this video that would be somewhat boring and repetitive i'm just going to have two items to texture out of all of these texture sets one to introduce the workflow another as a quick recap so we can just bulletproof the workflow and then we wrap up this project once everything is done you go ahead and click on export again i've already done that so let's go to the next chapter and switch to autodesk maya [Music] here i am inside autodesk maya i've already imported the model into maya double check the uvs and have already started assigning some materials so what i would like to texture in this video is just this piece of fabric right here and this particular kind of top toe cap that i have for this shoe also for my lighting setup because we're working with pbr maps materials should look correct in all lighting situation as i explained in the previous chapter however in order to get a closer match to substant painter it's best if you could use the same environment when you're rendering with arnold so what i did and for basing lighting setup uh to match substant painter lighting i used a ai skydome light so arnold light and ai skydome light and i applied the same map to the color channel so if i click on this color shadow if you remember i have soft one front two backs exr that i exported from substant painter and brought into arnold so it kind of helps you to get the exact same look as i explained now let's uh just render right off the bat and see what we're getting so you can see the look is actually fairly similar the highlights the diffusion the bumps the normals so on and so forth is very similar to what i had in substance painter you can even try to mimic the exact same camera angle and even the focal length and see the exact same look inside your preferred 3d application the reason i'm saying 3 prefer 3d application because if you use max if you use blender even if you use modo it should be very similar to this workflow let's go ahead in the next chapter and start texturing these two and see if you can get as close as possible to our result in substance painter okay i'm gonna start with the toe cap here i'm going to enable or open rather hypershade make sure your swap size is set to this so that gives you hopefully more space to work with if you have a secondary monitor then definitely this should go into your second monitor this is my recording area so although i have a spare monitor i cannot do that you guys won't be able to see it i'm going to press tab i do the majority of my work through the working area inside the hypershade so a standard surface is what i'm going to use so type it in air standard surface selecting it press f to frame it i'm going to zoom in i tend to name everything so a little bit obsessed with naming convention really don't want to take this not seriously because if there's any error you would like to know about it you would like to know what note you should visit so toe cap underscore ai knowing that it's ai standard i am also going to change the shading group as well now uh starting with the base color so we need two maps for it color map and ao map i'm going to type in file and bring in a file texture again it's going to be a toe cap clr and i can actually select these two control c and control v to bring them here and just very quickly rename this so instead of clr for color this one is ao4 ambient occlusion again make sure that you need these maps sometimes you don't sometimes you do but you can use a your map from substance painter to add some details usually it's a really good trick to help simulate subtle occlusion that is not picked up by the ray trace and if you think you need it then definitely use it i'm going to go to the color map and via the attribute editor i'm going to select the folder and pick the color map base color png from out color to base color now that while i can do this i prefer not to do that because if you do that then how are you going to connect this one here because if you connect one it's going to disconnect another one and i will show you a trick to connect both of them to this base color node in a second for now i'm just going to go ahead and select my ambient occlusion map to connect these two to the base color you need an extra node and that extra node is called multiply divide node color map from base color goes to input one color map for your ao goes to input two simple as that then output goes to base map done i'm just going to connect this material to the geometry that we have so selecting the geometry right click and assign of course you can drag and drop it as well arnold shader and base color is connected i am going to save this just to compare this with roughness as well i'm going to minimize and bring up my hypershade now let's continue with our specular roughness so i'm going to create a file it's going to be a texture and of course i am going to name it roughness at the end toe cap roughness the map that i will be having would be my roughness map bring it in now here's the part that you need to be careful about there are two things that you need to be mindful of first how to connect second before you connect you need to change its color space now in arnold at least that's the workflow between arnold and substance painter for maps that are represent data you will need to set the color space from srgb into utility raw so that's one rule you need to establish we need to establish so for base color you leave this at srgb but for the remaining of these maps roughness metallic normal opacity and height which is your bump map and displacement map you need to make sure that the color space is set to raw please remember that now we're still not quite there yet with this note another change you need to make is for grayscale maps for example roughness map is a grayscale map and if you're dealing with a grayscale map you need to go into color balance and make sure alpha is luminance is on only then you can connect that to your specular roughness the first natural reaction would be okay out color into specular roughness unfortunately that cannot happen you need to go from out alpha into specular roughness so this is the second thing that you need to be careful about well technically the third because utility raw alpha is luminance and of course out alpha into specular roughness as opposed to out color for your base map and ambient occlusion now that was something new that we didn't have in the base color so please remember that we have one more to take care of and that is your normal maps for normal map you have two options you can use ai normal map in arnold which works beautifully there's no reason why you should not use it you can of course use bump 2d node bump 2d node does the exact same thing the only difference is with bomb 2d node you really need to specify if you're dealing with bump or normal that's the only difference all right let's go ahead and create another file texture i'm going to select that move it here so this middle man for normal map is necessary i'm just going to go ahead go and call this n r m l for normal let's find that normal map that's our normal now because it's a data map we need to set that to utility raw but because it's not a grayscale map i do not need to tick alpha is luminance i'm just going to leave it as is however for also this one you can use alpha to bump map and of course abnormal to normal camera so alpha and alpha for roughness and for my normal and out color for my base color out color for my ambient occlusion all i need to do is just to select the bump map go to use as bump no we want this as tangent space normals now if i minimize and go to my settings with this one saved i'm going to click and you can instantly see the change not only we have a roughness map to kind of break up the specularity but also we have a normal map which is represented correctly if i bring my substance painter you can see that the amount of normal map that we're getting is pretty similar so with that out of the way let's go to the next chapter i'm going to mute my microphone and just to do a quick recap i'm going to redo this piece using the exact same workflow you can watch this twice so let the knowledge sink in basically and see if you can replicate the same workflow for your own projects let's go to the next chapter [Music] so [Music] do [Music] [Music] all right it's pretty much done one last thing if you're using a a standard preset inside substance painter and using the ao mix the way that i showed you just go to arnold and make sure flip r and free flip g um are unchecked so if they're checked make sure they're unchecked and that should give you the accurate result now you can see i've got the roughness working for me pretty well so if i actually go in here and start rotating my dome light you can see that it's the logo is actually react to it beautifully which is accurate that's exactly what i wanted from the roughness map and as for any other maps in this particular scene um pretty much all of them are now working really well again it doesn't matter what you do for all of them this is the workflow the only thing that you need to be mindful of is for base color you use srgb color space for roughness you use raw with alpha is luminance checked for metallic raw alpha is luminance checked for normal you just use raw no alpha is luminance and you use use tangent space for opacity raw alpha luminance checked and for height alpha luminance is checked hope you found this video useful and use this workflow in your project when you're using maya arnold and substance painter thank you very much for watching and see you guys later

Channel: SARKAMARI

Views: 18,275

Keywords: Substance 2022 to maya 2022, Substance to maya, autodesk maya 2022, how to export from susbatnce to Maya arnold, substance painter, substance painter 2022, substance painter export baked maps, substance painter export textures to maya arnold, substance painter export to maya, substance painter to maya, substance painter tutorial beginner, substance to, substance to arnold maya, substance to maya, substance to maya arnold

Id: ZtEiVa3MPLg

Length: 28min 25sec (1705 seconds)

Published: Fri Mar 25 2022