Autodesk MAYA Arnold material setup - Substance Painter to MAYA, Subsurface skin, layer shader.

today we will have an extension for the lecture with the dub and we will go over how to plug texture map from substance painter into Arnold and how to render and all the things that relate to this so first thing we will open substance and will export the texture and go over how to export it so here we are in substance painter and I open the file of the dragon and now I would like to export the textures so I go to file export textures and you can see I got this dialog window and on the left you can see I have the texture set names and I can decide what texture I want to export and on the right I have the resolutions I can select individual resolutions and up here is the configuration so let's look at the configuration and see how I created my configuration so I started with Arnold v standard because this is what I'm using to render duplicate and I will rename it now you can see I have a dollar sign mesh dollar sign text except now the name of mesh is not interested all I'm interested is to know what is the texture set so I will know to what object I should connect the texture maps so let's delete the dollar sign mesh and I will also delete that emissive and the height sense I'm not using them in this case okay so now we have the configuration we can go back to the export slot and let's select the configuration we just created let's go and see where we saved it so this will be the directory where that file would go I'm gonna make a new folder [Music] and selected now all I have left is to export this is my folder that I export to and you can see that the names of the files are correlated with the texture sets so now after we export the textures from substance let's open up Maya and I have here the file of the dragon and it has only one material one iron with default material off-camera I copied all my textures to my project so let's start and like the texture maps into my material but first I would like to make some changes just so my work would be a bit easier so I would go to Arnold render window and I would put it next to my working area and I would also modified a bit of my for views window here I would leave the perspective but here I would put my hyper shape so usually you come to hyper shape by clicking here but I would like to make it a bit more comfortable so I would go here to to the hyper shape and you see I can get the hypershade here down here I would put my camera in the dub created and I have another window in case I would like to create my own camera just for testing the material so let's just jump into creating and plugging in a texture Maps I'll select the body the main body and assign new material let's go to Arnold shader and standard surface now well the body is selected whether the body is selected I'm going to hyper shade and just to know what material is plugged to my object I can click down here and it shows me the material that it's connected yeah so right now I have a standard surface it's nothing is plugged but I will start plugging my texture please go in textures and let's start with the body let's select all the files of the body and let's drag them into my so now I exported all my files and it's signal we are going to play them okay so you can see I have a color metalness which is not visible in this case normal roughness specular gloss so we have two ways to black and texture Maps I'll just bring you to it okay so one way is to go to that material to find the slot that you want to plug and then to just middle mouse click and drag it on top so now we can exit the column let's go down and collect connect the specular you can do it the same way but we are connecting it to the way and let's connect the roughness to the roughness and the last one nice we cannot use less than is the normals for let's go down to the geometry middle-mouse and connects to the bank now now this is not supposed to be a bump this person all online so let's change it and let's make a test render we finished to render let's save the preview it's already looking quite okay when you start to get materials but let's just go over all the files and make sure that everything has the right color space so in this case it's correct here the color should be srgb specular gloss however should be wrong the same for roughness and it should be alpha is Laurence both of them and listen the same to the normal let's put it on wrong let's render it again finished render and we created preview and you can see the difference between both of them yes so we are quite there we have few more things that we can add but but the textures are plugged just one thing if we would have any mental mess we will plug the metal s right here as a map but for now we don't need to do it now I would like to go a little bit closer to test my materials a bit but let's find interesting angle change the perspective [Music] so we can see that for the most part it looks quite okay [Music] so now let's add some control to our material okay and before let's look a little bit of how we are plugging the materials from the node base and perspective so in the node we have two outputs the alpha and the color now the color contains our gene and B and the Alpha is only one channel okay in the material we have in red it's our channels that have RGB input and in green they have only one input okay so let's add some control for the color I would leave it as it is you can also do the same way also control the color but let's focus on the specular gloss and the roughness now we can always take the texture files and change them in a program like Photoshop even brighter contrast and all of those things but we can also do it inside of Maya and I like to add to my scene a simple controller so let's start with the specular yes so the specular we'll press tab and we will look for add and you can see here I add and this is making basically this is making our file a brighter a bit more brighter so we can control the brightness of the file but you can see that the specular is getting only one input but the output here are R and G and B RGB so the way we will do it we will plug the alpha into one of those inputs and for the same input if you selected are then the same one would be connected or specular and now you can see nothing actually changed is it nothing actually changed here for the moment but we can make it more specular now the similar but opposite thing we will do with the roughness and with the roughness we would like to reduce the roughness so I would press tab and I would look for x multiply and we'll do exactly the same process from the alpha to the red and then from the red to the reference now you can see they'll actually crank down the roughness so we can get much closer now these two sliders give me a little bit of or control over the texture that I'm getting from substance so now we have the material we have full control we can adjust it as we like I will not go right now to adjust it but we are missing one thing which is subsurface scatter subsurface scattering is simulating the light at penetrated through object and scatter behind the surface and the most obvious example that that we know is human face when we get light from behind you can see what happened around the ears but we can see it also in wax and rubber and we can go through all this literature but basically a lot of material have subsurface scattered and definitely a skin of a dragon would have it so let's see how we are going to create our subsurface scattered in order to make the subsurface work for our benefit what we will do is we will take the same file that we plug to the specular and we will plug it to the subsurface now it first doesn't look so great because we need to do a few more things let's take the color out how to put and put it in the subsurface color so basically you get more or less back to where we were but you can see that it's scattering a little bit of white let's let's let it render so we can see the different [Music] finished render so let's see the difference this is without subsurface and this is a bit subsurface so you can see that right now what is scattering is a little bit whiteness this is not exactly the look that we are looking for and this is because we have one more thing to do and this two more things to do sorry one more things to plug ends and another slider to play with okay so we have the radius and in the radius we need to kind of give them under color so in this case I would do it to the red now the way I will do it is that I would like to use my colors and then plug them with a tint of red into the radius so the way I will do it is I will begin to multiply so Tab A I multiply [Music] okay and we are going to do very similar precision so we take the collar we'll put it on the input two and we'll connect to that radience okay so here you can see it's in the radius right now we didn't change anything let's make it a little bit more to the right so I'm going from HSV to RGB and let's do it one for red point three five to the green and point two okay so we get some kind of a reddish color which you can always later on modify according to what you want now if we'll take a render we will see the difference [Music] okay so let's see what we got this is where we started with a with a white sub surface and this is with the red so we're already getting much better much better result now the other things that we should change probably is the scale okay so how much it goes so I will try to put it maybe probably around two and the best way to see to see the result or to see that effect actually let me just and uncheck all those lights a window or render rendering editor and then light editor yeah so I need to keep on this one so I will just just I'll check those so now I have only one light from the back okay and let's see if now we got it so now we need to see this kind of effect no the subsurface that's maybe increase the light just for the effect [Music] you can obviously see that in the thinner areas the light is passing through and in the thicker area less light is is passing through so we already know that we got this effect that we want which is the subsurface we can of course go back to the material and modify it maybe the scale the color of the radius and so on but I will leave it like this since I think it's quite decent and let's move to the next step and bring back my light [Music] like I saw a bag of light and as you can see we have here one little issue the nails should have different materials properties than the skin now one way to do it is to go and select faces exactly and to apply a different material to those faces but because in this case it doesn't really go with the faces what we did we created map black and white map and this map will help us to split two different materials on one object so let's see how we are going to do it shader so let's go and create under your shader and as you can see this is our node layer shader and you can see first we have only one they are enabled but we can enable up to eight layers on each layer we can actually input the whole material not only a texture map and as high as the number it means that the layers on the top so layer two will cover layer one and that's why we have the mix and mix we can like later decide how much to mix them by a number or we can put a map black and white map that will define the mix okay so the second thing we need is another material and what am I going to what I'm going to do is I'm just going to select the whole network of my material edit duplicate shading Network okay so now I have another another material which has the same properties and the same absolutely I'll call it okay so the way we created a map is that the material of the skin needs to be in layer one and the material of the bone needs to be in there too so let's just do it with middle mouse instead of the input it's a neighbour layer tool and middle Mouse to the input and now very important we need to assign this new layer shader to our object so I select the object right-click assign material okay so for now we shouldn't see any any difference exactly the same because we use exactly the same material we don't have any difference in properties now that we plug both of the materials to the layer shader and we plug the shader to the object we can define with the with the alpha where do we want to show that lanes or the bone and where we want to show the skin so let me show you that fine this is the Alpha file and you can see the white spots are actually the where the nails are and this mix what it does it takes what what is white it chosen what is blacks it hides okay so let's like this fine now that we have the mask we could start manipulate the material and actually affect only the nails obviously is my bone and I will just just to test material and just try to change few things [Music] so this is how I created all the materials for the whole dragon you might also notice that because we put a layer shader we even when you press six to show material we will not see the material and say that the skins got the bone and the skin and they are both connected to a layer Schaller with a alpha the same is for the head and the job the today are getting just one material and as you can see we have we still have in the tooth also and we put inside some surface the platform that material without subsurface because it's rocks and grass probably not a best addition [Music]

Channel: CtrlArt creative content in motion

Views: 6,388

Keywords: Autodesk, Maya, Arnold, Render, Rendering, Substance Paninter, Substance painter to maya, Substance painter to arnold, Arnold material setup, Subsurface scattering, Arnold sss, Skin texture, Skin material, Maya materials, Substance export texture maps, Aiadd node, aimultiply node, arnold layered shader, Arnold mix materials, dragon render, Tutorial, maya tutorial, 3d tutorial, learn arnold, autodesk maya 2019, ctrlart, yishai damari, arnold5, arnold 5, hypershade, light, dragon

Id: QmscfGe-7Jk

Length: 24min 54sec (1494 seconds)

Published: Tue Apr 14 2020