Creating a custom damage filter for Substance Painter

hello and welcome to this week's training stream today we are going to take a look at creating some custom filters in substance designer that we're going to use in substance painter and so we're going to start with just a quick example so we can see what we're doing here okay so first let's just take a look at an example scene so here I have this asset and let's just come over to the top here of our layer stack and let me just adjust my window here just for a second be right back okay so alright we have this asset let's let's uh let's add a little bit of a kind of a damaged edge where effect to this so one way I'm going to do that is I'm just going to come over here to the top of my layer stack just add a fill layer and here in my materials tab I'm just going to just select a preset metal here so here we have a metal we'll give it a little bit of roughness and now I'm just going to come in and mass this guy so we'll add a black mask and of course here the next step would be to add a generator and so now that I have this in place I'm going to add just this metal Edgware generator so here we go I have this and of course we have the effect now this is working for me because here in my additional maps I have things like my normal map ambient occlusion and curvature and these three maps are utilized mainly here by this generator to produce this edge wearing effect and so since nation I then have these maps that I need so that's great we have everything that that we need so let's disable this and let's take a look at you know the situation where I want to paint some new data or some new information onto this so now I'm just going to create a standard layer I'm going to come over here to my material and here let me just set this up by default here just so you can see what this would kind of look like so here we have just our full material and I'm going to paint I'm going to use some of our new I'm going to use some of our new normal textures here that ship with substance painter to to add some additional information so one of the ways that I do that like I said is I create a standard layer I'll come over here to my materials and I'm just going to disable all these channels so I don't need color rough and metal and so on I'm just working with normal and just for a little bit of context with this right now for this particular example I'm just using this metal rough so if I come over here to my viewer settings you'll notice here that my shader is just PBR metal rough okay so that's what we're kind of working with here and we come over to our texture set I want to point out the fact here that actually have this normal Channel now within substance painter too we kind of made a few changes to the way that we're kind of working with normal data we make it a lot easier to actually create and edit normal information with kind of brush based tools which is great so here you'll notice that I have this normal Channel and when you create a new substance painter project this normal channel will be enabled by default you can actually like in my case I had this opened up in a different project so I actually just had to click this plus button and just add the normal channel because it wasn't there already now something else I want to show you here with this normal mixing notice that we have this setting here for combined and replace now here like I said I have a normal map that was baked at already applied now if I have a normal Channel and the normal mixing is set to replace notice that my normal information is now gone from the viewport what I'm basically saying to substance painter is hey this normal information that I'm getting ready to paint on this layer I want it to replace hence the setting replace I wanted to just overwrite everything that I'm doing now most cases you're not going to want to do that so we're going to keep it at the default here if combined that means we're going to use the normal data in our additional map along with any normal information that we paint here in our layer stack so just to give you a little context on how that works all right so back to the task at hand where I was going to start to paint some actual normal information so like I said have disabled all my channels except for normal I come over here to my textures tab and I'm going to grab this this guy here this is pretty cool texture and I'm just going to left-click drag and drop and just place this here on this normal Channel to apply it so here is my normal so now I'll just kind of zoom in here on the viewport and if I hit this button here you can see that I basically have my alpha and you can actually come in and adjust kind of like the fate of this this is if you use ZBrush to like you know paint alpha information this reminds me of the ZBrush setting for alpha the radial fade which is really nice so notice here that I've got a nice fade around if we just kind of look here in the 3d viewport I got a nice fade around my normal and if I hold down the control key and move my mouse up and down I can interactively adjust this hardness so in this case I want to set the hardness all the way up to 1 because that's what I want to work with now also notice that my alpha here is this circular shape and that works great because the alpha that I have right now is circular but if I were to grab a different alpha that's not circular so for instance let me just maybe try grabbing this guy here and again here let's just go back over to our normal and let's replace this you'll notice here around the circle of my brush tip that it's kind of cutting off the edges there it's kind of rounding those edges and I don't want that so you can use the Alpha and like I said to interact with adjust that hardness to get kind of a nice radial fade but if that doesn't if that's not working for you then you can just hit this button here to close the alpha get rid of it all together and now it's just going to use the full stamp so notice you you kind of look at the viewport here I've got that kind of circular dotted line that kind of shows that brush tip notice that the Alpha is kind of moving or extending out beyond that so that's probably what we want to do so again going back over to my alpha let's add this guy in and let's just paint you know let's just stamp this detail down so that's that's great I've now stamped some additional detail but where this starts to become a pain is that okay I've added this but I also want to utilize that edge where that I had so let's go back and use this edge where now we've enabled it but look my stamp here is not taking any of that edge where filter into consideration and that is because the data that I'm stamping here this normal data it's not contained within this additional map and we don't have a be an occlusion or curvature that's derived from this normal data so if we come back to our metal edge we're again in the image inputs notice that it's being driven by this curvature and in our case curvature name the occlusion only not normal but you'll notice that this data that I've placed in here it's it's not being represented so what I would have to do or what I used to do is you know first go through the entire asset here and just paint everything down that I want then I would do in export textures export out just my normal map bring it back in here to my additional map and then rebake the textures so while we're on that topic I do want to just tell you another tip while we're here in case you didn't know this but let's say I didn't have any of these other textures in our case let's only focus on here let's get rid of world space this ID and position so really all we really care about these three maps and let's say that I just went through that process where I painted all this information and I baked out my normal map and I imported it back into my project and placed it here in this additional map now let's say that I want to take that normal map and I want to create an ambient occlusion and curvature based on that well I can do that inside the baked textures options so if I click my baking button and I come over here and I and I choose a man occlusion and curvature and in my high definition mesh if I just leave this just remove this guy so let's select this and remove this so notice here I'm getting this little warning here but don't worry about that as long as there's a normal map placed here in this additional map slot it's going to go ahead and bake the AO and the curvature basically it's going to convert it from this normal map so that's kind of a tip if you ever need to convert you know like a oh and curvature from an existing normal map now let's say that I did that I finally have my additional outputs and I can use those here in my edge generator and so on okay so you can see that that's a huge you know roundabout process just to get this detail like we wanted so what I want to focus on in this training is how you know we can create a substance filter basically a filter that we're going to create in substance designer that's going to allow us to have this type of functionality here within painter uh and it shows basically we're going to look at how you would do this how you use designer to do this and then also it also shows how you know we're using designer to further extend painter add new functionality to it you know give painter the ability to do something that's you know that you can't do just by default so let's take a look at how this would work so let's come back over to this layer and let's just remove it and let's just start over okay so let me just grab this layer stack here and let me just create a standard layer we've got our brush and again I'm just going to start to you know paint these two strokes down so we've got this information so what I'm going to do is come over here to my filters tab and right here without an icon whatsoever I have this filter that I created and I'm going to apply it just so I can show you you know what it is we're actually going to be creating so let's come over here to add filter now I could just click this button here and it's a blank spot here so I can add it through here but as soon as I do that notice now that we have basically you know the same thing we have the damaged filter so I can adjust it and so on let's just pull our adjust our grunge amount just things like that so now I've basically added this filter that's processing this normal information that I'm painting it's on the fly creating the ambient occlusion and curvature for me within this filter and then it's going to output that so now when I come over to my object and I start to paint I'm actually painting with this awesome damage effect already there and if I come over to my textures let's go back to my normal here you've already got it enabled let's grab something else like maybe this guy so here's a whole completely different texture boom place it down edge where is already working again we'll grab another one of these guys edge where so I can now also go back to the filter and you know dynamically change you know how much the wearing is you know being controlled and so on I could also come in and change you know the type of material we'll cover this in just a little bit when we actually start to do this within the filter so now we have basically two types of filters that we can adjust we've got you know our grunge amount that's part of you know the original asset and then we have basically our damage filter that's part of the new details that were painting now in order to do this notice that we didn't have to bake anything we didn't have to we could just work with it all interactively here inside of design excuse me painter and that just kind of shows you know the true power of how we can use substances not just as materials but we can use them as utilities and tools to further extend things like substance painter okay so now what we're going to do for the rest of this the of the training here is take a look at how we create a filter like this you know I want to show you exactly step by step how to do this and as you'll see it's actually pretty easy alright so let's jump over to substance designer basically here's the structure this is the little bit of nodes that we need so as you'll see this is actually pretty simple so like I said let's do this from scratch so let's come over here to file new substance so we're starting a new substance and over here in our graph templates we have you know a few options now there are a couple that exist this scares one question that just came in here could you show again how you created the brush yes absolutely I'll come back to that once we jump back over into substance substance painter and I'll do that from from the get-go when we start to create this but for now we'll just go through and create the filter but we're going to go back into painter here before the training is done okay so like I said we have these templates and you have a couple these guys so notice this one here is painter filter specific and what that actually means is it's talking about these outputs so if we come over here and look at the graph outputs you can see that we have base color rough metal and height so these are the outputs it's going to create for us if we came over here to specific with additional maps you know it's basically the same thing but basically it gives you just input channels for additional input maps we're not going to utilize that so we're not worried about it and then we have here one that's for a painter generator notice that it just gives us a single output the reason why you have that is because when you generate something like a generator here let me come back over here to painter and show you this so there is one other thing I just want to bring your attention to the difference of when you come over here and you add a generator and you add a filter these are kind of two different things that we're creating when you add a filter you're basically working with multiple color channels you know like we're going to be doing like base color roughness normal and so on when you work with a generator you're only creating a mask so this generator is actually producing this mask for so I roll over the mask and you can see it kind of gives me this kind of enlarged thumbnail and you can see that that's the mask it was generating that's why here in designer when we look at painter generator template it just shows output meaning that it's just going to just output one single and well I'll say output again just going to give us one of those that's just going to represent grayscale information for our mask so kind of a you know long story therefore these templates because all we really want to work at work with here is this painter specific for these guys okay so now that we have that let's just give our graph a name here and let's again we'll just call this damage filter and just so it's a little different I'll just call it example and let's see what else our size mode by default now I've already done this so it was kind of set but you you might see this set at absolute I'm going to go ahead and set this relative to parent which means that it's going this substance is going to get it's resolution based on its the host application so let's jump right over here to substances painter one more time you'll notice that we have this size so if I change this size so if I move this up to say something like 4 K now it's going to generate and you'll notice here I'll kind of zoom in you know that I kind of have some poor resolution because these UVs are very small but notice as soon as I increase that resolution to 4 K I'm not sure if you could see it here in the stream but what I'm seeing here in my viewport is the you know this data that I'm actually creating this this effect that I'm creating the substance it's being regenerated now at 4 K and the reason it's being able to do that is because like I said we've set this to relative to parent so one question here so the filter is destructive no it's not it's actually non-destructive again that's our size mode here set to relative to parent so whatever we create here within our graph like I said it's going to get its resolution based on the host application so back in the host application whenever we change our resolution so here in this case let's set it all the way down to something like 512 the the actual effect of what we've created is is being completely recomputed by the substance engine since it's a substance and it's being redrawn now at this 512 so again if I take this up to here let's do this let's turn this guy off so we don't see any of this other stuff as distraction and now I'll zip this up to 4k here we're not resizing the texture at all what we're doing is we're telling the substance engine to completely regenerate that those nodes and create us an actual 4k output for the outputs that we're going to be creating in our substance it'll make more sense once you actually start to see it in designer but now so the question the answer that is no it's it's not destructive it's a completely non-destructive workflow alright let's jump back over here to designer and we basically have everything set up like I said we're going to keep our size mode here set the relative to parent alright and we'll click OK and now we have our new substance so let's look at what substance let's look at what these nodes were created we have basically two sets here now we have color roughness metallic and height and then we have it again base color roughness metallic and height the ones here on the left are input nodes and the ones here on the right are output nodes and so what we can do with this is we can take as input let's jump back over here to painter as input any of the information here from our layer stack so let's just get rid of the what we just painted here think about it like this we've created this fill layer and this fill layer basically has channels of base color roughness and metal so it has this information here and we're going to take this base information and we're going to basically suck that into our filter process that information and then we're going to push it back out so we're going to grab the layer stack channels we're going to process them we're going to add another material on top of them and then we're going to push it all back out as one single material and that's what this allows us to do here with these inputs so this is going to be the inputs meaning our substance painter layer stack and then the outputs is what's going to be shown back here in painter is what this is going to be shown here so in this layer this filter is going to output this damage that you see here which is going to be a material on top of what it's taking in as input which in our case like I said it could be in our cases just this one single filled layer but it could be you know 15 20 different layers let's jump back over here to designer and let's just continue on with our process okay so like I said the first thing that we want to do is we want to work with the data that's coming in from the substance painter layer stack and like I said we have that here so what I like to do is I like to basically since we're going to be compiling another material on top of that which is going to that second materials going to be like our edge damage that we're creating we're going to want to basically blend set some materials together and what I like to do is take the inputs and just compile them down into one node and I do that with the base material node so I start to type in base here's my base material node and I'm not going to set anything on this node I'm basically just going to use it as like a pass-through container basically and so I'll come over here to my user-defined maps and I'm going to enable base color I'm going to enable roughness a metallic in height because those are my inputs so now let's just make the connections here now you'll notice here that I'm getting into the situation where I'm trying to make this connection and it won't let me what's happening here is this I have this usage mismatch so if you ever get into this situation that's happening because of this mode that we're in compact material mode and notice here you've got this one two and three these basically represent the one two and three key on your keyboard so you can just use those toggle so what I'm going to do is just hit you know one on the keyboard this basically expands all the channels and now I can make this connection whoops wrong connection though let's grab metallic and put that here and let's grab height and place that into here so now I'm going to tap the three key on the keyboard again and it's just basically taking me into compact mode so you notice all those channels are just one entity now or one output so at this stage we've taken all of the inputs and we've just almost like like a box we've just placed them into this box that we're going to use so now this is this node here represents the layer stack from substance painter alright now we're also going to be working specifically with normal information and notice I don't have that so I need to create that node so I'm going to hit the spacebar and I'm going to start to type in input and I have two options here input color and input grayscale I'm going to use this input color so let's bring this guy over here and then I'm going to hit the spacebar one more time start to type output and let's grab an output and we'll bring this guy over here now for the usage of this output and let me double check here what do I have hi no no this is making sure I didn't have it by chance so here are my usage I'm just going to set this to normal and for the identifier let's just give this the name normal so now I have these two guys and I'm just going to connect them so what I'm saying here let's go back over to painter when I'm on this layer and I'm painting the stroke here so you'll notice again I'm just over here and I'm painting this this information uh I'm utilizing the normal channel and so what I'm doing with that normal input is the data that I just painted here that stroke I just placed down I'm going to grab that and I'm going to process that I'm going to use that data you'll see inside the filter to get some information from it and then I want to make sure that my filter passes that information that I just placed down here back out to the layer stack and that's why we did this direct connection so this is our stroke of our normal and we want to make sure that it goes straight out so there we have that connection so like I said just recap we've got our layer stack here that's our base layers base color rough metal and height we're using those here we're taking any normal information that we're painting and we're just outputting it straight out to back out to the layer stack we're bringing it in and we're passing it right back out okay so like I was saying earlier when we kind of went through this demonstration in order for these generators to work we need to be able to derive some information from them we want to grab ambient occlusion and we want to grab curvature now we don't have that information when we paint our stroke we're only painting that normal that normal data and we need to get that we don't want to bake it of course because that just takes a whole lot of time so now what we're going to do is here in our filter we're going to take that normal information and we're going to create on the fly aiming occlusion curvature data that we're going to use so in order so to do that let's just for now just so we can see cuz notice right now we're not working with all that kind of empty stuff and it's kind of hard to see what we're doing so what I'm going to do just so I can kind of see something here let's just grab our shape node this nodes good for you know low creating shapes so we'll come over here to our pattern and I'm going to grab this brick and I'm going to scale it down a little bit this is just so that I can see I'm going to give it a little bit of bevel edge this is just so that I can have something to work with let's grab this guy and let's copy and paste it one more time and then on this guy let's change the x-value here like this we're going to want to invert this so I'm just grabbing an invert grayscale and we're going to blend these two guys together so we'll grab this guy and this guy just move them out of the way let's come back over to our blend node and let's set this to multiply so here's kind of like a shape that we get let me adjust my y-value here and let me just bevel that edge a little bit like this so here's just kind of like a shape so now if I take that and I run it through a normal or normal node I can generate normal map information now it's hard to see let me take my intensity up to something like really high just so we can see it so okay all of this that I just did was just so that we could have something to represent this because right now it's blank we can't see what we're doing okay so one question coming in is a way to set painter up to have normal channel in the texture by default yes actually it does that you'll see when we actually create the next you'll see that when we go in and we create the project so here let me just check something here with the chat window okay I'm just doing a test message here I just got a narrative saying it wasn't able to connect the chat so I just want to make sure that's working here all right so like I said we just went through this step here just so that we could have you know just some normal information to work with and so like I said we want to take that normal data that we're created through the paint stroke and we want to create a be an occlusion from that and we want to create some curvature from that so we can do that curvature here with just the curvature node so I'm just going to start to type in curvature and here's my curvature node and if I just take my normal and just plug this guy in you can see that it just generates curvature information for me and here in this case I might take this up to something like say 15 or so this is fine here so you can see that the type of information that we're getting now I have that curvature and you can see that was really simple to do we also need that ambient occlusion so let's create that information so I'm going to start to type in ambient occlusion and then here you can see that we have this ambient occlusion node so this guy here specifically takes height so we need to convert our normal map so I'm gonna hit the spacebar one more time I'm gonna start to type in normal and we get all these normal nodes that we can work with and here we have one called normal to height so I'm going to use this node so this node takes our normal map we'll place this guy in and here you can see it's generating some height information and we can adjust this just some of these values in this case I'm just going to leave it at default now I'm going to take this height and plug it here into our ambient occlusion and now we were able to create some ambient occlusion so here we can do things like adjust our spreading and you know just some of our frequencies here so I'm going to make just a few adjustments you know just so just so we can you know get a better view of what's happening now these adjustments that I'm making this would be something that we would want to expose and we can do that and we'll talk about that here in a little bit but what we have so far is these two pieces of information this two pieces of data that we need we have curvature and we have ambient occlusion all right so I just wanted to kind of show you what we were doing there with that so now that we have that instead of using my little sample here I'm just going to go ahead and plug this guy in like this and let's plug this guy into here like this so we'll just adjust these two guys and here's the two nodes that we need we'll move this guy up like this so we're going to use these guys in just a little bit all right so the next thing that we need to do see if our height let's go ahead and start to blend our material so one of the things I'm going to do for actually let me step back here let me not make that connection just yet because I want to explain the degenerate let me plug this guy back in for a second alright so the next thing we're going to want to do is start to create our dirt generator so I'm going to start to type in dirt and then here I have this well no let's not do dirt let's let's actually use the same one let's use metal Edgware so I'll start type in metal and here you can see that I have this metal edge where node so if we come over to this guy and the node here is whenever you see a green node like this it just means some channels are collapsed so I'm just going to tap one on the keyboard to expand these channels and now you can see this guy takes in curvature ambient occlusion also it can utilize world space in position I'm not going to use those so I'm going to take my privet sure and plug that guy in and I'm going to take my ambient occlusion and plug this guy in and so here you can see the mask that's starting to get generated so what we're doing here if I just jump back over here to designer and we look at this master this metal edge where but just again mouse over this you can see that thumbnail that's showing the mask we're basically kind of mimicking this workflow but we're doing inside of our substance alright so here we're going to jump back over to designer so now that we have our metal edge where what we're going to want to do is take the nodes that we have and do some material blending so like I said early on we this this here these input nodes represent the the layer stack that we haven't painted thus far so it's going to be you know the material that we have on our object already and we want to layer a you know a new material on top of that that's going to represent basically our damage so what we're going to do is come over here and I'm going to hit the spacebar and I'm going to start to search for this node that I use often called the material color blend so we have this node in place and now I need to set up a few options first let me just check something here on the stream just want to make sure I'm just doing a quick check here on my bandwidth is everything looks like it's going okay just just send me a quick message here in the chat window just want to make sure that I'm not dropping out too many frames here is everything viewing okay can you guys hear me okay okay great all right sorry about that yeah my chat window just died on me here and I was afraid I was kind of losing some information there okay all right sorry about that everybody for that interruption I'll keep moving here so like I said we're going to want to start to kind of blend some material information in and again just so I can be like super clear on what's going on because it's important to understand that and this was kind of a kind of like a real kind of I'll say a lightbulb moment for me when I kind of realized how this was working like I said when I'm talking about that layer stack and the input coming in if we look at our example I'm talking about this material here so this could be like I said 15 20 different layers it doesn't matter in our case is just this one fill layer so this represents a material and we want to basically overlay another material on top of this okay like we have here this this in our case is going to be like kind of this metal material on top and so what we're going to do or what these nodes represent is kind of that fill layer that we have so far and it's going to be comprised down into this one single node now we're going to use this mask here that we've just generated from our normal information here so again back at painter on our layer stack remember that with this filter we want to be able to paint this this layer information you know we're going to take that and we're going to generate on the fly a mask as we're doing here we're going to do that through converting that normal into curvature and AO and we're going to use that to drive this material color blend so material color blend is is a really nice node in that it takes a material as input and a mask so the material that we want to take as input is going to be well what we've been working with it's going to be that that kind of our base material that we've already created inside of painter so that's going to be our base material so with this node we can even come over our channels and we need to set this up because right now it has both specular gloss and metal ruff all enabled by default we don't need all that so let's turn off our dis diffuse we're not using that let's keep base color let's turn off normal let's turn off specular turn off glossiness let's keep roughness and metallic on and we don't really care about this ambient occlusion for now let's leave it all like this so now we have that set up let's grab our material again this this is our base material that we've painted in painter we're going to plug this guy in right here now when I have this node selected let's just roll up the channels here notice that for the channels that I have enabled we have controls for those channels so this node is going to allow us to create a new material so we can do that here by just changing these settings so in our case I'm going to set this up like it's a metal so what I would do here is I would just come over to my color editor and I would choose them a value that's going to represent kind of the metal reflectance now let me show you a cool trick for doing that if we just come over here to our library and let me grab where is it material filters PBR utilities there's a note in here called PBR metal reflectance so if we just bring this guy in just gives you a nice drop-down with all these different metal values here and let's just say that I want to make I just want to use Cobalt so this is giving me this value if I hit this eye button here you can see if I sample this I can see the RGB and float values for this also I can just come over here and go out grab this pick and I'm just going to come over and just sample this this color right here alright so notice that set the values for me so I just use this guys a quick way to to sample PBR metal reflectance values that I know are correct because they're derived from these scientifically measured values so that's going to be well you know what we need here so now that we have that in place we're going to grab our metal Edgware which is our mask and we're going to plug this here into the mask alright so we'll double click let me just close this window down here yeah see a couple reports there about a few drops yeah I'm just checking my bandwidth I think it might just be a slight bandwidth issue also just to let you know that I am recording these as well so they are archived on our twitch but I'm also uploading them to our YouTube just today I created a new playlist in our algorithmic channel for the twitch live training streams and so last week's is on there already and today's will be up as well too well it'll be up today I'm going to do it right after this so if it's if it's not like real smooth right now don't worry we'll have the full 1080p version up on the YouTube channel as well later today okay so like I said here you're kind of seeing how this blending is working so we don't need this node anymore let's get rid of this guy so here's our base material from painter we're using a mask that mask is being derived from this normal information that we're painting so now we we don't need that let's just come in here and do this like this so like I said that mask is being generated from the the stroke basically that we're creating inside of painter and we're blending again like I said that base material and painter we're blending it based on these settings that we're placing here so we don't need to worry about our normal or roughness we're setting this all the way up metallic in this case since we want this to be a metal let's set it all the way to to metal now what I'm going to do here at the end is I'm going to expose these values we'll talk about that later but for now I know that I've set the metal reflectance value properly I've come over here to my metallic and I've set it to be full white so we know that that's a metallic that we've created so now that we have that we can just take the output of this material and just plug it straight into our final output so remember this is going to be what the filter outputs back to the substance painter layer stack so here's what we have so far now there's a couple things that we need them I'll leave these nodes out here we're going to use these guys in just a minute just to demonstrate our just to illustrate another principle here so there's another thing that we need to kind of do to set this up and here's where you know in my opinion it gets a little confusing so right now you can see that if we look here at our base color because of that mask just double-click this guy and right now in the viewport you have your RGB channels right next to that's our alpha so right now if I click this guy can enable the alpha view so now I'm able to see some transparency so what I'm having here is or you can see that because of the mask that we're using here in our in our material color blend we're blending our layer stack with our new material here in the filter we've got transparency here for our base color and that's great because you know all we're really doing is just overlaying one material overtop of the material in our substance painter layer stack but we run into an issue when it comes to roughness and metallic so let's use roughness as an example so this is what we get right now so far in our mask now with grayscale values in substance painter we don't have a method for supplying alpha information in in the channels themselves so like here in base color works like you never use like a PNG format and if you have transparency information the red green and blue channels are going to have that transparency information so you can actually see it like this and you could just simply take that and just lay it over top of something else and it works but we can't have transparency in this infra in this grayscale Channel it doesn't work that way so notice here in the roughness well all the white areas are going to be are going to be rough so they're actually going to be whatever value let me just show you let me illustrate that by coming back over to our roughness it's going to be these values if I made them like really dark see how that's working now what that's doing is is you can see here in the background that everywhere this this mask is not denoting rough information we have this black area now when we apply that in substance in substance painter to back to our layer stack it's going to take and this black information in in terms of roughness would be really really shiny so it's going to just take you know the roughness is going to be set correctly for that material that damage layer that we're putting overtop of our material then it's going to overwrite the roughness that we have in painter let me just jump back over here to painter notice this base layer here on my roughness it actually has this grunge map here it's going to overwrite that with just pure black which means everything's going to be super super shiny we don't want that but we have of that problem is that well we can't get any transparency into that so in order to do that we have to use a little bit of a different setup and let me show you how that works so we need some more inputs and outputs to get this guy to work out for us so let's do that now let me hit the spacebar and I'm going to start to type in input now working with grayscale information at this point so I need input greyscale and we need to create a new usage so I'm going to click this add item button and I'm going to create a new usage now if we click this drop down this usage that I'm about to create you will not see it here well you do in my case it's right here it's roughness underscore alpha let me explain what I mean by that so let's just remove that guy so let's just say if you were following along with me right now and I said we need to place a new usage called roughness underscore alpha you click this drop down and you'd move through here and you wouldn't see it what you can do is you can actually come over to this drop-down and it turns into kind of like this I beam cursor you can click in here and now we can actually type something so you can type any usage you want like I could give myself the Wes usage you know and so look at this I have my own substance designer usage if I wanted to so I can do anything but it's there you can type this in and it's going to show up once you type a usage in like that for the project or your substance it's always going to be available in these dropdowns so notice I now there's always this West drop down here this West usage in the drop down list so what we need is this one called roughness underscore alpha and like I said all I did was I just came in here to start clicked and actually typed this value in now the value that I'm typing has to be very specific so notice it says roughness underscore and alpha with a capital A so it has to have that capital A so this here uh and here's another thing I can just come in and copy this guys let's just copy it ctrl C come over to our dentist baste it in there so now we have roughness alpha okay this is going to allow us to work with alpha information now we need to do the same thing again so let's hit the spacebar and let's do output now we have an output and let's come over to our usage item now again like I said I'm already going to have it here in my list because I've already typed it in but I'm just going to scroll down here and roughness alpha so we'll use that we'll come back over here to our output identifier and we'll paste in roughness alpha so now we have an input roughness alpha and an output roughness alpha and we need to work with these guys all right so how do we do this how do we work with these guys okay so one of the things that we're going to need to do is I'm going to the space bar and I'm going to add a blend node so we need to add a blend node into here and the way this works let me just think about the setup for it let me see how I did it before actually let me just jump back over here to my first example and let me just remember how I did it before yeah pull these guys in okay yep that's right like I said it gets confusing so I forget that what you know how I did it so here's my roughness input this is going to be alpha information from the stroke so if we go back over here to painter you'll notice that you know as I start to paint this stroke it has alpha look at the normal here there's this alpha here and well we're not using any roughness so there isn't any any roughness but what we can do in that case is we can still substance paint you're still aware of this roughness underscore alpha channel system so we're going to take the input of that alpha and we're going to plug it right here into our foreground and again it's not letting me connect it because I was in a compact material mode so I'm going to come in and just do this and then I want to grab the actual information that I have here from this roughness and plug this here into the background okay so this is where it gets looking fusing why am i doing this the reason is I cannot just come in here and do what you would think so you would you would assume that you could just do this that you could just let's get rid of this connection here and you could say hey I want to take this roughness underscore alpha input and I want to just plug it straight to the output the problem is since that data is not actually being doesn't actually exist substance painter is just going to win it when it utilizes or when it starts to utilize this this filter inside it's it's just going to just throw out this information it's just going to throw it completely out and the reason is is because there's no input data coming into that and we're going to actually supply it with some data but we need the data that come from the from the inputs as well and this input doesn't even have any alpha so that's a problem so a workaround to kind of trick the system is to do this so we're going to take this this input and plug it in here and again I told you it's kind of confusing let me just double check the way I have it yep that's right and then I come in and I set that to zero all right so opacity we're going to pull this to zero so basically we need to make sure that we have these nodes this guy's not actually doing anything okay it just has to be there and that's kind of counterintuitive and it's that's the confusing part about it it's not doing anything but this is doing something this is giving us roughness information so what we're doing is is we're just piping this guy down into here and we're just setting this opacity to zero which means it's just going to grab the foreground here I'll show you what that means if in case you're kind of new here to designer and how this works let's grab a color like this green and let me just demonstrate it real quick I'm sorry about that because it's just it's just kind of a confusing concept in these filter systems and how we have this all right so we're blending these two guys together okay this is for grand over background notice that the foreground is always first so we see the orange we drop this opacity to zero that means that this nodes only going to show us the background okay so let's grab these guys and get rid of it so even though we have this input it's not really you know doing anything for us so it's going into the foreground the roughness is coming into the background and then we set this basically to zero what this means is that this node is showing us only this rough information that we're actually working with that we're compositing so now that we have that we can then take this guy and just plug it actually to here so that's the confusing part about it we kind of have to do this kind of bypass system here because this guy has to be in the SIS to be in the equation so to speak but if he just passes straight through without having that data through there it's not going to do anything so we have to kind of work it this way the that's the the terrible part about it you would think again I could just take this roughness and plug it right into here but it's just not going to work unless we do it kind of this convoluted way okay so the the bad part about it is we got to do this again so let's come in and do input greyscale and let's make a quick output here so we got these two guys this guy here we need to add a usage this since I've already have it we can just scroll through this is going to be my metallic alpha let's copy it paste it here into the identifier so here we go let's grab this blend node and we'll just quickly copy and paste it let's take our metallic throw that here into the foreground here I'll just move this up so I can zoom in so you can see the actual connection I'm making let's grab our metallic now throw him and tear into the background and let's get this guy set okay so now we have this output we need to add a usage again we're just going to grab that you know what I could do since I've copied it let's just paste it in here Oh actually I can't do that all right we have to set it this way but we can paste it here in our identifier oh you know what I didn't have it copied and I don't know what happened there so that probably would have worked the first time okay there we go so we have everything set up and boom I'll put that guy all right so this right here is the gnarly part of the training I know that's confusing it doesn't really make a lot of sense but you just have to set it up that way all right let's see a couple questions came in oh yeah the voice that's me I do the YouTube training stuff I was not I was not at this year's FMX okay so one other question could you use the same black color for both of the blend nodes are you in that question I think what you're asking here is these looking at these nodes as the two black nodes so again the streams kind of delayed so I'm not sure how how that's coming in but this isn't actually a color this is going to be their input input nodes so it it's just showing black because there's nothing there but it's not actually just like a color it's just input that's that's from substance painters layer stack so in that and to answer that question no you could not it has to be very specific metal underscore alpha with a capital A and roughness underscore alpha with a capital A so it has to kind of be set up this way all right so so far we kind of have this in place and I think we kind of have our filter set let me see how we're doing here on time okay so there was one part of this that I didn't do yet and I did that on purpose and I forgot what it was oh yeah okay I'm going to leave it like this kind of half done on purpose and we're going to go ahead and export and check out what we did and I'm going to show you a problem that's going to show up and how we fix it so let's just save this guy here on the desktop and we'll save the SPSA our file okay all right let's jump back over to a designer here our excuse me painter I keep getting these two confused let's come over and just create a new project so let's just set this guy up from scratch too so here like I said I'm using yes it will one question just came in asking is the presentation yeah I'm recording it and it'll be up on YouTube later today on our channel we actually have a a new playlist for all the twitch training sessions so all these guys are going to be archived so here we're going to just create a new project I need a mesh so here I just have this plane that I'm going to use and we'll click OK alright so now we have this plane here and let's just set this guy up so first like I said I'm gonna do a fill layer my metallic values all the way to zero because this is I'm going to pretend this is like a dielectric material and then here for my base color let's just set something you know maybe like this kind of orange something like this there we go and then we have like this this roughness value one of the things I like to do is instead of just having this as a uniform value I'm going to click this roughness button and I'm just going to scroll down through here and look for a grunge map and here it is this is a grunge map grunge scratches dirty the thumbnail is actually loading up here I don't know why it's taking so long but I'll just click it anyway so that there goes as soon as I get ready to hover away there you go so you get a little idea of what it is this is a really awesome scratches for map for doing roughness stuff so you know I love it I use it a lot this is a good one so I'm just going to use this guy here and if I just move my light around so we can really see what that's doing it gives a really nice break up there on our roughness so this here is our base ok so now we're going to create a standard layer and one of the questions that came back really early on in the stream was hey can you show me how to set up that brush so here we're going to do that now so here I'm going to come back to my material and for this brush the the idea is I want to create just a brush to paint normal information so because of that I'm going to turn off all these channels here and I'm just going to have normal and I'm going to come over to my textures I'm going to grab just one of these guys this one here is good and I'm just going to pull this guy into place and then I can come over here to my alpha and that's really all you need to do so here I'm just increasing my brush size and I could come in and I could just stamp this down and now I have this one of the things that I said early on was you have this hardness value it acts kind of like a radial fade so here I can use it in real time notice that if the hardness is all the way up we can see basically the the full of the of the texture that we're using for that normal if I move it down you can see that I can basically feather the edges to that that could be useful it could not it just depends on the actual texture that you're using in this case since this is a circle this is going to work for me so we'll move this guy here and now I can just stamp this down and I get this information so now let's come over here to our filters and let's import our filter so a really good way to import items here into the shelf and one of the things I'll mention here in the stream we actually are going to be reworking the shelf so the shelfs shelf school it's it's okay but there's a lot of organizational issues that we have with the shelf as it currently exists and one of the things that we're going to be working on in one of the upcoming releases to substance painters we're reorganizing this shelf so there can be a lot of really nice new features about working with the shelf that allows us to kind of organize assets and it's it's going to be a lot nicer so the reason why I'm kind of going through that now is because I just want to show you how you can kind of work around some of the issues so one of the thing is if you came over here and you could say import resource and you could import in like a substance or a texture or whatever and when you do that let's say I import a texture it's going to show up in every one of these tabs if I just import a resource and you don't want that so you can see it happening here so well that's just a texture we come over to Jenna so so far in this sense this is a blank project every everybody's cool everybody's you know although everybody's where they need to be but if I just started you know using file import resource and bringing stuff in you know they would go into all these different tabs and I for one really hate that so what you can do though is you can utilize this drag-and-drop stuff so if we come over here here I'm just on my desktop and then on the my second monitor and I'm just grabbing this guy here where is it where's the one that I just did filter example okay so here's my SBS AR file I can just drag it right here onto this filters tab I get a little pop-up and ask me what I want to do with this guy do I want to use it for the current session only to want to you know place it here into my kind of library shelf that's going to be there all the Indian every single project I create or do I want it in this particular project so in my case I'm going to choose the middle option here I just want to place this filter in this specific project so I do that and here we go notice now that my little resource guys only in the filters tab so he's not going to show up anywhere else which is nice and keeps things organized so that's kind of a tip for organization in the current implementation of the shelf um okay so now I've got my filter I want to apply that filter so here's my layer this is what we just painted so remember here's our input in our case is just a single fill layer we've painted a stroke now I'm going to click this button and I'm going to add a filter and I can click this button and I can add my filter so let's add it oops I didn't click it oops something's happening over here sorry about that hold on just a second I'm getting this showing up on my second monitor for some reason I say here close that out here drag this guy over oh I must have have something wrong here in my substance let me check that looks like it's not coming in correctly for me let's see I have made a mistake somewhere it looks like let me just check through and see what I have here so let's look at our outputs let's say we've got our outputs correct and we've got our normal here's our roughness alpha so we have this guy all set up like he's supposed to be let me check my first one what did I do here I hope I didn't do that guy but we'll worry about that a little bit nope should be working let me check this again here all right we jump back over to painter and let's see what I did here it doesn't look like there's anything wrong with it it should be exactly the same all right here's the sky here wow that's really strange what is it doing here alright sorry about this guys that's kind of weird it should be working just fine because I don't have anything going on we make sure once more here everything should be good just checking my channels here so yeah this is a good you know these kind of things happen so it's kind of good to go through and just kind of look at what we're doing here could have possibly have gone wrong with that uh hmmm input color ah I think this is the problem right here okay so I knew it was something stupid okay so notice here that you know that wasn't working and it's actually kind of good when things like that happen cuz I mean I always like it you know that way you know you can kind of see somebody work through the problem because you know you watch the training and then sure enough every time I've watched a lot of training as soon as I try it on my own it never works you know like like I saw it in the video so it's kind of nice to see you know some mistakes so anyways like I said here one of the ways I troubleshoot that okay so I knew that okay it's not letting me take the filter as an input so that was making me think okay I need to check my inputs and my outputs and I was thinking that okay something one of these inputs has to go awry so one of the ways I did that was I just double-click out here in an empty spot and I'm looking at my inputs and I'm looking and boom right here I could see oh wait this guy has no usage so remember when I created that that input that was going to withstand our stand in from my normal it doesn't have anything so I need to come over here and set this guy to normal and I thought I did that but I guess I didn't so set that identifier to normal so normal normal and let's make sure this guy is yeah no I guess I did it for the output and not the input there we go all right so now let's republish this guy again replace the original one that we did jumping back over here to painter here I want to get rid of these guys so let's just go to file and clean so notice they're gone and let's go back and grab this guy again and bring him in okay so now we have our filter let's drag and drop and place them on here and now our filter works now I just wanted to show you this cuz we got a couple problems here so notice that the filter is just taking control of everything okay and it's also putting upon a bunch of height information on here which I don't want so I'm seeing a couple different issues that I need to work through so let's take a look at this so what we're going to do is first we need to worry about you know our grunge effect is happening over top of everything okay and that's not good so let's take a look at how we need to fix that now first thing I want to do is I want to come over let me go back into here and let me just whoops let me just hit undo a couple times I want to get my nippy out I want to get my little tester nodes back and let's make sure that I set this normal so we'll grab this guy and again I'm just kind of redoing this there we go okay so let me take this and just plug it plug this here into my generator just so I could see some information here now the first thing that's the easiest thing to fix is that that height was everywhere so what I'm gonna do is I'm gonna hit one on the keyboard to expand on my channels here and I'm going to come in to my height and look at my height now we have this height information I actually don't want that to happen okay so cuz you saw we don't want that height you might but in my case I don't want the height information so I'm going to come over here to height and I'm going to set the opacity to this guy all the way to zero okay so notice now that we're just getting this this gray value of height now if I hit the I button here and a sample this guy you can see that's just giving me this sixty-four value here so in this case we don't want we don't want any high information and let me check double check again and make sure this guy's okay so we took the height from this channel input and it came into here and we're just basically outputting it we don't want to eat okay so this is correct all right so we took care of our height information there now we need to take care of the problem that we're getting where our grunge effect our damage effect is happening over top of the entire everything that we're doing all the textures and that that's bad so here I can go ahead and just plug our input normal back into these guys see ah it's already in okay let's put this guy here now there's a really easy way to do this on all of the generators that we work with they have an optional mask input and so we need to make a mask input okay so making that you know supplying that or masking that generator it's easy enough it just takes a mask input but now we just need to think about how we going to create that mask so let's look at what we have so here we have our input and um we know it's a normal map okay and in this example this is kind of what we're getting here this is what's going to be generated for us so it's going to have like transparency here in the RGB channel so I think we can use that so here's a trick that I do hit the spacebar and I'm going to search for our GB and then here we have our GB a split okay we're going to use this node so let's make a let's make an instance of this guy let's plug our normal in so here we have our normal reviewing our RGB normal let's hit the let's look at our alpha and boom there we have an alpha now one of the things I want to make a change with well here let me explain this first this right here is just going to give us an alpha going to be fine now we have this kind of whole area and we have some some gray information here and that that could help us you know it could give us a little bit of you know kind of feathering basically when we're mixing the two materials everything so that's that's probably okay but in this particular case of this alpha it's basically has like a hole right here in the middle and I don't actually want that so one of the things I'm going to do just to kind of demonstrate this because most of the alphas that you work with probably won't be like this a complete hole in the middle so just to kind of fix that I'm just going to add a levels here to this guy and I'm going to take my output black and just move it up so I guess this is probably more of what you would see so notice that we've got like this little indention here but it's not black so it's not going to make a hole when we you know use this as a stamp it's just going to kind of you know bevel down into the asset and this is kind of what you're going to more commonly see so now we have something like this let's look at what happens when we have it more of an actual real-world example in our alpha we get something like this with this gray in here that's not giving us the best kind of alpha so what I do is I just add a levels and we'll pull this guy into place and then I'm going to take my input white I'm just going to pull it like this until it just clamps it okay so I'm just going to clamp a little bit and what I found is that I can keep this at it and this setting can be pretty global to any of the maps I've been using with this so I'm just going to keep this like this here okay so that's going to work for basically anything that I'm using so let's grab these two guys and now let's do this well make sure we are in notice right there it did make the connection so again I had to jump the standard mode we no longer need these guys so I'm just going to get rid of them and I know that this is going to generate that mass for me so now let's take that mask and plug it right here into the mask input of our metal Edgware generator okay so now we've got that mask going so this is pretty much going to create the effect that we need now let's start to expose a couple options here so I'm going to come over to my metal edge we're I want to be able to work with these sliders in painter and I'm going to work with pretty much all of them so I'm just going to come over to this guy here and I'm going to hit expose actually no let's do it like this you can expose these per parameter basically and when you have a lot like this it's kind of a pain or you can do it this way so let's click this button here and choose expose parameters and it's going to give us this nice kind of popup window here that's going to allow us to kind of globally do this so for weird level I want that I want where contrast edge smoothness grunge amount grunge scale ambient occlusion masking and curvature weight so these are the ones I care about now just to keep things organized and you know nice and pretty looking here user interface wise in painter I'm going to give a group to these guys so I'm going to call this damage and let's just copy this and let's just paste it down into for all these guys so basically this group parameter is going to allow me to group all these guys alright so now that I have this set up I'll click OK and all those guys are basically been promoted to the root level of the graph so if I just double click an empty spot here out here in the graph it's going to take me to that root level now here's my input parameters so another cool trick if you want to preview these guys so if I click this drop down I can make adjustments if I want to test but it's kind of annoying to do it this way I can click this button no I'm sorry second one and nope I'm wrong again you just click this button once and you're in preview mode and I'm sorry I was actually looking at the wrong thing so notice there that all my parameters got closed up the damage so when I gave that damage group basically took all those parameters and put them in this nice little damage group grouping here so that's pretty cool that you can do that so let's say I made a few changes like something like say like this and I like that and I go out of preview mode it's going to ask me do I want to apply these values as default and yes I do so it just gives you kind of a nice way to kind of work with the UI okay one question that came in am i creating the Alpha in substance designer no no I'm not doing that that alpha is actually coming for coming from substance painter when we basically hear from the norm from the from the normal here because there's alpha in that channel so you can see this is where it's coming from okay so here in designer we expose this guy let's come back over here to our material color and let's expose some of these guys so base color here let's do the same thing let's expose parameters this one's kind of a pain because there's a ton of them so we don't need channels okay for base color we want just the color we don't want any normal specular roughness color metallic we want metallic I think that's it that's all we want just double-checking here which one did I do roughest okay so you can see the the group input it's automatically adding something here I don't want this so what I'm going to do here is just call this material so let's copy this guy let's paste it and let's paste it alright so we have this in place here up it's not letting me do that what's going on oh okay I got a problem here doesn't like that alright hold on just a second so what's happening is it doesn't like the naming that it's giving automatically so I need to change that so let me just this one's kind of a pain because you have all these parameters let's look at right see it doesn't like any of this stuff okay now here this is okay this is here's a good example this is good this happened to okay so let me show you this has burned me more times than that I can count okay let's go to metallic so sometimes when you go in and you expose a parameter so let's say you come over here and you use this option here and you just expose a parameter and a little window pops up and it tries to default the name and in this particular case this parameter was called color and you'll notice that a lot of times when you expose parameters you'll find that substance designer will try to do what it's doing right here and it'll just use the same value sometimes like it just did and when that happens either it's going to override it and you'll end up losing a parameter or you'll replace a parameter with a different name or you'll get in a situation like this won't even let you create the parameters so for base color what I want to do for this is this is just going to be well I don't want it to be metal reflectance because the way that we're going to switch this is it could be metal if you if you set this all the way to 100% metal then it could or it could be dielectric so let's just call this hey let's just call it albedo okay so now we've got a green checkmark meaning that that's going to work for us this guy here uh well we will call this roughness all right so now that's going to work now notice that material color since it's it's it's green again because it's the only one here in the input identifier name so we don't want that I just want to call this metallic I don't know why I tried to overwrite what it was doing but it does that some time so just be careful so we'll click OK and here we'll go double click we'll come out and see here's the ones that it tried to create and it's giving me these warnings it just messed everything up I think it did what is this thing doing it should be fine let's check them again here ah see what it did sometimes in that window it'll get you because you've got these two options you got to worry about you got identifier and label so this warning is telling me that that green checkmark that we had meaning hey we're good to go meant that the identifiers were unique but we still have this issue with our labels all named color we don't want that so let's set this up see I tried to be fast and used the big expert parameters window I should have just manually done it right off the bat so okay albedo let's come down and change this guy roughness still not like in what I'm doing here okay metallic should be fine placing I think what I did I just messed this up guys I'm sorry let me just let me just redo this I think I was actually putting information in the wrong thing altogether so let me just clear this guy on the base uh sorry okay so I think what I did and you probably noticed it there was a visible I was I think I was putting the information wrong in the visible if or whatever so here for this guy let's just keep this input name base color let's just do that and it's come over here to roughness roughness color do that and metallic okay so while we're doing that one question what's the difference between the label and the identifiers the identifier is actually here let me go out and take a look at the one I have here the identifier uh this is very specific to integrations so like when I say integrations I mean like any application that's using the substance plug-in and it automatically takes a substance output and hooks it up to a material it utilizes this identifier to do that you know it needs to be unique and that usage so it depends on how it's set up some of the most of the integrations use the usage standpoint but the identifiers in our case is actually used if in the actual function itself here let me just demonstrate that a little bit better so okay notice the identify here is called base color let's go back over to this guy and let's go to base color now this is vinick's we can't edit this anymore right but we can actually click this button and this will take us into the actual function graph itself and what this has done is it's using this get float variable so if I hit spacebar and I start to type in get I could get you know some type of float integer whatever I'm working with if we look at this guy notice that it's set to base underscore color so whenever you're trying to reference like a variable here within the function graph that needs to utilize that identifier name the usage is what is actually used by the integrations so I was I was wrong when I said that therefore the first way the the label itself is just so we just user interface it means it's just you know just when you're actually have the parameter exposed in the host application it's just the friendly user interface name that you see okay so now let's give these guys a nice group of material and I'll copy this and we'll call this guy albedo and for group we're going to paste this guy and this will be roughness and the group this material and the label is metallic I think what I did on one of the columns when I did that expose the big parameter window of one of the columns I think I was actually editing the visible if by accident so that's why I was getting that problem because it was basically saying there's an error in the in the expression I'm using invisible if that's what was happening there so I'm sorry about that so now after all that trouble we get to that all that trouble just so that we could have two nice little groups like this but it's worth it you know because it looks good once we get in Boehner okay so there we have that in place now there's something else that we want to do and I'm sorry guys the time looking at this I'm doing another hour and a half stream I was trying to keep it at an hour but end up rambling on as I talk so sorry about that okay one of the other cool things that we want to do with this is we want to be able to work with ambient occlusion so real quick what I want to do is I'm gonna hit my spacebar I'm gonna do another output here and for the usage I'm going to grab a B and occlusion and what I'll do is I'll just copy and paste it like this we make sure that everybody's you know set up correctly and I'm already generating ambient occlusion here so let's just grab it and paste it right into here like that so we're just going to output that ambient occlusion okay so I think we've taken care of all the problems that we had before so let's save and let's let's publish this guy and we'll just replace what we had click OK and there we go so now let's jump back over to will you be one other question we post the yes what I'll do is when this actually gets uploaded to YouTube check the description there's going to be a there's going to be a form link and in the form link I have a section for the twitch streams and each time I have demo files like this I'm just going to add them there so just check the description in the YouTube video and you'll be able to grab the substance that way all rights go back over to designer here and now that I've saved that and this has been imported into our project I can actually just right click and just reload this guy so reload I just kind of let it generate so I know that it's doing something all right so notice that nothing changed we actually need to come over here to our filter it's telling me that it's outdated but we need to just simply drag and drop and place it to here and so now you can see that you know we're starting to get basically you know our damage so we can adjust our ware level we can just our grunge amount and we can come into our material now we can change our Abid ovalle so say we wanted this to be a metal it's a pull this all the way up to the metal and here I'm just going to just kind of guess on metal reflectance value I know it's needs to be you know something kind of a high value like this and we'll come back over and I think I'm having a problem here with my curvature actually let me check my ambient occlusion ok the ambient occlusion masking is working let me just check my curvature here the intensity on the curvature is actually pretty low so this could be another thing that I need to go in and expose so I give myself like a utilities section let me just do it while we're well we're here let's expose this guy and let's call this new curve underscore intensity so that's going to be our identify our name let's go back to here for the default let's set it to something high like maybe I don't know about ten and the maximum let's set it to something like maybe twenty let's do that and for the group I'm going to just call this settings so we have a little Settings group something else that you can do in case you didn't know you can actually drag and drop these guys if you want to sort them so like let's just say that I did this and I want my settings to be at the very bottom I could actually just drag and drop that group all the way to the bottom it's kind of nice if you need to organize what you have all right so let's save and let's republish place this guy here and there we go we don't have a progress bar for the publish so one of the things I just kind of toggle the viewport until it kind of you know becomes responsive again alright we'll come back let's right-click let's reload so this guy's reloaded and then we're just going to drag and drop him to replace them so now you can see it's working but it's way too high so let's do just our curvature all right let's go back to my damage and decrease my wear level and my grunge amount let's go back to maybe my material let's set this guy to metallic and let's just you know set the reflectance value here a little bit lower like this and for our roughness it's all the way at 1 let's drop it down something like maybe this okay so there we go so I could tell that you know the curvature intensity wasn't really enough to of an effect to give me what I needed there so now you can see that we fixed a lot of those problems that we had let's move our lighting around here so you know we were able to generate that mask for our generator so we fixed it here let me jump over to designer what we do we generated that mask we did that using the RGB a split node and we plug that here into our math generator we came over here to our material color blend and it was utilizing height information which we didn't really want to do so I set this to low now again maybe you do want it to do that so what you could do is uh you know set this this height you up you could expose you know the range so maybe you want it to go black so it like basically these these damage marks like kind of dig into the surface you could do that if you wanted to I just left it to zero and I added ambient occlusion but we haven't demoed that yet so let me show you how that works and then we exposed our parameters which took me like a thirty minutes to do uh so now that we have that in place let's go back and so here's our cool effect that we have now like I said before we were working with ambient occlusion information but we don't see it if I come over here to my channels and my channel list I don't have a be an occlusion so I'm going to click this button here and I'm going to choose a mean occlusion now as soon as I do that you could see that we get this cool Aben occlusion information in here let me do one more thing let me go back to my ambient occlusion and let me expose this guy eh-oh underscore spreading so this would be a new thing that I would then just set as part of my group of settings boom AO spreading now for my colors let's just set some of this stuff up real quick so roughness I want it to be like this I want it to be metallic by default so I'm just setting up some presets right now and for my color I'm just going to hit HSV I'm gonna leave it at white I'm just dropping this value so just real quick note on that basically a little PBR less and what I'm doing is I'm working at the metal reflectance value that metal reflectance with PBRs is going to need to be in a specular range of like seventy to a hundred percent so that's why I know that you know I don't have the exact color value it's more like it's kind of white but I just dropping you know the value down a little bit but still you know this value is still going to represent that seventy at least seventy percent reflective range so that's I know that's going to work for me so we'll hit save we'll publish this guy once more let's put this here in our example and there we go guide published let's go back over to designer and I can reload this guy and let's add them and we'll just decrease our damage here a little bit you know what that curvature setting was way too high by default so let's do something like this okay so now I've got this nice of a Oh spreading so notice here I can adjust this on how the AO is working so now get a au built into that as well as I start to stamp this information in so uh let's go back over here to our textures let's grab a new guy here let's grab this guy pluck him in and stamp this down boom now get the cool effect with all that information I've got some really nice kind of AO happening in here we can go back to our our filter we can adjust kind of like our AO spread see here it is without AO at all and here's our AO can make changes to our material we can make changes to our actual you know damage effect that we have all that kind of stuff so yeah here we go this is what we have and that is the covers the entire process for creating our own substance filter here that's going to allow us to you know create these damage effects as we paint you know stroke detail in so um like I said I have recorded this this is going to be archived on our twitch channel so you can always watch it there and then also this video is going to be live on our YouTube got new YouTube channel playlist where I'm keeping all these training these live training sessions I'm actually gonna have that uploaded today so look for that if you want and this substance I'm actually going to have the project source file it's going to be linked back to a forum thread in the youtube description video you'll see the link there and you can grab it that way so I just want to thank everybody for joining and appreciate your time look forward to the next session again go back to our forum thread in our twitch stream there's anything kind of specific or something you're interested in like to see covered just kind of post there in that thread I'll check it and you know see if we can incorporate some of those questions into our our training sessions as well so thanks a lot everybody have a good rest of the week and I'll see you on the next stream

Channel: Adobe Substance 3D

Views: 55,675

Keywords: texturing, textures, texture, ndo, ddo, quixel suite, quixel, megascans, texture painting, Unreal Engine (Video Game Engine Family), unity 5, PBR, Physically Based Rendering, Texture Mapping, 3d art, 3d, materials, procedural, Blender, Procedural Generation, mari, thefoundry, Autodesk Maya (Award-Winning Work), Unity (Software), 3dcoat, photoshop, knald

Id: CSb2pDIMc68

Length: 89min 29sec (5369 seconds)

Published: Wed May 11 2016