Debris and Rubble Pipeline in 'Wolfenstein 2' with Substance Designer by Ben Wilson

okay everybody we are set to get rolling here on our next presentation so I'm actually really thrilled we have Ben Wilson here with us and Ben is a senior environment artist and he is working at machinegames and Ben is gonna take us through a presentation on Wolfenstein - thanks a lot Ben hello so hi everyone and obviously welcome to to the top so today I'm going to be going through some of the ways that substance was used to help texture the debris assets for Wolfenstein - I have to first say that I'm a little bit under the weather so please excuse my voice but thank you for joining us and I'd like to extend my thanks to ZeniMax machinegames and obviously a logarithmic for hosting us so I hope you like it as I said my name's Ben Wilson I'm a senior environment is the Machine games I joined the team a little over a year ago and there I primarily been focused on texturing and helping to set up a substance pipeline so I'd actually like to get a show hands if anyone's played wolf assign to awesome well for those who have not it's it's an FPS like action-adventure game set in an alternate universe where the Nazis won World War two so first Corps a launch trainer just the slight disclaimer it's quite violent so I hope you're all mature adults doesn't seem to be working I've got a backup here welcome back America's number one game show brothers and sisters of the United States of America tonight we the Free People of the resistance asked you to become one of us did you forget they beat us executed with the wrong country get me a fascist Nazi pigs and if tonight we see you on the streets for the mighty my chest you flinched Christy fighting how is that beeping you are one of us [Music] in tonight [Music] [Applause] all right so it's given a little overview of the talk we're first going to start by briefly showing how we're set up sort of internally at machinegames and just talking a little bit about the theory behind that they're more look at some tileable textures then we'll move on to in particular the wool modules and the assets and how they were made then we'll talk about some of the debris piles and then finally we'll build a custom node and show you how that kind of ties in with the internal structure that we have so for painter we we kind of embrace the shelf concepts to meet the various needs of the project so we actually had one shelf which was all the stock algorithmic content but we had stripped out and removed some of the stuff that wasn't really relevant to us this was stuff like stylized materials shaders color look-up tables that sort of thing and this was just done in an effort to help speed up low time then we had a machine game specific shelf and this is really intended to be shared amongst the whole studio it's where we publish our base materials any custom loads that sort of thing then we also actually had a mega scale specific one not all the artists use it and the library is quite heavy so it made sense to be separate and then we actually had previously there was an issue with like the Shelf was really overpopulated on the previous projects and there was a lot of files just sitting on like local machines so we wanted to keep the essence of iterations but we still wanted things in - in perforce so we set up kind of small teams or map specific shelves that really that everyone quickly share in a day right but it keeps everything in perforce and then we would periodically go back through and kind of they and bring forward any of the stuff that's relevant and can be distributed then to the whole studio into the main machine game shelf for designer we really didn't kind of mimic it's the way that painter was set up we had the machine game shelf and this is where the source SBS files live with the base materials and custom tools again a maker scans one and also the map team shelves for designer the shelfs are really easily maintains via the config files so you just add the convict that you want which then adds all of our custom scripts the perforce integration although check outs handles and naming conventions that sort of thing and it lets our artists actually choose which kind of content they want and which shelf they want to add it also adds a nice little library into the UI which houses all all of our custom tools sorry so the nice thing about this is the custom those are added via categories and URL paths in the attributes for for designer and it really lets us group assets control what's visible but everything is still searchable via like the spacebar so we're just going to gloss over the planning because there's not really that the point of the talk but before we started building anything there were some considerations which we needed to address and I think these are worth talking about because it really informed the way that the art was built so firstly it was a 60 FPS game so the the poly counts are very tight there's a lot of shade limits there's really no fancy tricks we've only got the one UV channel so Texel density really informed a lot of the decisions that going forward like most projects the deadlines are very tight and you want to be able to iterate quickly and be as non-destructive possible so we're gonna look to maximize reuse wherever we can and then we want everything to we want all the details to work together and have everything match so if you have some debris on the ground you want it to be the same you know material that's on the walls and then of course we want to match the art direction I like to think of wool this sign is quite crunchy textures which you know some strong bold shapes so before I restarted any of the art I actually worked on the map primarily with Ivan Martinez and our first step was we collected all the reference and you know the concept art and we identified which assets we needed to build and then we even actually mocked up all the textures that we would need for the map on paper first the nice thing about this is it really makes you consider the whole scene you're never really working in isolation you see in the bigger picture and how everything sort of fits together and it makes it much easier to establish a texture ratio between assets and it also informs the size of the modules that you're going to need typically when talking about the size of the modules is it's it's better to work with clean numbers so if you have a brick that's you know ten point two centimeters it's better to round down to a nice 10 centimeter a hole number just because it makes everything much easier to snap to the grid and and everything you know working together obviously a lot of things change with the planning but at least it gave us a good starting point so when we started building the assets there's obviously a million different ways you can go about this but this is how we kind of conceptually built or thought about the assets we we split them yeah conceptually into two groups the first groups was sort of components and these are things that are really just there to help you make the in-game asset and not actually intended to go in game but there's stuff like scopes any base materials you build you know specific for the assets or any designer tools that kind of stuff and being being knowing that we're going to use a lot of debris working with high poly meshes is just not really viable if you're doing simulations and that kind of stuff so we actually built a whole bunch of medium resolution assets for all of the scopes that we built they went for a very you know traditional process of we sculpted them and a brush and made your low poly mesh and baked them out and tear IDs and textures so the whole point of this is just to give us a library of reusable pieces as mentioned they're not actually used in game just help us build stuff then we would have the asset packs they are the the collection of files related to in-game assets they include stuff like the set up of in-game assets you know any moto files or smile materials presets everything included the in-game assets themselves modular kit files if you have any textures that are intended to be blended together this is like an asset pack for example if you have like a modular pipes kit the ESSEC pack would be the file with all the pipes but also any files used for baking and the painter files that sort of stuff what's important here is that these two concepts on tie together you could have a many components being used to build your assets so this is all awfully abstract so we'll actually look at how these two textures were built to provide some context so they went through this general process we started with the sculpt we then made some medium resolution versions of these I tell all the textures then they actually went through a simulation in modo and this was just to help clicking and and try and give some more believable results then it went into designer where we kind of tied it up I did a few extra bells and whistles so here this would be what the component pack is this is the acid pack so here are the the actual sort of components that we used that we're going to have a look at and these first started out in modo and as I mentioned before they wanted to be on clean numbers so I them so the bounding boxes are all you know nice whole numbers and very easy to work with they then went into ZBrush to get sculpted they're very quick you don't really need to a lot of detail since design is going to do so much of the work for you but since we knew they were going to be simulated with these high pulleys are just too heavy so we then built these medium resolution versions and these are the ones that we would actually simulate with instead they were just decimated from ZBrush and you can see despite being relatively low poly it's it's totally fine because in the end these will get baked down to a 2k texture or less so most of the detail will get lost and indeed designer will then you know fill that fill that gap but will be what we did do which was super important was at material IDs - these meshes it became very easy to add materials and designer later and then these were textures as usual they were just Auto unwraps problem from modo and then baked from the high poly and textured and sign inside painter we can actually have a look at the the painter file for that [Music] so these were the assets and I just want to highlight here that there really wasn't much time or effort spent on texturing these I have a base layer here for the specular which is just some values that the engine expects but from here I just start pulling in smart materials or base materials that are already part of a substance painter and then I'm just using the material ID to apply the mask but I really did nothing that indeed this this brick surface actually I built in designer specifically for this asset and this gets reused quite a lot going forward but the rest is very simple still overlay with a sharpen and then there's some edge highlighting here with a custom node which I built also in side designer okay so I don't videos aren't working too well so here I have a preview of the kind of the process I went free we're simulating the debris pile the first thing that I'm really doing here is is I'm just kind of duplicating all the meshes down just to sort out my ratios is just how moto expect your when you splatter them down but the idea here is that I start with the larger shapes first and then work my way down to the smaller shapes I do this by just scaling them down and lifting them up and doing a simulation the idea here is I want to do the simulation in these kind of layers just because if you simulate hundreds of these assets on one area it becomes very heavy so doing them in layers just makes the load a little bit easier but what you just saw there was to make the the asset tile I just delete one sides and then duplicate over the other which makes the the meshes tile and then there were some gaps here which I didn't really like so I deleted them and now I'm making it tile again I'm having some problem making selections here but here I'm looking for stuff which I know won't bake particularly well so I'm because any of the meshes which kind of fell really protruding too far up on the texture I'm kind of looking to something generally quite flat and once I'm happy without I've been to another layer of the smaller stones and we'll skip ahead a bit because the process is very similar but I go through and do a few of these layers and then when I'm done I just apply all the textures that were baked out of painter and then I rebate them down from modo and bring them into inter designer okay so this is what we we ended up with outside of outside of modo when we baked out and brought into designer so this is this is the height map straight the straight bait from my map inside designer we first started by adding a bit of like edge and surface detail and then a simple ground just so it's not flat and then we start filling the gaps by adding a few more stones with another layer is here's another layer not sure how well this is coming through but we added some splinters as well finally a bit of dust so this is what we started with and this is what came out from and this is the work that designer did and then this process was very much the same for the diffuse this is what was baked out of modo we add the grounds and then we start adding in color information for all the stones here's the wood splinters the values were a little bit dark so I lifted them up I wanted the bricks to pop a little bit more so I added some here this is the material inside the brick some dust called out the edges a little bit some paint on the woods I'm kind of like speckled dust so this is what the final diffuse look like and we can jump into the designer and have a look at this file as well so here you can see these are the input maps from from modo so we have our height with Auto levels just to fix the height range and then we have our ID map generating a whole bunch of Basques which we'll use later his our diffuse here's our gloss information so this this chunk here is where we where I first to find the surface detail and it's it's just a bunch of black and white spots you know added on top a slight blur it's being masked by the AO and I add a little bit of on a very low value on top I'm sure this is all very familiar to everyone but here is where we we add the stones what's quite important here is I have this little note here which we call a person notes and we'll have a look at what these are and how they are built a little bit later but they're being plugged into the tile sampler and we're using the mask to determine where they should spawn this is them blended together with another custom node to control the the height blends and what's different about this one is it just uniformly adds the height easel on top this is the note that will look at building at the end of the presentation then the the next layer just uses the the AO to derive where the stain should populate so they only appear in the crevices and this gets done for a few more layers you see we've added all our stones now in the gaps and then we add the wood splinters it's the same process we have another one of these Atlas knows sort of wood splinters these are these meshes were actually built in Houdini but you'll see that they are they're just extracted out into images into this Atlas node and then we have finally just a little bit of the dust on top and that was really it generate on normal and AO map the diffuse is also a similar process so we start by taking our input front or sorry our output from modo I then run a gradient map to give us a kind of base color for the ground and then I start layering in all the different stones as before here I'm actually using a chronically concrete material which I believe comes stock with web designer so here I'm being super lazy again but I quite like color pickers so this I prefer to use the color match node where I can instead of the HSL node just because uh yeah I like I like being able to visually click with this thing but it's using all the same it just blends between the mask from the blend so any only masks the new stones which are added so this happens a few more times for each of the stone layers and then the wood splinters this wood texture just came from it was somewhere in our library I'm not exactly sure who the author is but it it was in the machine games library so I just stole that and then using another color match node here which is what I use to pop out the brick colors a little bit and the inner material is some dirt and dust and then we called out the edges and here's here's where we add the the wood paint and then a slight sharp and just tidy up here the values a little bit and here's that speck of dust on top and for the for the glossy was very much the same it's it's here's a here's our concrete and we're just blending in using the same masks and I'm just using the same concrete for for each of them with different values all right okay so from this point making variations becomes quite easy we can just expose some of the there if we expose the input slots and then some of the settings on that original graph that you saw we can then just do another simulation in modo and then plug the outputs from that into the original graph and you have an entirely new variation the and because we've been setting up the ID maps and baking those out from modo it's also quite easy to make variations of different materials so here I have the input maps coming in from from modo but instead of using the concrete we're now using a plaster but otherwise the graph is is the same as what you saw and here's two examples of the plaster that we made so in these particularly two it's again a new simulation in modo but we've pretty much the same the same graph we've exposed in inputs so just to give a quick recap we we started by building a bunch of component meshes with all those small concrete and brick assets then we use them to build a bunch of debris textures it can be quite cumbersome going backwards and forwards between modo to do these simulations but to give you an idea that that time actually showed I showed you was there's only 30 minutes work but remember the whole point of that was just to really reduce clipping so not all the textures are going to need it and really you can spend most of your time as a designer for a lot of textures but one of our main goals was to keep things consistent so we can look at another way now of reusing these component nurses it meshes in the form of these APIs nodes so these artists knows the idea is to basically generate a atmost texture set crop out the images and then just convert that into a nice convenient load for the bricks I just laid them out in modo and baked them down and then these are the textures I baked out what's important though really is just these textures it doesn't really matter how you join it generate them they worked really well with scanned data for example which have full sets of textures but in this particular example I just picked out an ID map a height map and an alpha I actually found that doing the crops like live in the graph was quite performance heavy so instead I run them through another substance graph first which generates a whole bunch of crops images and then I packaged those cropped images into into another graph to just give me a selection side which just makes everything a nice package on the user end with a little bit of scripting I haven't done this yet but this would be a perfect time for the automation toolkit so just play all through this entire process but we can take a look at sorry I'm sick we can take a look at the graphs for this so this is where we take the images in and do some crops so here you can see I've got my my ID map baits out my alpha and the height map and here is where we actually do the cropping we can have a look at we're not going to go through the math because frankly I don't know if it's the efficient way of doing it or not but it basically just crops the image down and it's tied to these selection these parameters so you set a grid size and then you can select which which grid that you want we then dilate the the pixel values and then we down scale the image to something a little bit more reasonable and this just is a repeat for the channels then give this a second to load so this looks way scarier than it then it is but this is basically just that that grid graph with a different select value for each and those are then set to output and the reason why they're so so many is just in case I needed them but I think I think in the case for the satchel node I ended up using six or something like that unless you so once everything saved to the outputs I then just plug them all into a multi switch which then just packages of them up so I can then just put expose the input selection and then we can have a new node here if I just make a new graph and direct this in we can now see that we have all of our bricks on on a nice slider here and it will say house matching height data as what is the ID map so with this Atlas node I actually used it to make all the the wool textures and then being in site designer it's also very easy to make variations so in practice I actually found that I didn't quite have enough variation with the sculpted bricks alone so I combined them with with a more traditional kind of designer based setup and blend it between the two I know this image is super small but all you really need to see is that here is where the the Atlas node is being used here is a more kind of standard brick setup and then I just blend between the two so while we're talking about bricks we can take a look at the wall modules they were built with a system which I'm sure is familiar to most of you here but it's basically some kind of wall mesh with a cap that sits on top like this in the case of Manhattan we actually built three angles of these cap meshes using the medium Reza's and then we baked them down the idea here the idea here was just to combine them together and build up more complex shapes but it's essentially a compromise between modularity time and unique detail but since we know the Texel the target Texel density we know how many bricks tall each one of these measures should be so it makes making the caps very easy and making it match with the tie double texture underneath also very easy so we can take a look at how these wall mesh meshes that she looked inside modo and apply to the game so here's the here's some of the woman meshes in modo and you can see that this is where the cap mesh sets so let's do another quick recap so we made one component pack so far off the sculpted bricks concrete and wood we made a bunch of we then made medium resolution versions from that with that we made some terrible material sets and their variations and variations were really quick because we just exposed some inputs and the parameters and then just plugged in the new outputs from from modo we don't even made plaster variations by repurpose in the ID maps we made wall tile herbal textures by repurposing the the components into atlas nodes and then we even found a solution for our damaged brick edge by using this cap mesh here everything still matches because we've been reusing those same components right from the start what's great here is that every time you build something it's it can potentially be added and expanded into the library to expand the tools so let's have a look at these debris piles in particular these are kind of smaller debris powers they can be full of a sort of filler meshes they're intended to be very small when like highly reusable they're there to sort of plug holes and like pile up against things and feel dead space that detail that sort of stuff they're directly in the playable space all the time so they really need to match Texel ratio and and to fit onto one texture which really limits the size that they can be I think these particular ones roughly two meters but the process for this wasn't really very different from the side of all textures they were assimilated in modo but in this case they're using more than one component pack in in the case of the larger columns and the car seats and stuff but they were similarly did modo and then a low poly was built and unwrapped and then they were those textures were then exported and brought into into painter and finished off from there it can be quite time-consuming and building all of these components so it's really important to reuse other people's work wherever you can so before starting these like I walked around the studio just pestering everyone for high poly meshes for just junk and debris I could use so let's have a look at the the painter file for this well should have started loading this one earlier anything so these are the baits that came straight out of modo and I'll run through the layers here what was that it but it was very similar to the components which you saw before where I'm being super lazy and just throwing on base materials this was actually the the material the you looked at earlier which forms the base of like the underneath surface and then I just start layering in some different types of concrete's again using the ID maps we have a color selection here it's just picking from the ID map and I'm really I'm the only tweaks I'm doing is some color tweaks other than that I'm not really doing much painting here's our brick again and this was using the same base material which I built for the the components rough bricks and some leather plastic concrete some fabrics color tinting he's a specular for the for the engine and we had some some metal in some dust some dirt to kind of tie it together so you can see that it's really the kind of the normal map and the air that's really doing the work here most of it's very simple base materials okay so again I do a new simulation and we have an entirely new asset and [Music] because I've been using the same components they have the same material IDs and same colors so they can reuse the same painter file so once you have the one pana file this automatically gets textured you can notice here that there's actually a hidden traffic light this is actually the in-game putty low poly mesh so because I didn't have access to the high poly mesh for this so we can look at an example how this sort of comes together I think this debris part is roughly eight meters or so across but it's first started off by defining some volume for the pile I then add some debris piles and sorry add some some new debris pieces and like this is another component kit right here's another component kit here's our filler meshes that we just showed and from here is it's basically a balancing act between performance and detail I think these debris powers went through an optimization pass to remove all the the back faces that you end up with so now we can look at building some of these the high plane custom mode so here I've got like a quick preview to show you kind of like what the note does I actually found this note from Bruno of substance share and it just takes a cross-section of your height data so it's it's quite nice to visualize what's going on but here let's say we have a flat gray gray to represent our grounds and because some stones here which range from as you can see from 0 to 1 7 5 and 2/5 typically when you blend them together with something like max lighten like this is great but you know the the stone which is 0.25 is now being lost underneath the ground what this this uniform additive blend node does is it just adds the stones on top of the ground layer and then gives us some nice controls for the intensity and the depth of the stones and then also if we have some noise in our ground there's also a control here to determine how much of the surface underneath should be should be determined so let's just look at how this was built together so let's add a flat color to represent our ground I actually want to just grab these so we can visualize it don't know where my delete button is I know how to use computers okay so let's take our flat ground something like point five so we first want to add some stones right so let's just blend these together but instead of blending them with light and we'll blend them with add this is great but now you can see that our stones are actually capped because these values are too strong right we're adding writing a whole zero to one on top of 0.5 so halfway through this stone it gets capped so we'll add a levels here to give us a control over the intensity of these stones so now if we adjust this slider you can see we have a nice control for our stones so let's just expose this record it's something like intensity what's going on there so now we want to be able to control the depth of the stones so we can then just subtract the value from this so instead of doing it all in function graph we'll just we'll just use this flat color to represent our value instead and since we don't need all of the pixels we can then just set it down to something like 16 by 16 my small number and make sure this is set to parent so that it doesn't inherit the small number and we'll just set this to subtract so now we can see as as we subtract to value the stones are pushed underneath which gives us a nice way to control the depth of the stones so let's blend this together then we use a high plane for this blend it with our ground so let's expose now the the subtract value and name that something like depth so if we take a look at our cross section here and then here we can see we've got our nice intensity control and then our depth for the stones as well need to make sure that our contrast is set to one yeah you can see now the stones are going underneath but there's a slight problem with this if we say we reduce the depth of our stones but then we want these stones to be a little less intense we kind of got a problem here where the stones are sort of disappearing underneath and if we have a look at this cross section you can see what's actually happening so as we reduce our stones and then lower the intensity the stones are being reduced from the lowest point what we actually want to happen is them to be the intensity to start being reduced from kind of the midpoint okay so we want our intensity or depth value to be relative to our density value so we can fix that as well by just multiplying our depth by our intensity so we can get the flow value for intensity so that as the output so now if we have a look what's going on as we reduce our depth value and then lower our intensity the depth value is also getting smaller at the same time so the end result is is a nice clean depth adjustment but also an intensity control in a way that you expect so this is great on a flat ground if we have something more noisy the ground just throwing up early noise here make it not so strong you can see that now our stone because we're just adding the stone information on top of the ground it's all over the place so to fix that we can add a blur and use that as the base information for our for our stones so now you can see that the higher the blur value the more smooth the stones are if this failure is really high the stones are effectively the the original data and not respecting the high information underneath is when it's smaller the height data it shows through so we can expose this as well and call it um actually could it I think feature size or something like that but we also have another slight problem here where as you can see with the cross section as this the stones blur we're also blurring the height map and it's it's being blended through in places that we don't want so what we actually want to do is then mask create a mask for the stones so we can just take a stone information create a mask for that and use that as our mask for the high plant now you can see that the the stones are only being or the height data is only being used for the stones in the places it needs to and then from here you know we can make this as a nice clean node we can create an output for the height something like [Music] use the mask this this height blend those great because it automatically gives you a mask for you let's call this one mask and then let's change the height data to use an input greyscale instead let's give this a save awesome node so let's make a new graph here and see if this is working I really need to find where the delete bonus I should actually go through a name this properly so let's delete these outputs because we don't need those there's actually a really nice function in here just to clean them off this stuff we're not using so for the attributes for the for the mesh the school is like height blend we'll give it a category call it GDC for now and I'll show you what this means in a minute and then give it a nice label cool can even give it a nice icon that's why not so we want to make sure that is being shown in the library and then here you can see I've added this GDC thing and as the the file gets saved this GDC filter if we have a look it's just reading the URL path for shelf and also category names so as I set the the categories here they'll automatically pop be populated into this graph so now I can just drag it in we have a nice clean height blend mask high blend mode let's try this just working yeah there you go okay all right and then that's it so if you have any questions please come up to the microphone hi hi and I wanted to ask about the the blending of edges of the Dupree spoils like when they collide together they should like how do you tile the edges of the degrees itself and you're gonna have to speak up I'm sorry okay can you hear me now yes okay so I wanted to ask about how do you blend the edges of the DePriest pile together like especially in the engine do used like alpha masks or something like that so you're talking about on the debris pile yeah so how yeah I mean in the mesh itself like when you do a mesh and bake it okay yeah like when you use an actual mesh I make it like this mesh has like a very jagged edge how do you blend this into the environment so you're talking about on these debris piles yeah yeah so we use my own explaining to to kind of blend the same kind of material so we would blend these bricks up into the like as the mesh kind of sits in but it is a hard scene in this particular case it was fine because like the texture is so well the information and texture so noisy that you really don't notice the seam so but yeah there is a seam okay thank you yeah first things great presentation and your work is amazing really it's a really nice work and I was wondering what are you doing when you are doing simulation with Moodle the result baked is not something that is repeatable you can't type this texture so do you have extra process to make it time before baking no so so it gets tired see if I can show you this video so I just to understand the question was how do I make the simulation yeah yeah exactly when it's simulated it's not able and at the end of the simulation so I'm not sure where it is you copy it's that moment you could be some parts but here here I'm just making a selection from one side and I delete it and then just copy over the other side okay and that makes it tile okay so yeah every time I do do a layer I make it tile okay and my last question is if you have kind of a node like simulation node directly in substance designer won't you be happy of this like my work I just love that yes it's like it's missing one because there's a lot of people that are yes you're just only using model to do the basic shapes because you had to do this postage adi like those shapes so okay let's say this to the in reality in practice the process really isn't that bad so it is quite cumbersome but this was like 30 minutes work so if you if you do need to go back and make adjustments it is quite quick so all in all it's not a bad process to have to actually go through okay thanks a man hey thank you very much for the talk Thanks um for the smaller like 2 by 2 meter modules that you are planting around to plug holes and such mm-hmm so after you have your simulation in moto you end up with a really porous mesh I was wondering what is your quickest way that you found to generate a good clean low-poly that's gonna work for that yeah so that that process is quite challenging I found the though party was was decimated in in ZBrush but I did go through like making some smooth versions of the debris power you know we just like to smooth brush and kind of I ended up so kit bashing together different decimated versions yeah that process was quite challenging because the shapes aren't easy but generally they were came from decimation yeah thanks very much no worries thanks super awesome what you're showing do you have references or resources that you particularly think are great for learning the details of really kind of getting into understanding how to harness the power like the way that you are well for me actually the leg rhythmic YouTube tutorials is kind of where I started and then I actually did a mentorship with Josh and that was also super helpful but I don't know there's just there's so much free kind of like resource online there are I just wonder if there were any other ones that stood out but those are two good references to begin with this is saying again sorry just other ones that stood out that you don't kind of go back to regularly whatever else you can think of there isn't really anything that comes to my mind right now but I guess yeah Josh and Daniel are really good resources Chris Hudson as well I found really really helpful with your this is great work like super beautiful question on the simulation portion is what drove you to use moto / I know you've mentioned Houdini or any other simulation packages did motive provide you something specific and was it an intentional choice or something else no one - yeah well I use murder just because that's what the studio uses I was using 3ds max primarily before but I can definitely say up a further simulation tools in modo when you're actually doing the simulations if you saw from the video you get a you basic get like a progress bar and it all happens in the background so you're never actually having it live so it's a lot more stable I suspect Houdini is great for this and my reason for not using Houdini is somebody because I don't know it yet so that's something I would love to love to try out on man thank you no worries okay oh I think I think that's it so if you have any more questions and feel free to contact me I've always thank you very much and Joe YouTube

Channel: Adobe Substance 3D

Views: 27,551

Keywords: Substance, Substance Painter, Substance Live, Substance Designer, Sustance Source, texturing, texture, textures, ndo, ddo, quixel suite, megascans, painting, unreal engine, unity, pbr, physically based rendering, mapping, 3d art, materials, procedural, blender, generation, mari, the foundry, autodesk, maya, Allegorithmic, #gdc18, #gdc2018

Id: NBGDo7Y28FE

Length: 55min 55sec (3355 seconds)

Published: Tue Apr 17 2018