Discover the Adobe Substance 3D Apps

[Music] hello everyone my name is wes and i'm the creative producer for the art and development team i want to welcome you to this presentation on our new substance 3d collection with the team we will present more on what you can expect from each of the apps in this substance 3d collection now let's dive into products and libraries i'm sure you've heard of substance source well now it's time to discover our new adobe substance 3d asset library which provides incredible digital content that is much more varied than the materials that we provided thus far and not only materials nicholas our head of content will walk you through all the amazing new content that is now available hi i am nicolas and i am excited to introduce adobe substance 3d assets at b's library of premium 3d content today over 11 000 assets are available on the platform together they make the largest library of parametric content for 3d it is a wide range of premium content adapted to professional workflows designed to help creative produce top of the class artworks and the assets are compatible with most of the apps in the broader 3d universe there are three major types of content on the platform let's look at them first substance materials materials are used to apply the color the finish and the patterns on an object in 3d but there's something more to substance materials they are parametric and each parameter in the material is one more visual property that the user can change color glass level metallic relief and patterns can all be changed the result is a dynamic asset that can be tailored to meet your design intentions this means that every substance material is in fact an infinity of unique variations or its own mini library of textures these materials are created internally by our team of expert technical artists with them and their field of expertise in different worlds of 3d we produce content designed for artists in the world of entertainment industrial design architecture fashion automotive and much more sometimes we reach out to some of the most talented artists from the substance community and we give them free reign to create a signature collection for the platform their content is an incredible source of inspiration for everyone and a first-class look into the mind of the best artist and designer out there in the material category you can also find a large collection of parametric decals and atlases which are details you can overlay on top of materials like flowers pebbles cracks or paint splatters it's perfect when you're fine-tuning your asset in painter or your scene in stager since we are talking about scenes there's one thing that is an absolute must-have for a scene 3d models their objects props or accessories and they're a great way to give context to your hero object and create a strong narrative to your composition but a finely detailed model takes time to craft and for something that's going to be part of the background it's not worth it better spend your time on the design of the central piece of your artwork so we decided to give you a large selection of 3d models there's over 2 thousands of them they are here to furnish interior spaces fill the shelves of retail stores populate game levels stage product lifestyle scenes and much more and to make your life even simpler they are ready to texture no preparation is needed the fbx file format can be opened in painter in stager or in any other app of your 3d workflow the mesh density of the model is normalized so that it will match a variety of workflows and will still be great for real-time usage without compromising on the quality finally to complete your 3d premium library we are introducing another type of content joining materials and models are lights or more accurately lighting content lighting design in 3d is as important as it is in photography you'll need to use it to read correctly the volumes of your composition to highlight the details in short to set the right mood to your final image traditionally creating hundreds and thousands of images of a product portfolio to feed online retail platforms requires to set up expensive photoshoots and that involve heavy logistic to get everything on location doing the same in 3d will enable huge time and cost savings and it will open new grounds for creative freedom as well as real scalability for production our team design all our lighting content to be premium that is to say to offer the same quality and experience as a professional studio lighting setup but in a digital space and that virtual environment allows more freedom for creative explorations environment lights are high dynamic range 360 degrees panorama images that illuminates the 3d scene like substance materials environment lights are paratrig it means that you can adapt the lighting to match with the scene and objects it works exactly like it would in a real studio you can change the exposure the temperature and the intensity independently for each source of light in just a few clicks then there's back plates there are high resolution images that feel the background of your 3d scene on the final rendered image what's the real game changer though is when you take environment lights and back plates and bring them together combine the create and environment stage to create this collection we partnered with expert photographer to design studio light modes well that's all for now it's your turn to dive in a playground the ever-growing library of 3d content is available for you to play mix experiment assemble and customize to meet your own design intentions and we can't wait to see what you'll create with them and stay tuned we're already working on the next release of 3d assets thank you nicholas for that walkthrough of the 3d asset library what an amazing library of content for creation i'm especially excited to have access to all of the mesh files now let's dive into substance 3d painter with valeria product manager and technical artist who's going to walk us through the updates as well as a demo hello everyone my name is valeria girontopoulos and on behalf of our team i have the pleasure to give you a brief overview of all the things we've been working on for the past couple of months first thing you'll probably notice when opening substance painter is the new asset panel to give you a bit of a context we've decided to freshen up the look and feel of this panel and we figured it would give the users an opportunity to navigate easier in it and since we are right now a part of a bigger ecosystem we've decided this was a good opportunity to align with our substance 3d siblings one of the new things that we've added to the panel are the asset type icons now the default selection as before are material but we also have in order of appearance smart materials smart masks filters brushes alphas textures and environments now note that some of the old categories are grouped together so for instance if you're looking for grunges and procedurals you'll find them both under textures another cool thing that we can do is browse through multiple asset types at the same time for instance i myself find the need to look through both materials and smart materials together and now i can do that by selecting the second asset type with a control click i can also narrow down my asset panel to a very small width which allows me to still focus on my viewport and have the panel open without actually having to close the whole thing entirely another new addition to the asset panel are the breadcrumbs which allow you to quickly navigate through your assets the default selection are all libraries but if you wanted to browse only through your imported assets you can simply go here and click your assets as you can see it also allows you to access your project files here that is assets you've imported to your project or for example this is where your bakes are going to be stored and as you can see they're stored by texture set which allows quick access and sorting now the breadcrumbs are a reflection of the existing folder structure on your disk sometimes you might not want to have a quick navigation feature and you would want to view your entire folder structure which you can do through this newly added panel here which we call filter by path and it is accessible like this if you combine your search with an asset type or a keyword you might see that you have no results and your folders turn up empty this is because we've also added a button to toggle the feature of not seeing empty folders within this panel next to filter by path there is another new button this one toggles saved searches and here you can easily save your most frequent queries if i go to my presets folder here you'll see that it contains different types of assets however i would like quick access to photoshop brushes and so by selecting this location and typing photoshop i can save this search so it can be quickly accessed afterwards the saved searches take into account location keyword and asset type which allows you to quickly create and access your searches on the fly a small but handy addition to the asset panel is the list view for thumbnails which allows you to have a more compact view of your assets staying within the realm of the acid panel we'd also made some improvements to the thumbnails and now thumbnails should appear similar across all substance apps we had also added displacement generation to the thumbnails so now if you actually import a material that contains displacement information you will be able to view it as is within your asset panel without having to apply it substance archives which have an embedded thumbnail will now be read by painter and displayed in the asset panel which can come in handy with filters and generators which have custom illustrations of their effect or even with materials which will save some time as it is much more performance friendly to read the thumbnail that is embedded instead of generating it anew speaking of performance and optimization this feature may appeal mostly to studios now you can customize your ram budget for thumbnails through an environment variable additionally there is an overall boost of performance for the thumbnail generation which means that it should be two to three times faster we had implemented a brand new shader in our echo system called the asm adobe standard material the advantage of this shader is that now across all substance apps your materials will look the same another really cool thing is that you will no longer need to juggle between different shaders and texture sets you can use several different effects in this one shader without actually having to switch you'll find that asm is now part of our project creation templates it supports several advanced features such as anesotropy sheen clear coat and we've added a new method of subsurface scattering generation let's take a look in more detail so let us take a look at anisotropy first usually that's the channel that's used for brushed metals and hair here in my project i'm going to use it on this metallic part here now first thing i would like to do is set up a fill layer which will use anisotropy and i've done so already and named it as such and the next thing we're going to do is to add the appropriate channels just like with the old shader so we'll need an isotropy level and anisotropy angle which will pop up here we're just going to activate them here currently our anisotropy level is at one and that's how we know that it's going to work as for the angle we'll need a map and here i'm going to use this procedural map that we already have in the painter asset panel and in the tropic noise i'll just drag it here and for the moment you do not see anything appear in the viewport that is normal it's because i haven't activated it in the shader settings yet so if i go over here see i've got my ism metal rough shader selected and then i scroll down here to base surface all i need to do is click enable anazotropy as you can see my shader has updated in the viewport so now i'm just going to show you the difference once again now of course you can regulate your endotrophy levels with the opacity of the layer or anything uh like that depending on what you need now let us play around with scatter if i go to my layer stack as you can see here as before i've already added a fill layer which i renamed scattering where i'll only have my scattering channels enabled if i go to texture set settings you will see that i've added the two that i need already scattering and scattering color let us take a look at the scattering one first so right now it's at zero so nothing is really happening but if i go all the way to one you'll see that my plastic part here starts to interpret light a little bit differently it starts to look a bit more waxy now remember i'm seeing this in the viewport because i've enabled my scattering here in shader settings as well as the display settings both should be enabled if you would like to see the result immediately so back to my shader settings you'll see that we've added the new way of scattering type here you still have translucent skin available if you so wish but for now we're going to take a look at this so right now my scattering color is based on whatever my default albedo is as with this mesh the default albedo was the first white ish whitish gray we're going to stay on that but if i want a different scatter color i can switch to scattering color channel here and enable the channel for scatter color here right now it's on white but i can set it to something a bit brighter so we can see it better right now it is pink now this what is interesting about this is that if i enable my base color here let's switch it also to something a bit funkier and then i add another channel called translucency and within this channel i add a gradient it will allow me to interpolate between base color and scattering color there is a lot to experiment with here i think and you can achieve some pretty cool effects with both now just to demonstrate the other two options i'll switch back to default albedo so right now my channel is going to be based on whatever the albedo is let us switch off the color here and translucency we don't really need that because i would like to show you what the redshift and the riley part do redshift will allow the red light to scatter deeper within the part that is designated for your scattering so as you can see as i switch the slider here from zero to one my plastic part becomes a bit redder which is pretty appropriate for skin or any kind of character texturing now for riley it allows the orange light to penetrate better than blue light so if i switch it here you might see that my plastic is becoming more orange which may be more appropriate for artificial objects another novelty for painter is the sheen channel for those who are unfamiliar with it is commonly used for fabrics it gives the softness fuzziness effect on the surface so as before i've set up a fill layer which i've renamed sheen which i'll use just for my sheen channels and here i will add the three channels that are appropriate for sheen sheen color sheen roughness and sheen opacity so as i've mentioned with clear coat you do need the sheen opacity channel as it will really allow you to display it in the viewport and it should be set to one now let's go to our shader settings and activate it here so right now it is set to white let us set it to something a little brighter so we can see it better let's set it to purple here so you can see that my plastic here that i'm experimenting on is now slightly purple just on the surface as it is appropriate for sheen you can play around with the sheen opacity setting if you want it to be less or more purple or the sheen roughness if you want the roughness to be slightly different as many of you may know painter takes height information and converts it to normal detail as it is just easier to work with height as it is in black and white so what we did is add a new method of conversion called sharp which you can find in the texture set settings this new method is more precise when it comes to high frequency and hard surface details especially when your material is a tiling one we also made some updates to our auto unwrap feature if you open up the unwrap option window you can see that you can now select uv island orientation it allows you to orient your uvs in the sense of your mesh which could be useful for more rigid meshes like planks or doors for example so textures flow in the same direction auto unwrap also works with uv tiles now there is an additional setting in the same window here which will determine the total maximum number of tiles in your project the minimum number of tiles should at least correspond to your materials which means that you should have at least one tile per your material some cool new content is made available for this release you should be able to download over 50 new smart materials from substance community assets now we didn't add it to the asset panel directly because we figured it would make the installer just a little bit heavier instead however we did add a couple of new environment lights which you can find in your asset panel as we're part of a more global initiative now we have the opportunity to actually localize our app into several different languages so now you can find this option within the settings window which you can find here and you are able to choose from english french german japanese or simplified chinese i'd like to thank everyone for joining me for this quick overview of painter and most of all i'd like to thank the painter team themselves as without them it wouldn't have been possible at all enjoy the rest of the session and back to us thank you valeria for that awesome demo i'm very excited to be using the new shader system in substance painter next i'm going to give an update on substance 3d designer this procedural tool has evolved and we are thrilled to announce or showcase the new substance model authoring graph to prepare this demo i had the help of my colleagues luke and celine so thank you luke and celine for preparing the content now let's jump in and take a look i'm going to start by creating a new substance package here i'm going to choose the new substance model graph and then i'm going to link in a 3d mesh i'll grab this leaf a and b and we'll click open and so here i'm going to grab these two mesh items and just drag and drop them here to my substance graph and here's an example of what these assets look like now i want to be able to switch between these two assets so i'm going to grab here a select node and then i'm just going to hook this into the source 0 and 1 input and now i can actually switch between these two assets here okay so first let's do a deformation we're going to do a bend so i'm going to grab the bend node and we'll hook this into the geometry and now if we take a look at the bend i can adjust my angle however i want this bend to actually take the size of the geometry into consideration so to do that i am going to grab this measure bounding box and then here for the point max i'm going to break this into the x y and z vectors and then on the bend i can use this top limit i'm going to click this button here to expose this top limit as a pin and then i'm just going to simply use the y as the value input so now the bend is actually going to work based on the size of the geometry so now that i've done a deformation i actually want to recompute my vertex normals so i'm going to do that here with a mesh cleanup and then here you can see that i can just enable the option and we take a look now we have a nice smooth mesh okay so the next step is i'd like to be able to scatter this leaf on a curve so i am going to create a curve primitive node and so here you can see we have this curve i'd like to bend this node as well so i'm going to come in here and grab a bend node and this is going to be the geometry i want to bend so of course here i can go in and bend this node however i need to also make sure that i take into consideration the size or the length of the curve so here i can actually expose the length parameter as a value in the graph so we'll do that and then once again we'll jump over to the bend i'll create an input pin for top limit and then just plug this guy in so now you can see the bend is indeed taking the entire length of the curve into consideration so here i'm going to want to be able to probably expose this bend so i'm just going to create a frame here just to give me a visual cue of that same thing here with the bend from my leaf which is let's create a frame here and then also for my select we'll just create a quick frame so now what we're going to do is we're going to scatter the leaf on the curve let's go back and just set this this blend here to zero and then i am going to just simply grab a scatter on curves and we'll go ahead and just hook this up and if we take a look you can see that indeed we are starting to scatter here the leaves so we can get a better idea of what we're doing uh let's grab a merge node and i'm going to take here my curves and then the actual curve primitive and here you now get a more visual cue of that we are scattering that geometry here on the curve all right so we can go over to the curve and we can increase the actual copies amount we can also play around with the padding because i want the leaves to grow towards the top of the stem so what i'm going to do is just come over to the scatter curves i'll create a little frame this is going to be some parameters i want to tweak a little bit later on and then also i'm going to jump over here to my curve primitive and play around with this end spin so i'm going to set this to just a value of three to kind of get me going all right so uh now that i have this in place uh one of the things that i want to do before the scatter on curve is i want to set just like a preliminary rotation for the mesh so i can do that by just using a transform node here so we'll plug in a transform let's jump over here to uh the y rotation and i'm just going to set this to a value of negative 25. now that we have this in place what we want to do is i want to start to work with some random values so i'm going to grab here a jitter instances node and let's just hook this up into my network and we'll come over here to the jitter let's set up random rotation for the x so on the minimum i'm going to set this to negative 360 and then on the max we'll set this to 360. and so now again we can scroll down here towards the bottom and also introduce some randomization here to our scale so i'll set the min and max so just a little bit of extra randomization we can also come back to our scatter on curve and like i said play around with this padding so now that we have this in place let's now start to create the geometry for the stem so once again i am going to grab here a curve primitive and this time i'm going to set the the primitive type here to ellipse now i want to make sure that i can scale this uniformly with my length and my width so let's expose the length as a parameter and let's expose the width as an input pin and then i'm just going to tie these two guys together now for the overall scale let's just set this to something like say 0.65 this is going to be that primitive and now i'm going to actually sweep this curve so i'll grab the sweep curve node and let's come over here for the um curves to sweep we'll plug this into the first input and then let's grab our curve that represents our stem and we'll plug this here into the curve to follow and so here you can see that we've created that stem geometry now so with that in place we can actually just hook this into our merge and if we take a look here we have the result of our plant now we can just go back and start to kind of play around with some of our parameters so for example if we jump over here to our leaf uh let's take a look at the bending of the individual leaves so here we can just start to play around with this value we can come back to the bend for the curve and here we'll start to play with this we get a nice overall bend here and if we like we can also come over here to the actual select node and then we can actually switch between different sources so here we can you can see that we can get two different versions of this plant here in stager you can see a procedural foliage mesh in action this foliage asset was created by luke and ships with stager it is similar to the demo i just showcased you can see that the exposed parameters allow you to tweak and change the geometry very similar to how you would work with the substance material so here we can look at a more complex example that was created by celine here you can see that i have my 3d view and my 3d graph as well as my traditional substance material graph here and my 2d view towards the bottom so now i'll jump over to the 3d graph and i'm just going to play around with some of the exposed parameters so for example i'm going to increase the lantern amount and next i'll come over and adjust the wind control settings and because we can actually create our substance material graphs and apply those to the 3d mesh i can quickly jump over to my 2d graph and start to play with any of the exposed values that i have there such as the hue and saturation it's pretty amazing to be able to work with your 3d scene and the model graph as well as your substance material graph here at the same time next we have a tower created in designer this model was created by luke and there are various exposed parameters that can change the look of the mesh you can build complex interactions between objects you can see that changing the position and rotation of the chimney also affects the tiles on the roof the tiles are removed as the chimney position is updated taking a kit bash like approach here the chimney is swapped out for a different version next let's remove some of the roof tiles and take a look at a rendering of this asset using irae in substance designer you now have the capability to create procedural meshes as well as materials and as we showcase you can leverage the power of procedural materials with your mesh creations talking about procedural materials we also have new content for substance designer in this release we focused on ray tracing techniques applied to 2d textures there are some awesome new nodes to check out in designer you can generate accurate ao with the ray traced ambient occlusion node as you can see here before and after the parameters are the same as the bakers generate directional masks or compute simple lighting thanks to the raytrace shadows node the raytraced irradiance node computes accurately the illumination produced by an emissive map onto your material using the result of this node in your real-time engine will be a lot more realistic and finally the ray traced caustics node allows you to accurately simulate the interaction of a directional light and a liquid surface represented by a height map in combination with animated noises you'll be able to for example generate nice loopable and tileable sequences or flipbooks you might wonder if your rtx card can make a difference but you don't need powerful gpus to run these nodes that's because these gpus are good at tracing triangles whereas here we are dealing with pixels nonetheless the underlying math and accuracy is all the same i hope you enjoyed this look at this substance model graph it's really cool to see designer evolve and be able to create models now we're going to take a look at substance 3d sampler formerly known as substance alchemist i'd like to welcome baptiste senior product manager who's going to give us an overview of what's new in sampler the advanced scan based material creation tool as well as guillaume a technical artist who's going to provide a demo hi everyone i'm super excited to be with you today i'm batist product manager acceptance 3d sampler you might wonder what is sampler substance ready sampler is a new name of certain salchinist a lot of things happen so let's go back a few months ago to give you a bit of history in november 2019 we released the first public version of substance atkins and since we push great updates with feature like image to material ai power to create realistic material from a single image the 2d painting feature and a lot of new content and filters we received a lot of feedback and comments and for that we are grateful to you since last year we listened to you to the community and we decided with the team it was time to sit down and look we conclude it was time for a change and today we reveal all the work we have done with the team with this release we are refocusing substance 3d sampler on a simple mission create 3d asset from physical to digital it means that you can capture what's around you or browse huge libraries like adobe stock to create and get the digital version of your assets enabling quiz sampler to achieve this new mission we define an aggressive roadmap and we are very happy to share the results with you today the third challenge that you will notice is a ui change we are redesigning the wall user experience and user interface to be centered around the asset creator so let's do a quick tour of the new ui exit the explore create inspire and manage tab the world ui is now centered on the 3d viewport to let the artists focus on his creation we are introducing a toolbar where the artist can find his favorite tools like the clone stomp here you can see the default layout of sampler we are introducing the capabilities to customize your layout so for example you can undock panels move them to a second screen or dock the panel back on another panel and tap between the two like this you can create your perfect environment to create in sampler another change on this new ui is a combination of the resources and the filters panel in a new panel called the asset pane on the asset panel you can find all your starter content your materials and filters if if you want to access only the filters you can click right here you can also choose how to display your content in a grid or in a list on the asset panel you also have a new called your asset that is located in your document in this new section you can build your own libraries and import your materials your filter and images if you want to connect your own content you can click here and connect a local folder with all your resources i hope you will like this new ui and there is still a lot to discover once you will get your hands on sampler to continue on our mission to create 3d asset from physical samples we are extending the scope of a set you can create with some prayer so now with sampler you can create both materials and environment lights using the same principles as we did for materials you can create environment lights from a set of 360 images or editing existing ones with procedural filters with all the new changes and the release of the video ferrat adobe it was a perfect time to find a new name for substance alchemist to mark this new step and also to fit with its companion painter designer stager and modeler i hope you will like this new version and its new name and i give you a good ends with guillaume for the first public demo of sampler it will cover all the new features like the live edit in photoshop the new material properties like shin and coat and also show you some new content and improve filters thanks everyone and enjoy the demo thank you batis for this nice introduction i'm guilla mayer and i will introduce you to adobe substance 3d sampler we revamped the interface and on the top right you can find now the resolution of your project like in designer on the left you can find the project windows with materials over here and the environment lights over there we'll come back to the environment lights workflow in the second part of the video in the assets window you can find the materials and the filters with the new icons you can filter the content by material by filter or by texture if you come back to the root of the assets you can find your assets we can also rearrange the layout of sampler by taking and placing the window wherever we want into the interface now let's create our first material together within sampler i will just drag and drop this fabric photograph and use it as a bitmap now being part of the adobe's ecosystem we will bring more and more of interoperability between our softwares and the adobe creative cloud software now in some player we can right click on the thumbnail of our image into the image layer and edit it in photoshop photoshop will launch and now we can make any modification we wish inside photoshop then we can save the file and the image will be directly updated into sampler now let's drag and drop an image to material layer to create a material we can equalize a bit the geometry with the geometry equalizer lower with the ambient occlusion strength and the lighting intensity then we can drag and drop an equalized filter to even the surface of the material also what you can see is that into the override per channel section you have more channels to play with you can also play with custom mask or paint mask within the equalize now let's see the new feature inside sampler to better manage the tiling of the materials let's drag and drop a tiling and just trigger the 2d viewport we will use the base color to see the tiling now we can crop it like that and what we can see is that we have some issues with the alignment of the pattern we added new tools into sampler to correct these type of issues the warp transform and the perspective transform let's use the perspective transform just before the tiling and realign the left and the right part of the fabric just like that perfect okay now let's realign the top part with the bottom part with the tiling like that over here and what we can do is now put a what transform and what transform will work like the one in photoshop where you can warp your fabric you can put it just before the tiling and you can modify the position of the point to realign the pattern of the fabric okay and here okay now to complete the tiling i can click on show the seams into the tiling filter to better visualize where the seams are you can move around the seams with the threshold and add some smoothness also you can click on use mask and now you can paint directly into the 2d viewport to correct the path of your seam with a small brush you can paint and you will see that the seam will move along your brush stroke here i'm correcting some part of the seam so it can goes into the interstice of the fibers the combination of these three new tools will help you a lot to tile every type of material let's come back to the 3d viewport and we will see that we added small technical filters into sampler to help you to tweak some of the part of your material like recomputing the normal or tweaking your height or tweaking the brightness of your roughness without going into master filter like the adjustment for example if you want to do normal operation on your material you can go into the search bar and type in normal and you will find three different normal filters here the eye to normal can recompute your normal from your height and recombine also the bottom normal that you add from the image to material filter another new feature is the feel that can help you to create new channels for your material and what we can see is that we have a lot of new channels that we can play with over here it brings us to the most exciting news of sampler you can do shin now shin colors in roughness top coat specular edge color and anisotropic level and angle very exciting let's try it let's put a specular edge color and let's put a green color so it's really visible on the surface and if we bring a backlighting as you can see the specular edge color is now green so you can do silk fabrics by staying into a pbr metallic roughness workflow so now let's activate the shin we will go into the sheen opacity channel and put a higher value for the opacity we can also tweak the shin color and put for example a blue color and we can go into the shin roughness to tweak the value and adapt the falloff of the shin all these new shader effects are available into the real time viewport and we will add more and more of these effects in the future let's see a last small filter the brightness and contrast filter for materials here we can tweak with this filter the brightness of the base color but not only we can also choose the roughness into the channel selection and tweak the roughness of our material so here i have a more silky material okay i'm done with this material so i want to send it to painter we worked a lot on the interoperability between the substance ecosystem i can click onto the share icon and send to substance 3d painter if painter is running on my computer it will directly open the material into the shelf in 2 seconds i can drag and drop it and you will see that all the shader effects are kept because we are using the same material definition into sampler and substance painter this new definition is called the ism workflow you can see that all your maps are kept from sampler to painter let's come back into sampler and let's see now the environment light workflow you can go into your project window and click on new light and now it will launch a new layer stack you can also change the mesh and the default texture to reflective now we can better visualize the environment light okay let's drag and drop a set of photographs that we took with a ricotta camera and we can drag and drop it into sampler now we can click on hdr merge and sampler will create a hdr environment light now we can trigger the 2d viewport to visualize the map and with the t key we can disable the repetition of the map now let's correct our environment okay so first we can tweak the wrenches and then we can click on the top right on the filters and we will see that we have all these new filters okay let's click on the straighten horizon and we can see that we have two pointer that will deform the horizon we can move around the environment with the horizontal rotation and again break the pointer to straighten the horizon okay now we can see that the tripod is visible on my environment and to correct that we can put a nadir patch again we can move with the pointer the clone area and the target area and we can also tweak the patch scale and the patch smoothness okay like that and when we are done we can disable the short frame helper over here the last thing i want to do is to correct the color temperature of my environment and with the temperature slider i can put a neutral tone to my environment okay and again i want to send it to substance painter with the send to substance painter again you will see that substance painter will open the environment shelf and select the environment you just sent so you can lead your object directly into painter in few seconds okay so these are the main new features of sampler and there are a lot more to come i want to thank the sampler team for the terrific work they are doing every day enjoy the rest of the show back to you baptist thank you guillaume i hope you will enjoy this new update and please continue sharing your feedback and networks with us on social networks a very special thanks and congrats to the sampler team that did an incredible job the last month and also kudos to the rendering and art and development team for their help enjoy the rest of the session and back to you guys thanks baptiste and guillaume for that great presentation it's awesome that we can create our own image based lights in sampler so now we want to take a look at our new staging app substance 3d stager the virtual photography tool with jeanette senior product manager to get away jeanette hi everyone i'm jeanette matthews senior product manager in 3d and immersive at adobe in 2015 we started exploring what our role in 3d was going to be whether you're creating imagery to showcase a real world product idea or a 3d illustration working in 3d is all about producing stunning visuals we knew we wanted to create a staging application where artists could import and arrange their content apply materials adjust the lighting and ultimately produce beautiful imagery we started with the release of adobe dimension a 3d rendering application designed for those who were new to 3d with a foundation that was based on approachability dimension has helped graphic designers and illustrators learn 3d and start working in new ways today i'm pleased to announce adobe substance 3d stager the next evolution of staging application from adobe stager builds on the foundation of dimension approachable and powerful adding depth precision and control for 3d professionals the first release of stager is available today so let's take a look at what it can do okay here's a scene we've already got started we've got some models we've imported and arranged and we've applied some materials as with most 3d apps the first thing we're going to notice is the viewport where i can see and interact with the 3d scene stager uses adobe's custom rendering engine which has been in production since 2016 in collaboration with adobe research by default the viewport starts in real-time mode i can open the render settings to switch to ray tracing mode interactive ray tracing is very powerful letting me design in real time with a what you see is what you get experience so i can make the best design decisions in the moment first let's take a look at the basics of importing and arranging objects here i have a painting machine which has been textured in substance 3d painter i'll use the send to stager action which will automatically import the file to my current scene saving me a lot of time with manual export and import steps to place this object in the scene i'll use the transform tools stager includes move rotate and scale tools the select tool includes most transformation controls on one single tool for convenience one of my favorite ways to move objects is by clicking and dragging on the pivot handle this will move the object along surfaces in the scene and it's really easy to get objects into position quickly to wrap up this scene i'll add a parametric model created in substance 3d designer the properties panel will display all of its unique object properties for this foliage i'll adjust the overall look by changing the number of branches the bends in the branch the distribution of the leaves and then i'll just finish it off by adding a vos and using the scale tool to adjust its sizing a bit and then position that together now i can group those and move them in the scene and again i'm using the position along surface to move that up onto the shelf here on the desk that looks great sometimes when you want natural layouts it's easier if the software helps you kind of get things into position for you in partnership with adobe research we've built the foundations of a physics system in stager and our first feature is collision based transformation here i have some books and i want to put them into the scene more naturally collision transformation can help me do this really quickly first i'll enable collision in the transform tool options in the scene panel i've got collision turned on for the book objects so now as i move those with the transform tools those objects will naturally collide and interact with each other collision based transformation is a huge time saver and pretty awesome to play with all right that looks great okay so now we have all of our objects in place the next step for staging is to apply materials and textures most of the objects in my scene have already got textured so let's focus on those new objects that we just added stager makes it really fast to apply materials and it comes with a rich collection of starter assets including dozens of substance parametric materials and some non-parametric shader based materials just drag and drop a material onto a model to apply or select a model and then click and that will apply that also includes selecting multiple objects and then assigning it to all of the selected objects to edit a material i'll select the object and in the properties panel switch over to the materials tab stager will show me a list of all the materials on the object and here i can select the material and edit its settings to deeply customize it it's really easy to also reuse materials through a scene with the sampler tool activate the sampler tool and then click to sample a material in the scene hold shift and click on another object to apply a material let's talk a little bit more about the material properties themselves stager's material shading and rendering system is based off of adobe standard material a shared material definition that's used across our applications to create consistent high quality visuals asm is a physically based material definition it supports the most common pbr settings like base color roughness metallic specular anisotropy and emission it also includes some advanced surface properties including coat to create clear and tinted varnishes and sheen which simulates microfibers for interior material effects asm or the adobe standard material supports rich translucency and subsurface scattering properties finally stager has full support for displacement displacement can be enabled per object and dialed in with tessellation settings so you can balance overall scene complexity and performance by adding detail where you need it back to our scene we want to bring it all together with lighting stager has two lighting systems image based lighting and physical lighting the scene is currently using image based lighting and i have the environment light visible in the viewport so i can see the spherical image and where the light is coming from to edit the image based lighting select the environment and switch to the lights tab here i can see the environment light and i can begin adjusting the intensity and rotation i can also add additional layers here i have a sunlight layer which is creating a stronger directional light and shadow i can position the layer using the point at surface action which lets me aim a light layer based on normals of the object so here i'm just clicking on this meet matte statue to get kind of a top-down lighting that's going to come in through the window cool the second lighting system is physical lights which are lights objects that are placed inside of the scene i'll add a new area light onto the table then i'll use the transform tools to move it into position above the object in the properties panel i'll adjust the exposure value and size unlike image based lighting physical lights are positioned in the scene so their light affects objects that are closer to them stronger and light falls off naturally with distance to wrap this up i'll just adjust the color of the light using color temperature to get a warm tone so the scene looks beautiful the last step to staging is to finalize my composition with camera framing and effects so far i've been working in the viewport camera and just navigating around to edit the scene when you're ready to think about final composition you can create camera objects camera objects can be navigated just like the main viewport camera so first i'll move that into position cameras also have depth of field controls so i'll enable that to get some nice blur and focus in the scene you can use the set focus point action to focus a surface in the scene and then that point will stay focused even as you move your camera i'll make another camera and the last setting here for cameras is that you can change the size a lot of software it's surprisingly difficult to just create different renders at different resolutions easily stager makes it super quick just make another camera adjust the size and position as needed so this is pretty much good to go i could just let this resolve here in the viewport for a few seconds and then use the snapshot feature to directly save this to my clipboard or as a file if i want to render multiple cameras or get really high quality images i'm going to switch over to render mode here i can select the cameras i want to render my render and export settings and then just hit the render button we're going to time lapse a bit and jump to the final high quality render so stager is super powerful for building full 3d scenes but it's also got some amazing features for single asset showcasing let's switch to a simple scene with just the painting machine and take a look at a few more features first in addition to rendering the scene i can also publish it publishing the 3d scene will first convert it to a web-friendly glb file then it will save this file to my creative cloud assets finally it will generate a link which i can share with others clicking the link will load the file on creative cloud assets and display it in a real-time web viewer the look of the asset is really close to the real-time viewport and it's great for quickly sharing my assets with others and consolidating review feedback going back to our scene sometimes i want to showcase something in a real environment but building out a full 3d scene can be quite time consuming stager has a new content package type environment stages environment stages are a collection of environment light high resolution backplate images and camera data at the correct angles for each of those background images here my object is placed at the origin of the scene 0 0 0 coordinates i'll click on the environment stage i want to use and just load that up stager will read all of that data it's going to load the environment light create all of the cameras and assign a back plate to each one of those cameras now i can just cycle through the cameras and have amazing ready to use high quality images complete with backdrops and of course stager is all about control so environment lights are parametric sbsar format and i can come in and adjust the lighting intensity or adjust my camera panning and dolly a bit to make it all fit together great sometimes you want to use your own background image even if you didn't have the setup to capture the 360 lighting and the camera data and everything like that so stager lets you use any image as a background photo loading a photographic background you can use match image this feature was trained on a wide variety of backgrounds and it's actually going to analyze the background photo look for perspective and lighting and shadow information and then what it's going to do is it's automatically placing a camera in the orientation that matches that background photo and generating a new environment light from that photo it's using content aware fill technology from photoshop to create a panoramic environment light and fill in the gaps so with just a click you can take any background photo and automatically have it ready for compositing there's a lot more we didn't get to cover today like image material layers bounding box snapping and a dynamic 3d text engine but we'll save some for next time this is the start of a new journey for us and we can't wait to see what you're going to create with stager and work with you to improve the application going forward thank you so much thanks jeanette for that great presentation the collision-based setting was awesome so the team's been hard at work on another application here's a look at the substance 3d modeler private beta to sculpt 3d models on desktop and vr lydia the product owner will give you a sneak peek at this project in private beta thanks also to joshua ayton for providing the demo hi i'm lydia choi and i'm excited to share with you all today back in 2019 our team joined adobe and we brought over medium the vr sculpting app for those of you who are not familiar with medium it is a free app on oculus rift and quest 2 headsets with link cable and will continue to be available for free on the oculus store since then our team has grown to include people who have worked on innovative creation apps such as dreams tilt brush and maquette at adobe we took a step back and used the lessons we've learned building these tools and we've been given the rare opportunity to think about how we want 3d creation to evolve into the future i am very excited to announce modeler our new 3d shaping tool built upon the foundations of medium but with a more ambitious vision that's geared for a professional workflow our work on this is still very early so a lot of the ui you see here is subject to change but the goals of modeler are straightforward we want 3d creation to feel as fluid and fast as sketching ideas out on a piece of paper or sculpting with a lump of clay if you have an idea in your head it should feel easy to translate this to a 3d scene or to come up with ideas quickly and to iterate on them while using the tool not only does modeler have a powerful desktop experience if you have a vr headset you can switch between desktop and vr seamlessly this means that you can work with the best of both worlds you can make use of stylus input for precision and surface-based sculpting and in vr you can use the spatial input to create directly using your hand gestures and also feel the true sense of scale of your creation one of our goals is to preserve the artist's thumbprint during this process what this means is that we will provide a relatively small set of tools that are easy to pick up and use and these tools will feel versatile which means that you can apply a wide variety of techniques with them without the cognitive load of worrying about topology or other technical details that can break your focus while you are in a flow state with medium much of the workflow was focused on the creation of organic and hard surface objects for modeler we are carrying over this capability but also giving you powerful assembly features it will be easy to copy and organize content as instances so when you edit one of the objects all the siblings also change this is an efficient way to duplicate parts of your creation and add repeating details assemble complex scenes or play with variations of your design modeler will be the starting point for your ideas and from there you have a smooth transition into the rest of your professional workflow or pipeline when you are ready to take things further it will be easy to send your work into substance painter for texturing and materials and then for a final render in stager blender or other lighting tool of choice and then over to photoshop for a final paint over as part of the release of the adobe substance 3d collection we will have a private beta sign up for modeler which you can find here and that's it for now thank you for listening and i can't wait to share more in the coming months thanks lydia and joshua for that demo please feel free to join the private beta to get an early look you can check out the modeler page on adobe.com well now you've got an overview of each of the product updates and we hope that you have a better insight about the adobe substance 3d apps but we have a little more to talk about the substance 3d tools can easily be used together jeremy why don't you tell us a little bit about how the tools are connected thank you wes what we're trying to achieve here is to build the best 3d ecosystem possible and to build an ecosystem we need each component to talk and communicate with each other and i know we've heard it from you before why don't painter and designer work together more seamlessly right well in this new update they're doing just that leveraging some of adobe's apis for the substance tool to send data back and forth with any other adobe tool this allow things like what you just saw during janet's demo where we sent to render an asset from painter to stager or in the um's demo where we send materials and environment lights from sampler to painter here are a few other examples of how this new level of interrupt can drastically improve your efficiency here we're working in designer on the new watercolor filter to use in painter we want to try this in context to make sure it works as expected sometimes hard to anticipate the final results inside of designer so now in this new version of designer you'll find a new drop down here in the package manager allowing you to send your substance package to either sampler or painter this time let's just send it to painter now back in painter i can see the filter immediately appeared in my asset window one problem is it was imported as a material i likely forgot to set up something in designer back in designer we have a new setting called type on each graph allowing you to specify which type of graph you're building this tells other compatible apps to apply specific processes when importing an sbser depending on their type let's switch it to material to filter let's send it back to substance painter we can see now that we have a little icon that allows us to resend to substance painters so instead of creating a copy we'll actually update our material or our filter inside of painter i now have my watercolor asset in the filter category i can drag it in my stack and try it out let's add some color to it and it looks like something's wrong the effect is not actually applied like it should let's have a look in designer it's actually pretty common mistake i forgot to unplug the beat map i was using as a placeholder input let's fix this and i will add a custom icon for the filter while we're at it there we go it should be better then send that again to painter using the same button in painter the original filter has been updated with the new version let's apply it again looks like it's working now let's add a little bit more color just to check perfect i can keep iterating on my filter and updating it in painter avoiding manually importing over and over again the same assets and creating multiple copies now let's introduce an app that most of you have heard of but some of you may have not used before which is adobe bridge adobe bridge is at its core an asset and library management tool allowing you to browse search categorize tag images videos and now substance materials as well the latest bridge allows you to browse for your material libraries easily displaying high quality thumbnails and letting you access and modify all the metadata of your sbs er files without having to edit the source sps graphing designer or edit manually the xml we can see here that we have access to the label the tags the author even the physical size we also have access to all our outputs of a material including again the label usage type format and everything you need to make sure your materials are built the right way and the great thing about bridge is that it's built to scale you can browse through thousands and thousands of materials without any hiccup or slowdown bridge will automatically generate thumbnails for you if they're not present in your original sbser file there are a few other really nice new features in bridge for example you can right click on the material and send it directly to your painter or sampler asset library double clicking on an svser in bridge will also open that material in sampler when you can then preview tweak and export its output as bitmap textures to use in the 3d app of your choice i'm just trying different presets tweaking a few parameters i can simply click the share button and export again to any of my 3d apps or send it directly to another adobe app and finally bridge is available for everyone for free whether you have a page to be subscription or not so please take advantage of it thank you everyone and back to you wes thanks jeremy and a big thank you to the entire team for this deep dive into the substance 3d apps and content we're thrilled to share these new features in these new apps with you today and we hope that you enjoy using these new tools as much as we enjoy making them for you the 3d generation is here and we can't wait to see what you produce with these new tools we hope to see you soon and be sure to check out more information coming in july with gdc and c graph in august [Music]

Channel: Adobe Substance 3D

Views: 14,366

Keywords: materials, procedural, PBR, Physically based rendering, Scans, Photogrammetry, scanning, environment art, 3D support, 3D design, 3D painting, 3D texturing, realistic, hyper-realistic, texturing, 3D material

Id: Vs1XNndPbf0

Length: 66min 2sec (3962 seconds)

Published: Wed Jun 23 2021