From Substance Painter to Cinema 4D: The Making of Gamma

[Music] [Music] [Applause] [Music] [Music] [Music] [Music] um [Music] [Applause] [Music] so [Music] [Music] hey everyone welcome to our live stream my name is wes and i will be your host we also have with us today marine and casimir from the substance team they're in the chat taking questions for our qa at the end of the presentation okay so for today we have with us our special guest cornelius a berlin-based digital artist he will discuss the inspiration behind his artwork gamma as well as give us a breakdown of the process from modeling to texturing to simulation he will show us how he leveraged substance painter and substance source materials to achieve a mechanical result which also incorporated details inspired by nature he'll also detail how he used cinema 4d in his workflow so cornelius thank you so much for being here today nice to have you thanks for having me oh perfect so yeah you have some really cool stuff to show us today man the artwork that you produced uh it's quite amazing i have to say uh it's going to be a really cool presentation to to see how you kind of go through this process so with that man i'm just going to hand it over to you why don't you um you know you can prepare start your screen share and just jump into your presentations uh start off by just telling us a little bit about yourself yes so can you see my screen oh yes there it comes yep looks like [Laughter] okay so this little guy here so just just for to have a clean start my name is cornelius uh for everyone that doesn't know um i'm from germany uh currently living in cologne and i'm a 3d artist for roughly 17 years now and this little guy on the left is me with my mom and this slightly bigger guy on the right is also me in front of a computer i'm probably doing some early cg work and um yeah so um i was always drawn to creation in some way i i started really young and um was active in a lot of online communities that um had like their their their their their focus on on creation or uh digital art in some way we didn't call it digital art back in the day but when when we look back to it now it was sure was the start of it all and these worthy things i i did in the beginning i was in the online community and did like commissions for other people and then i dived into interface design and designed these winam skin like interfaces and after that i switched my focus on 3d this is like from 2005 i think it's like really early in my career and i was still a hobbyist not like a professional back then and yeah i i just love to play around with 3d software and photoshop and and all that fun stuff and um yeah that's something different i made back then uh that's really cool to have all this old artwork like from yeah you first got started that's really neat to be able to look at it i saved it from lots of hard drives [Laughter] like a lot of things were lost in the process but i could save a few things yeah that's also like a really cool one i did back then and also this and fast forward to the day um i do these kind of things it's um so i i'm mostly known for really highly detailed uh 3d environments with like millions of polygons and uh they they took usually a long time um so i can sit anywhere between three two to seven months on a single artwork like one image and that's what i'm really known for in the in the community i think yeah that's also one of them um yeah but if you want to find out more about my work and have a look at the other projects i did you can find me on instagram twitter and behance art station and on my website and i think that was it and we will watch the gamma video now [Music] [Music] [Music] [Music] [Music] [Music] yes wow man that was awesome yeah so cool man that is that is awesome thank you uh i know that you'll get into your your process um but do you do like um like like what do you do all the like kind of editing and compositing work in yeah it's usually after effects okay cool so it's just like um i ran out a bunch of passes and in the beginning i don't even know which i'm gonna use and then i just throw it together and hope i can make it look right in this case i actually made these still the focus was on the still images and the the video was in addition to that so that wasn't planned uh but it worked out pretty good such an awesome video yeah all right well let's let's get into it man let's let's talk about how you did this i can't wait this is gonna be really cool so first of all uh uh shout out to my friend lucas um lucas gutier is a composer uh and i know him for i like i don't know 10 plus years now and he does all the music for all my artwork and whenever you see music in my artwork he's the guy responsible for it and he did a great job on that and worked many many hours to get it to the right point and uh yeah think thank you lucas if you're in the live stream right now good luck and i guess that's another secret right like if you want to have really cool videos you got to have a composer friend too so yeah that's i mean if you have a friend who is into music just hit him up and annoy him with your ideas and maybe he will help you out uh yeah so um in this case i started with these still uh images and um the task was to create something that that shows a little bit the variety of materials you can get on substance source and i'm not a poet or anything so visual art is my language and there's no really strict plan or direct meaning attached to that it's just a mix of nostalgic elements and things that i like and that look cool to me and that's pretty much it so i just like crt monitors and cables i'm a cable guy as you can see here and um yeah it's just my my my way of communicating with with people and as you can see here i also like dust dust everything up and yeah it's it's um the the idea was a little bit like to go make make like a visual transition from like organic elements into heart in these into these hard surface elements and and combine them in a way that just looks cool and interesting to people when they look at it and i think that worked out pretty well yes yeah the detail is just i love that the more you zoom in the more you see yeah and uh why don't we just go ahead and um i can show you what i did in in c4d and the other tools i used for that so when i um start a project like that or any project what i do first is i um block everything out and i use like primitive shapes for that like these here the the cubes and cylinders and just align them in a way so they um make mega make a sketch so i know where which part or which element i had in mind can go and um i use this to um yeah just like heaven get an idea how the final image could look in the end i mean it doesn't look anywhere near the final image in this in this case or in this stage but um it's just easier to start from very rough detail and go to really detailed later on and um yeah this uh this saves a lot of time back in the day i used to start with the details first and and like was lost in them and figured out later that that i just wasted a lot of time because i can make it work in a big scale and this way when i use the blocking it's yeah it really helps in that case so um and after i did that i go straight to the details so there's not not much much time wasted on that even though it's such a crucial part of the process uh after that i go to um in this case fusion 360. um this is a cat modeling tool from autodesk and uh it the difference to cat modeling and subdivision surface modeling is that you don't work based on polis but on nurbs and curves as you can see here you all always have these lines that indicate the curse of the model so you don't waste the time to manipulate or worry about edge flow in this case um but you have to do you have to bypass that the time you save here you have to spend on uh retur retopo later and i can show you that in a bit but uh yeah this is working in a in a cat modeling software is a really cool because it's um so much faster than uh poly modeling it by hand and you i mean i can show you a little bit if you want like yeah cornelius did you find that it was hard to get into this because like i'm seeing a lot of uh various artists also using fusion 360 um for hard surface like this is it it seems really great like is it hard to learn no not at all actually it's like um i think cat software in general can be really intimidating but in this case it's really streamlined around these tools it's i think for hobby uh or small smaller scale productions and 3d printing and a lot of 3d artists use it to [Music] to just do hard surface work in there and it's just really fast and easy to learn and you also have this timeline thing here and you can go back and and change things and it's like time travel it's crazy um once you work with that you will miss that timeline and every other 3d tool um you have and yeah it's it's just as you can see i just like made a hole in here and and and beveled the edge and yeah it's super straightforward actually and yeah after that and after i designed that whole thing um i go back to c4d and export everything to c4d and um uh cornelia sorry man when when you're in fusion and you export like what what format are you actually are using like um a step file usually so it's like it's just a construction file for for cat programs but c4d can import that and convert it into polygons so you don't have the nurbs anymore it just makes poly based geometry out of it and the poly based geometry looks like that so that's not really cool you can't really you don't have any edge flow here or anything so if you try to find a loop here you can see it just freaks out and this makes it really hard to unwrap that and if you want to texture something in a substance painter or designer or wherever you need to have clean uvs right so what i did in this case i just took the cat mesh and made a retopo out of it that is really high poly but works and has like clean relatively clean topology and you can see i can select loops kind of and this makes it easy to push it further down the pipeline in another tool that's called i'm i'm the master of tools here rhythm uv so in rhythm you can see that's the arm from from the big one from the big model here uh you can see that i um just unwrapped that once so i didn't um like have more than one arm at a time and i just copied this one down to each of these parts so when i texture this one later i can reuse the textures for each arm and can like puzzle around with them and yeah it's pretty much straightforward it's just it just does one thing this tool it's just for unwrapping things um yeah and uh cornelius so why why do you use rism instead of just the the unwrapped tools in c4d uh actually because it's so the the algorithms in it are way more powerful and i i started using that like way back in the day the the uv tools in cinema 4d were very confusing they aren't anymore but they were really confusing and um i i used rhythm before it was called rhythm it was called unfold 3d before that for years and i started using that for a long time and then just kept using that never never looked back so uh yeah and and i mean they're like rare cases uh when i have like freelance jobs or something like that that i have to use cinema 4d for that but it's always like i have to look tutorials and it's just confusing and you have this uv edit layout and everything and rhythm is just a software that does one thing only and yeah it's really good at that so one trick pony as i call it uh yeah so then i re-topo everything with a plug-in that's called quad remesher it's from the guy who made the z-remesher and zbrush actually i think and yeah from there i export everything to substance painter which you can see here and you might ask yourself okay why uh does cornelius um unlink the whole arm so they don't uh they aren't close together i do that because in the baking process when when i bake the base set of textures i don't want any ambient occlusion on these parts that might move later as you can see in c4d the arm isn't posed yet it's just like one straight arm and i want all the uh possibilities that i can add the ambient occlusion later for with like dirt shaders and everything so um if i would like use the post arm um it would occlude to to elements on the arm that that will be moved later on it would look unrealistic so i just used um so i just broke it up into little elements and and separated them so this won't happen pretty much it's just like i mean i think there's a actually like a function in the banking process that like a tick box that you can hit but i always do it like that and i'm just too used to that workflow that i uh i mean that's yeah that's totally fine i mean you do it that way because then you can see all your parts and everything yeah exactly yeah there's an option uh for self-occlusion you can just disable yeah yeah i mean it would be easier that way uh but uh i'm i'm an old-school guy right yeah um yeah and then um what i did was um i made a base texture set so the first one i did was this orange rough material um that is based on so we have like three coats one is schmutz which is like dirt in german and um if you disable that yeah that's like the ao pass in here you can see a seam but that won't be noticeable in the end then we have the coat part which is like the orange paint and then we empty metal the metal also has like different several layers like for rust and edgeware and so on and the very underlaying base for every material here is um actually from substance source it's a metal pewter stripped and it just i just downloaded it from substance source and imported into substance painter and that's how it looks it was perfect from the beginning from the get-go and then i built upon the like like on top of that and um highlighted the edges a little bit so we have um these shiny edges here then i added some edge where on top of that then so cornelius for the edgeware and things like that are you are you hand painting those are using like oh no no um i use generators um in this case it's um metal edgeveer which is outdated but i use it all the time because it's so fast to use and there's actually the the one that you're supposed to use but it's like really loaded with options and it takes a little bit longer to fine tune it i always just use that then i blur it then i add some blur slope on it and some more textures and yeah i just play around with it to be honest it's just not like i'm set with like one particular workflow i just click around because the feedback is instant right i just can see what i'm doing instantly and sometimes i just play around hours on end with it and look what it looks like and find out cool new things and uh for ex for the the dust is the normal dirt uh also outdated generator it looks like that and yeah you can uh alt left click on the mask and then we can take a look at the mass that's being generated so so you can get you mean like that oh yeah it does the same thing yeah so like if you just select the mat the alt left click on it yeah it'll quickly show like that's the mass that's being generated from the generators yeah that's really cool this is uh is it wrong it won't show them now oh oh it's in the reference oh yeah yeah yeah yeah yeah yeah so it's uh like you said it's really cool because you can just play with these filters and generators and just you know come up with something and then fine tune it by hand later yeah and as you can see the base metal is still visible through all of them so i just add on top of that and create like a crazy detailed roughness map and and normal map and everything and yeah on top of that there's the code with also dirt and several layers actually and then it looks like that uh wait it looks like that in the material and then on top of that we have the ambient occlusion like the the really dirty grimy oily stuff yeah and i do that like eight times so i create eight materials from scratch for the whole arm like this is number one then we have a blue one and then we have another orange one that is rather clean and not that dirty and then we have a cleaner blue one then we have one that is only metal just without the paint and then we have a metal with like rests of blue paint on that then we have one that is made out of plastic with gravity on it and then we have one with shiny metal that is like not painted but also not like heavily damaged and a lot of variation yeah i export every what so i in the end i have um for for one object like or from one set of objects or set of evs for that arm i have eight different material types that i just export and then i can use them in octane to play around with that and this looks like that if if i go back to c4d so just imagine i textured the whole thing now or not textured like post the whole thing now like have several arms it's just like one arm is it's always the same arm it's just copied so i can use the textures i just created on each of these arms and um what i can do now is i because i have eight different texture sets and i can show you that really quick in the texture viewer i can just use like the orange texture um on that element the metal the clean metal on that the rough metal on that and so on i can just play around with that in real time because oct octane is like a real-time rendering engine right so i see in the ipr what i'm doing instantly and here you can see in an example here i have this orange thing and then when i don't like the reflection of some element for example i just switch it out and say okay maybe the plastic looks better on this one or the rough metal and i can just play around with them under until it looks cool in the perspective i'm choosing um and yeah this gives us a lot of um a lot of freedom actually so it's yeah it's really fast and easy and i don't have to worry about like texturing each arm separately have eight different or i don't know how many arms that there are i i think that's six six different like arms with like different textures i just made one big pile of textures that i can throw around yeah that's really flexible yeah it's such a great workflow because it's like you're like kit bashing materials now like yeah exactly that that's like i never thought of that like kit bashing materials yeah that's a cool way to describe it yes um yeah could you jump back into painter for a second i wanted to ask you about uh before i forget i wanted to ask you about the the graffiti material you had so i just wanted to see like how are you getting the graffiti on there like what's up yeah the thing is so the graffiti are that that um i'm working on a new top secret project right now that i can't share but my girlfriend actually drew a lot of graffitis on the ipad pro for that and we reused that map for that and just threw it on the plast because the plastic without the graffiti is just a little bit boring and it just looks like that and we thought okay maybe it like needs something because right now it could be also like painted metal and we wanted to look i don't know i don't know and what what goes on in my mind when i think of plastic parts but obviously when you add graffiti to it or like little scribblets it turns magically into plastic which is like a weird assumption but um yeah that that helped a lot i don't know what the backstory for that could be but it i i just thought it looked cool and and like punky yeah it's awesome yeah to add the graffiti are you are you like uh like stamping it like with the paint or are you using no no it's just like um it's just a square map in the photoshop that is tileable so you can just repeat it i infinitely and and i just threw it on there i just didn't care i was just like okay here we go and then i added like um a grunge map over it so at some parts you can as you can it's like chipped away and i mean you can see here it doesn't work on all the elements here's a seam from the uvs but from far away that isn't that much noticeable so yeah that that works fine and also for the um i think what's that maybe you can have a look on the mask yeah i think that's the blue part i don't know actually how i did that with that they have different colors i think i found i just filled um some layers with different colors and then masked them out with the textures and painted over them or something like that but it's um yeah it's pretty straightforward actually yes yeah such a nice detail it just yeah also some like song lyrics from back in the day yeah and then like a band logo for like for corn and something like that yeah it's really really nice yes what else is there to talk about oh the the monitor we haven't looked at the monitor yet yes the monitor yeah so i'm sorry yeah so the monitor is a different uv set and um so it's also made just like from plastic with a different edge wear effects i initially used the same plastic but it was too yellow ish and it looked like it came from like a really heavy smoker like company or whatever and it was too too crazy and then i tone it down a little bit and played around with the edgewear a little bit more uh also i used this um thing that i create an empty layer on top of it and use it as an adjustment layer i don't know i think i have that from a tutorial you made actually no um like an adjustment layer yeah it's a good idea like you can take the filters from the shelf and just drag them to the layer stack and then like you said it puts the the the blending mode into what we call pass through so it's like basically pass all the data up to that that layer and then you're like applying a filter yeah it works just like an adjustment layer and when i did that i mean it makes everything a little sharper and like crisper and i usually do that in the end when i'm done with everything i also did that with the with the arm and yeah but other than that it's nothing really special i separated like the the the the screen from the rest of the plastic because it i mean it's a glass screen and we have some metal parts in the back as you can see here um the screen is what i do usually is when i bake everything i go to id and then set it to mesh id polygroup and set it to random but recently you told me that um i learned that you can use these um fun things that's um the the geometry mask that you have like um that it just checks okay this is the separate object and this is a separate object you can just use that and texture with that and it's i think personally way much way more straightforward because when you have to rebake things in substance and have it set to random it will randomly like you have to reapply every color mask again and say okay this part goes here and if it if it's like a crazy big setup this can take a lot of time and in this case this will never change even if you rebake it so um yeah yeah this is a pretty new feature i believe it was earlier uh actually i can't even remember now but yeah it's pretty new feature i can't remember when it came out but it's pretty new by the way how do i get out of the year oh yeah no no no problem so you have the geometry mask kind of selected with that little blue outline just just move over on the layer and just click on one of the layer icons like uh yeah yeah boom nice um yeah so today i learned and uh yeah and then it's just the same thing i just exported that um for this one there was only one texture set and yeah i applied it in octane just like i applied these materials um applying it in octane is actually also really easy you go into the material create a new um a new standard material and set it to universal and universal material is the the base pbr thing that uses octane and you just plug your base color to albedo your metalness to metallic roughness to roughness and so on it's just like really straightforward there's no no tweaking um sometimes you have to set your the gamma in your roughness and in all the black and white maps to one um but you can just play around with it honestly and decide what looks better on the floor now now cornelius with the octane um i haven't actually used it in a while but it looks like it is using like metal rough shaders now so um yeah yeah i mean that's the case for the universal material the universal material just repla not replaces but it's like in addition to the standard material um the glossy and diffuse and the specular material and combines everything into one big material that also works with the pbr workflow like with the metal roughness workflow and um so you have uh you also have like coating and sheen and lots of crazy stuff in here and um usually you have to uh set it if you want metal material you have to set it to metallic then you have a metal material then you have to mask these parts out and in this case um metallic i mean just like regular pbr it just takes the color data from the albedo and makes the mars mask part into metal materials and yeah so um yeah cornelius so with that said can you uh jump back over to painter and show us like how you export so like if you know if anyone's watching who's new and they want to you know export the textures like what what would they do um i go to expo texture and then set it to pbr metallic roughness and usually i go with depending on what i need exr png or jpeg if i export a height map i use exr for example and set it to 32 bits or whatever or 16 bit and that works better for if you want to use displacement later on because then you don't have the staring effect and um what i recently learned yesterday from a colleague of mine is that it we set it to based on output template it exports the normal and the height map automatically in 16 bit but i don't know how to set it to which format it would export so usually i just stick with jpeg png and eaxr set it to pbr metal roughness when i work in octane if i don't work in octane um or for example in unreal engine or unity i use the unreal engine or unity presets i need for that case then i set it to 4k um never 8k for some i mean 8k still feels like really a little bit experimental i think it's not like meant to it's just like for rare cases when you really need high high really high res textures that i use 8k but usually i i just export everything in 4k and then um i use dilation infinite in some cases that doesn't work then i use dilation and default background color and then export oh sorry goodness and that padding you're using just to kind of like um i guess bleed or dilate the textures outside the uv so it doesn't cause seams and stuff yeah i mean usually it wouldn't do that anyway but i just feel safer when i do it with with dilation and yeah then i export everything we don't have any uh crazy omr thing going on when uh in in octane so i have one map for each output it's just like okay albedo goes here metalness goes here and it's just not like that i use the channels like our channel for roughness and db channel for something different or smoothness or ao or something it just it's really straightforward and yeah that's pretty much what i do it's nothing crazy actually also in the baking process it's um it's also pretty much standard settings i tweak a play around with the max frontal distance or the max rear distance when i bake from high poly to low poly uh i think there's like i mean that there's a science to that all that stuff but yeah and just play around until it works most of the time yeah uh yeah so uh cornelius i i have a couple other questions that i kind of just wanted to ask you know just about your overall process so like so far we've been looking at you know like how you built things in in c4d and we you know we talked about you know how the uvs are creating but i was kind of wondering a little bit like um i mean this one i guess is more of an art question but like how how do you how do you come across your design i think that's one of the things that i've always like struggled with and i love to ask other artists this like uh like you know you're sitting there it's like you have that blank piece of paper and like you know like how how do you come up with the design like where do your ideas come from do you do a lot of research do you get a lot of um uh inspiration you know like reference art uh are you sketching ideas or are you just kind of like just playing in 3d and seeing what happens like what's your process um so that that's interesting that you asked that so in general in life um you um there are things that you naturally find interesting right so there's people that are interested in helicopters for example and they look at a helicopter and they see other things that i would see because i am not really interested in helicopters but they look at it and i think okay this looks cool and why is it shaped like that they think more about the the form of things or how how things to work and i think that's like a mixture between uh general interest in things like robot arms for example i just find that interesting and then when you think about or plan to build one then then you there's like a whole bunch of problems coming your way right because um you you build it then you have the problems with the build and the technical problems on the 3d side and then you have the problems on the design side so you just look at robot arms you find via google image search or pinterest or whatever and then you collect like a whole pile of images and then then there's like another thing that you look on materials and and for example what what i discovered and i shared this with many many 3d artists that are close to me that when you walk around in the street and you see an interesting material you look at it in a different way once you start like using shading and and and like spending time with learning how to approach shading or texturing materials you look at at these workflows in a different way and then you're sitting on the train or or in a car and you look at like the handle on the on the door and it's like it has little scratches and you want okay how would i replicate it in 3d i think the general interest in these these things and when you combine them is what um what gives like a natural drive in that design area so you just because it's just like problem solving all the time so if you you have a robot arm it has to have a material then you have to solve the problem okay what would it look like you have to ask these questions just all the time it needs to move in these and these directions i want to pose it later in order to do that it has to function in a way and then the material has to be worn in that area and and so on so it's just like asking yourself questions combined with a general interest in these things that you're building and time i think and then trying things out and reference images of course yeah always reference images so so cornelius back in like c4d where you had like the structure i think like when you and i first talked you had mentioned to me a little bit like um that you weren't really going in and sketching like preliminary sketches like that i think you told me that kind of your your process is that you know you you kind of do like the sketch in 3d which is block ends and stuff i thought that was really interesting because i kind of like to work that way as well like sometimes i'm trying to sketch i'm like ah i can't really get what i want on the paper but if you just start playing with some primitives in 3d it it's really inspiring i mean i i can't draw right i tried so many times when i was younger i always thought i would be one of these guys that are like digital painters with like a big like graphic tablet and stuff like that and i tried many times but it's just not my thing it's just like it gets boring after some time and i i respect everyone that that is like a painter or can draw but i can't do it and but but i i have to do sketches at some point right and sometimes i scribble little things on on napkins or something but it's never like on a level that i could plan a 3d image with that and i mean we have all the tools at hand for in every 3d application you have blender you have like primitive objects and if you have uh c4d max maya everything um it always works the same way and then you just use the if you can pretty much break every object on this planet down to a really simple shape if if if you think about it and then you place that around and play around with basic lights and that's the way how i sketch and i think many 3d artists do that actually or should do it that yeah that's awesome yeah i i i i like to try to draw but yeah i just i'm not very great at that so it's like i struggle and i'm like huh yeah i think i could just you know work in 3d because it's like you already have that perspective built in you know as you work so you kind of yeah exactly you don't have to worry about it yeah which is perspective but i mean i had that i went to to college and and uh studied design and communication we had this drawing class and it was so bad like per perspective drawing and always looked so wonky and what i did was just i like printed out um like 3d sketches and drew over them and and like copied them which was pretty much cheating but i think that many 2d artists that mainly paint these days or do concept art do that as well they just do their base work in 3d and paint over it i mean whatever works right yeah yeah i think that's like the real key is that that i'm really learning for myself as well is like just just don't get so bogged down sometimes in the technique of everything just you know like just use what works i mean we have this amazing toolbox now as as artists and it's like just grab what tool works i mean it doesn't matter if it's you know one tool versus the other none of that really matters it's just what works for you and uh yeah just don't stress about it you know i mean imagine like 10 years ago there wasn't like any substance or anything you had just one big tool and maybe an external render engine right and yeah like thinking about unwrapping without baking and hand painting the textures it's i did that and it was like i i don't want to go back now i have substance everything works it's just like haha this is really chill and i i mean what do we have in 10 years from now i can't imagine right yeah i i mean i remember i know exactly what you're saying it's like i remember it used to be in like photoshop and it was like you export out like you know your uvs from maya and you take it in and you're just like you know the polygons and like uh yeah maybe 50 grave or like some roughness and it all it was like a back and forth that was crazy and it took so so many hours to get it right and yeah today it's just like substance export and it pretty much looks 99 the same as it would look in the substance viewport which is mind-blowing yeah even even back then there were some tools like i remember i i remember like investing like okay i'm gonna i'm gonna get into the body paint 3d i think max i think that's still around isn't it i haven't tried it it was like over 10 years ago that i tried it yeah it's still around and it's just like it's like yeah you can't compare to any really bleeding edge um texturing software so i mean there was another one too and i'm trying it was a deep paint or something like that do you remember that it wasn't body paint there was another software that did that as well and i remember looking at the two and yeah the first thing there was like this uh there was like a photoshop plug-in that did the pbr thing sort of that vanished at some point and then there was substance that was the thing so that was years of hand painting textures and all of a sudden there was like a photoshop plug-in for that which was super slow and then there was substance and i was like okay finally yeah and then the other day like i was talking to some of the guys on the team and we were talking about like just kind of reminiscing about substance painter and it's like oh do you guys remember when it first came out though because it wasn't so great you know but yeah because there was nothing like that really it was people like hey it's not awesome but i'm it's still way better than just you know trying to yeah better than nothing right yeah exactly so it was we were just kind of like you know reminiscing on how much that grew from that first beta that we released you know where it was like substance painter but yeah you really couldn't paint very well in it so it's kind of funny but i mean it sure changed my whole workflow and yeah even i mean there's still what i also do oh i have a cool example for that actually so um sometimes you have like whole big groups of assets and you don't want to um um like unwrap them right so you have like a picture with like a million assets that you don't have time for that or you don't want to do it for some reason and um what i do um then for example in this case i had this tree thing here right and wait i can show it to you yes so this is a tree that you find on top of the of the mechanical thing in the gamma piece and so i was really afraid of doing that because i rarely do organical stuff and i thought okay maybe i can use a 3d scan that's royalty-free or make one myself or i don't know and um what i did i what i just used the the volume measure and volume builder feature from cinema 4d and blocked out this rough shape of a tree and then i thought okay now i'm gonna unwrap it and hand paint the textures and it's going to be a mess and it's just like horrible and it will take so much time and this was the scariest part of the whole project this threesome wow wow yeah and i was like okay i pitched that to them and now they they they want me to do that and i don't know how to do it because i don't know and what i did was i just went to substance source to the website just download a tree bark like a ton of tree bark and uh opened it up in substance player which is like this um light version of uh i don't know not like substance designer it's just like you can view the sbsr uh files in there and and just uh play with the with the values a little bit and change the size and stuff like that so it's just like really basic it's like a preview thing and from there on you can export tileable maps right so i had this a bunch of tileable maps and just threw it on there without uving or anything and it looked like that and that's what i used in the final thing so no prep and that material is coming from source right like yeah it's just from source it's just like source uh downloading the the the file the the the um the source file opening up and substance player exporting can you open your your web browser and check it out while we're talking about it just to kind of get uh in case they haven't seen it but um but yeah one other thing while you're opening that up i i think uh marine was letting me know that uh with source this was kind of like you were new to using that right was this kind of like your first experience with source yeah i i never used source before that it's like that as you can see you find all the all the fun stuff here yeah we're updating this like every month so there's all kinds of stuff we have atlases decals materials now so that's actually the one i used oh yeah okay yeah and then i just downloaded the sbs ir file and open it up in substance player you can also open it in substance designer and painter and every substance too can open these and yeah then i exported the maps from there and you have also you can like change the roughness and because it's not just like a texture pack it's also um like a file that you have like parametric values then you can change the tiling and depending on what you get right if you have like a brick material for example you can make the bricks bigger and the the i don't know the the color change the color and stuff like that just an example but um yeah yeah that's what i did i exported it and just threw it on there without you being i mean you have do you see the distortion here and stuff like it's not perfect but it works for that pro project from that angle on camera view it's perfect and was like oh okay that was easy i thought i would spend like two weeks on just that tree and and was like that saved a lot of time yeah yes so so with that being you're kind of like with source being new to i mean like what do you think like uh like how are you feeling about it would you use it again yeah i will def yeah definitely um i mean there's like we have so many resources for textures on the market right now there's like a bunch of sites that you can and use that and i'm not like sticking exclusively to one but it's always great to have more options and when i don't find it on that side i will definitely find it on that side and there's this i i think the variety on the substance source side i mean you have atlases and then you have three you have like all kinds of um procedural materials then you have scanned materials that's also really cool um i always tend a little bit more towards the scanned stuff because it just looks more realistic um but if if you use like for example some you create something stylized like cartoons or something i don't know yeah we have a lot of stylized content yeah and this is actually quite rare to find on other sides if you go to i don't know i can't think of another example right now but it it's stylized textures it's not that common around yeah other sites so it's yeah it's a great addition to uh to the other stuff that's around there yeah and i think that's again i like to always stress that's that's the most important thing about being an artist is don't lock yourself into like one thing you know ecosystem yeah you've got a i mean it it only helps us to be aware of everything that's out there and use everything like i like to use every all the packages i use all the services i just you know i don't it's just a tool you know you're just going to leave the tools and so uh yeah it's it's really good for for everybody to be well-rounded in everything and you can combine them right it's not like you can can't just use that with uh substitute i mean just as i said you can export the maps and load into other tools and combine them with maps from other services or i don't know it's just like the variety of options yeah and again kind of like as you and i were talking like going back because you know i think we're kind of you know i've been you know it's 17 20 i was like i was i'm in my 40s now i was like 20 years in my early early 20s when i started doing 3d stuff so it was like you know you know it was like man there was just nothing there you know no it's also textures there was like i i think i had like a dvd from 3d total oh my gosh it was like like 1k textures like and it was like eight eight textures here you go have fun and it's not no roughness because the engines couldn't do roughness at that point it was just too slow it was just like diffuse maps or base color maps and it's crazy i know yeah and it's just like i always think about this too like man what would it be like to be like a new 3d artist like today and it's easier i think no i won't say it's easier but because you have so many tools and it's just like i mean when i started there wasn't even youtube what i did yeah no youtube it was just yeah hitting the manual that yes that was it and i think it's like really cool to start out with 3d these days i mean it might be easier but it's uh also cooler and more fun right because yeah yes youtube tutorials and all that fun stuff yeah it is it's more fun it's less of a headache like i mean i guess it was fun back then too but it was like you know a lot of it was just like you know very much like hard to figure out now you have like i mean there were forums and stuff i remember you know i met a lot of people from the old forums and stuff but like i don't know man like my first training videos i ever watched like i had i literally bought them from um i think it was 3d total and they were on vhs tape like literally i watched yes i swear it was like on vhs tape oh boy that's crazy yeah yeah it was the modeling a hand and it was uh brad piebler you know one of the guys who founded moto and but at the time he worked at new tech with lightwave and so like it was him like modeling a finger for a hand in light wave like five or something it was messed up but i mean vhs tape you know so anyways that that's fun stuff man go to all times yeah that was hard that was hardcore 3d man that was like you you really wanted it because you had to learn it man you had to read the book i mean the community also was way smaller back then right yeah because it's just like there wasn't that many people around uh drawn to that work or any thing it was just like tiny teams with and also i wasn't the only one in my circle of friends who did 3d and today i know so many people who do 3d and like even if it's just like people i recently met or something it's just everyone is doing 3d these days yeah it feels like yeah man and there's a comment that that someone came in it's coming from eric here in the chat and i think it's super vital because like like he was saying here that says today like when you start as a 3d artist you're super overwhelmed by the amount of resources and it's hard to choose where to pick up and i totally agree with that it's like i think like you know you don't want to say oh it might be easier today because it's not really because because the software is so much more complex and there's so many options there's so many things to learn that yeah like where do you start at least like you know when we first started it was like yeah man there's really only like one way to do this you know and so maybe it was a little easier back then but i don't know i mean we had like okay c4d and then there was not the question okay which render engine do you use there was just c40 yeah just use c4e and the renderer that comes with it i what what are you talking about right and today you have like okay c40 see what he can do v-ray corona uh cycles octane and like a indigo and then you have blender that also can do octane and and v-ray i don't know and so many different options and then there one plug-in for c4d like octane for c4d is better than octane for 3ds max and okay do i do i work in 3ds max now and use a different engine because it's not that good in in max or it's just like yeah it would drive me crazy and i'm very happy that i don't have to make these decisions anymore yeah well i mean we're talking rendering and stuff let's see some of your renders man i i apologize everybody we've been sitting on the same kind of still screen for a while but uh oh yes such a great convo though man i love just talking about stuff like this but uh yeah let's look at some of your renders because i also wanted to ask you or maybe you could jump in a little bit to some of the lighting like your lighting setup here you mean these renders from yeah yeah okay yeah from your project and then we could uh maybe you could just dive in a little bit into your lighting setup because i think you surprisingly i think it's simple right yeah it's really simple so um it's actually just um wait maybe i can show that in the 3d file can i can i don't yeah so the lighting um is super simple and straightforward you can see here that we no that's not the right one that's the right one it's pretty it's just two light sources so there's one from here and one from here one is bigger one is smaller and it's just the thing that makes it that easy is um so what i discovered over time is that the fewer light sources i use and this is not a universal rule right so everyone can use lighting uh as please then i i don't know that i won't have the the i won't claim that i know the right answer to that but in my case um it's just that the fewer light sources i use the the better it looks for some reason and in this case i used just two and i tried as you can see here in the object manager i tried around with a bunch of options i have a old then i have b and c and i just use a and c and then there is this disk which is um like from a technique i sometimes use that i have like a reflector just like we would use in photography that bounces the light back to the object and this would be invisible for for the rendering but if i use the camera one as you can see it's on a frame but it would bounce the light back to the object so you have like a fill light here but i decided against it and in this case it's just this light and this light and in octane i can't show you that right now because then the video would would stop when i render it and or it would crash um but you usually have this ipr that shows you the render feedback in in almost real time or depending how big your scene is it can be slower but usually it's pretty fast and then you can just drag the light around and wait and try things until it looks good right so you have um like you need a reflection on one of the monitors then you place a lighter and just move it back and forth until you have that reflection at that point and you think okay that looks cool but back here it's a little bit dark then you add another light and then usually that's enough for my taste um what i also do is then i add um volume around the scene which also transports light in a way that it comes to uh that it gets to areas that wouldn't be um in in the light directly and this this all i mean if you have like a room for example that that doesn't apply to that because it's it's not in the void like this one this artwork is just like black space black void and there you have an object in the middle so it's really different to light something like that uh in comparison to a to an open environment landscape for example where you have a sun coming from above and you have um the atmosphere in something you don't have that at this point and it's just like really plain area lights just like geomet geometric shapes that emit light in one direction and do you also have like a little gi solution going on within octane like you have your two lights and then there's a little bit of global illumination that's running oh no um octane doesn't work with global elimination in that case so it's not like it's um it's a path tracer so what that does is for each pixel the the image is made of it fires a like like array into the scene that randomly bounces off of surfaces until it finds a light source and then trace that back to the pixel it came from and it does that for each pixel a million times or i don't know like how how high you set it and then there is an average that is calculated for that pixel and that makes the image so you don't actually have like gi happening as light bounces on the surface and then it spreads and it's just like it's generates this fake realism and in octane it's just like it's the real thing pretty much it's just i always say it's the real thing obviously it's not the real thing but it's it works very similar similar to um like a brute force render engine that there's no interpolation happening or very little interpolation happening so yeah yeah okay awesome um there was another question that i did want to jump into before we start getting into the the qa part which was uh you know someone was asking about the cabling and how you made those and i remember how you kind of talked to me about that so i was yeah could you dive into that a little bit i i wanted to ask that one while you're still here in c4d so you could maybe show it uh yeah i i don't think i have to see an open for that and so the big big one will be a little bit slow to show right now because it's so long to open um but um wait i can show it like that uh so yeah i i was when i published that on twitter someone asked me okay what what did you use to simulate this and and uh is it like a spline dynamic or hair uh simulation or yeah what did you do for that and um the answer is that i just did that by hand uh which is slow but then you have the maximum control over it i mean i just placed the the multi socket thing there and then randomly choose a cable from that goes from that end to that end and just routed them by hand with b splines so it's just a spline that i placed by hand and then put it in the sweep nurb and made a cable from it so there's no simulation it's just all handmade yeah so it was a cornelius hand simulation then i guess yeah yeah and you know you know point by point setting yeah yeah but i'm actually if you if you made one cable you've made all of them it's just you you get really fast at some point it's just like you you turn on the the second monitor and watch a movie why you do that or listen to a podcast and then just yeah it's really meditative and and calming and slow but i mean it is what it is what it is and it looks cool in the end so it's yeah it looks really cool yeah yeah it's kind of like one of those meditative like honestly i'm kind of a weirdo but i actually don't mind like hand creating uvs like no i love uvs everyone is always scared of uvs i love that it's like you said i i i put a movie on on the second monitor or i listen to some music and i just zone out and it's like okay i don't have to think you're just just doing a process and it's like you know i like it's kind of it's like seriously like a meditative state you know i i like it yeah all right so we're the two two guys that are weird about uvs then because i really don't mind doing it at all no it's just i mean it always depends on the tool right there's tools that that make it like hard or annoying and but if you have the right software that works for you and you know your way around it it can be actually really fun the what is intimidating and at the start what i i always had problems with back in the day was that i i couldn't wrap my mind around how a uv actually works and just like i couldn't the 3d object and making cuts into it and then just unfolding it it's just like and when i explain that to people i always explain that to them like it's just a box that you get for christmas then you cut it open and so it's flat and that's exactly the thing that you do with an uv you just choose where you want to have the seams and where it would make the most sense and then cut it open in a way and yeah wrapping my head around that it took some some some time actually yeah i do yeah looking back i remember learning that and i remember thinking yeah man that was the hardest that was a hard thing to learn but as you said i kind of thought the same thing i tried to visualize like okay i have like a little cutting knife and i have the object in my hand how would i split it open so that i could fold it flat yes exactly yeah yeah well uh cornelius great man so i'll tell you what i think we're gonna shift over into the question answer section here so uh you could go ahead and you know stop your screen share and uh then we will just kind of come up to the kind of camera view here and um marine has been collecting some questions for us um marine and kaz and uh we'll just go through here and look yeah so yeah man let's just jump into a few of these questions i'm also still monitoring the chat over here in case anything new comes up so for example here let's see okay so this one the first one was it's more of like a setup question really so it's like like your computer setup so it's asking if you could say something about the hardware uh that you're using um the person that asked the question says they're on a mac and it seems like uh uh you know they're saying hey for 3d work i'm needing a pc um so like what what what's your hardware like can you give us a little idea of the cost like what's the estimated cost for a good 3d setup okay so in general sky's the limit i mean you can go crazy if you have you can't easily spend 10k on one pc for 3d stuff that's no big deal um but you could also get away with 3k so right now at home i have two pcs one is the render machine that uses the distributed rendering over the network and the main workstation the main workstation is ryzen threadripper 2950x 16 core processor which isn't really necessary if you use gpu rendering and two 20 adti gpus in that machine and two additional 2080ti gpus in the other machine and 128 gigabytes of ddr4 ram that's pretty much it so it's uh i i don't know how it was like six grand i think when i bought it roughly it's a yeah so a hefty workstation you have yeah i mean you have some horsepower yeah i have some horsepower but um i mean for the scenes i usually work with which are really big um actually wish i would have stronger gpus so uh not like in terms of speed but of the vram size which is also a factor always a factor that limits how much you can do in in the 3d scene also um yeah i mean you can go there's like workstations there's like this uh guys sebastian michelski from is it czech republic i don't know but he's building these crazy water cooled computers with like four 30 90 gpus or something like really crazy setups that cost like 20 grand or something so if you have if you want to spend a lot of money on a on a computer you can spend a lot of money on a computer and it will also increase the performance immensely but uh yeah it always depends on the person i think yeah i think i think one of the key things that i kind of look at is like if you know if you're if you're in the substance ecosystem and you're using substance like you know just just remember that it's kind of gpu bound so just spending the money on the on a good gpu with some vram that that goes further than than some of the other components but uh but yeah there's so many different use cases yeah um so so yeah just moving on to some of these other questions um i don't i think you may have hit this one already but it was just wondering uh your texture size uh it says in this case i guess for the the the substance painter textures you created like what was you exported at 4k i think you said yeah 4k sometimes i import i so i made my own textures at some point they are an 8k just to have the option if i want to sometimes i import 8k stuff and and just uh re resize it to 4k uh but i from for substance i usually just stick with 4k so just export in 4k work in 4k and import in 4k yeah this was uh here's another kind of texturing question they were just asking like um do you ever use the normal dirt node in octane uh i guess for you know creating like dirt and stuff or oh yes using substance um so if um for some reason so when you model lots of things for uh fusion 360 for example you can't like make uh make the mesh work in in unwrapping tools or you can't create uvs that work for you you can also shade it procedurally and use the dirt note it's just like so substance painters like the dirt note on on steroids in such a high level and the dirt note from octane is like really bad it's just ambient occlusion pretty much and yeah you can bypass a few things if you use just that and mask and play around and mask it with noises and stuff but it wouldn't look that great as you would just use substance painter but if you have many assets or it's just impossible to unwrap um this can also work i do that sometimes yes awesome and so what do you think is the key for texturing a realistic asset like do you have some like kind of principles you think would you that would be helpful um [Music] i think imperfections so even the most clean thing you have is um needs imperfections so if you model like a phone for example you want to make it realistic just like i unboxed a new phone put it on my desk and take a photo of it you will still see little imperfections if you go close to it then um work with high-res data work and also it's just not it's never about only about the textures so if you have if you have a 3d project and you want realism it's all it always depends on the textures the lighting and the modeling so you can't get away with like a bad model or bad lighting and then fix that with good texturing everything has to work with each other so if you have a bad model it's really hard to make that look good and realistic so you need a good model and then you need good textures and good lighting and if all of that works together it will look realistic in the end that's at least my what always works for me if i have a bad model it's always impossible to make it look realistic yeah and when thinking in terms of like the physically based maps like i i find that the roughness map is like the is the key to that as well because like you said all those imperfections that's where you know you're adding all that to the right little fingerprints and stuff like that yeah all that i mean i what i also do i just clone dust on top of the object all the time uh for like the last few projects i did i just go crazy with dust for example and this is something that's always around if you take a camera and make with a macro lens and go really up close to any object you will see little specks of dust on it and it just adds realism so this is like a trick that you can use but yeah it's also like part of imperfections i think yeah now you were talking about modeling do you model like in all your projects do you model everything or do you ever use like any like libraries or do you just hand model everything too this depends on the project uh at work i used um libraries a lot um for my personal projects i use libraries but very few of them so for example if i have like a scene with like 15 different water bottles um i won't prove i don't prove anything to anyone if i just build 15 different water but i can build five of them and then i'm annoyed and just buy the rest of them it's totally fine for me uh i i don't have to prove that i can model a water bottle it's just i can do that it's just it's annoying and if we have you made like 10 of them and um then i reuse stuff from all the scenes uh quite a lot and but most of the bigger or more detailed assets i built myself actually just just because um i know what level of quality i want and um how i made and i want i also want to design them in a way and have control over them so it's just easier uh for me to just build it myself yeah but it's not like in not not a question of okay i i'm a true 3d artists i have to build everything myself it just it's more convenient for me to build them myself and if it's more convenient to buy an asset i will just do that it's just like what gets me to the goal of my or the creation what what does uh lets me finish the piece quicker in a way yeah yes yeah it's going back to what we were saying earlier about using using the resources at hand like tools that are available yes great um do you rely on the tri-planer in substance heavily like the tri-planar projection yeah in in the um i use that with um with the dirt notes and the metal edgeware nodes there's an option that you can use try planner blending and i do that to uh hide the seams so when i have the seams from unwrapping and you see them because you have a texture going over them and you see the hard cut i use triplanner and then you don't see them anymore yeah great yeah uh so uh here's another question uh going back to rendering so so why are you using octane uh it looks the best it's out of the box the so octane you can learn in a day if you know your way around 3d stuff and you're not a complete starter and just open the 3d tool for the first time i can teach your octane in one day i would think and it's um out of the box without doing anything or tweaking anything it will look the best of all the engines it has a really great look it's path traced i really like path trace engines it's very fast and people might say it's instable but it's not that unstable actually for me at least and yeah i i don't know i know my way around octane and um yes it's just it just works for me i mean there are also like other cool engines that i want to try at some point but um octane always was this it's like a fire and forget it's just like it just does it does the thing it does and it works i don't know yeah well talking about other renderers one one question was octane versus redshift have you used redshift i mean i used it uh once at um i tried i made a scene before that it's like this dirty kitchen i don't know it's called haze that's a picture that i spent seven months on and my plan was to reshape the whole thing in in redshift to learn redshift um but i it couldn't handle the scene for some reason probably because it wasn't redshift's fault it was like a combination of factors probably but um after that i didn't bother and i think redshift is a great engine that's very capable of a lot of things but for the stuff i do i just feel more comfortable in octane and i think i could do the same things with redshift but i didn't had like the motivation to to switch it up for now i mean maybe if there's a project that need where i need more out of core memory stuff because i ran out of vram or something like that that then i would think about it and but yeah so far i didn't have the chance to really to use both equally and and make like and tell people okay this is better in that software and i think there's a lot lots of people who use both but personally i only use octane so okay yeah yeah it's like we said earlier too it's like one of the one of the problems you can face as a 3d artist today is like all of these options so you know like what do you learn and things are so much more complex so yeah that's that's def i think that definitely makes things harder to to learn in in today's time know versus um versus you know years back yeah yeah there's a lot of you know you have youtube and videos and tutorials it's awesome it's it's but it but again there's so many different i mean there's also so many tutorials right which one do we choose which course do you choose yeah i guess i guess it's not a bad problem to have you know yeah i mean it's yes yeah i get so excited about that you know when i think about today you know because i love learning new stuff and it's just it's just awesome this just being a 3d artist is such a cool uh job to have and it's just like you know every day you look at something new oh man there's a new thing that's come out or a new technique or some new thing to like keep you going do you ever feel tired of it and we're like ah um what that was enough for a week well well yeah i i don't know so i get it i get here's where i guess what happens i get really excited about it and i'm like yes this is awesome but then like i'm like well reality sets in like well i don't have time to do that i can't learn that so i kind of thing with what i already know but i do get excited about it i do think it's cool i you know i do spend time you know just at least being aware of what's out there because i don't know like with me i like to you know i i will use a tool until it's not useful anymore and then if it's if it's not useful anymore and it's not good then i'll put it aside and move on to something else i i tend to not have like brand loyalty all that much i try to just you know put put the art first and use the tools that work and then you know see what else is out there yeah um yeah so so with that said um and we'll do one more question here before we um uh kind of close it out and i think you may have answered this one but i think it's really good so it's asking about your you know your personal projects and again it's going back to that do you use um 2d uh concept painting for your environment projects or do you block out in 3d um and i think you kind of talked on this a little bit but yeah i just want you to hit it one more time it was i thought your workflow was uh yeah so if i do i i don't know if it's like targeted specifically to my personal project but in any case uh i think i actually block out more in my personal art when i'm at work and doing like commercial stuff it's never like i make scenes big scenes for clients it's always like different things like an animation or like smaller smaller scaled stuff and um for the big personal projects i always block things out i use primitive objects place them in the scene and use really basic lighting to get an idea of the composition so this is i always tell people that this is actually the part where the image is made so i build the image and after that it's just detailing i just use replace every block in the scene with a detailed counterpart so um yeah that's actually kind of the most important step in the process but it's just like the most mundane and boring thing because everything looks bad it's just like a block without textures or just a base texture and it's like really ugly and and but it's really important that you do that when you have like a big scene because if you go into the scene and spend a lot of time on the detailed building or something and then it's there and then oh that doesn't work i have to change the building then you have to start all over again if you start with a box if you can you're so flexible everything is fast you render time and the prep time before the rendering starts isn't like five minutes it's just one second it's just like really fast pace you can make many iterations of that process and once you're in the scene and you have a mill like 20 million polygons in the scene and like characters with particles and vdb files and volumes and i remember i did a project when when i hit the render button until i could see a preview of the image that was rendered it was like seven minutes so it's the prep time of seven minutes and if you change big parts of the scene in that phase it's really bad then it's just better to plan ahead and just do the block blocking and sketching first and then you go from rough to detail then yeah yeah awesome man all right so we're going to close this out i i do one more thing just one more right before we go yeah i just one question was what would just what's your best advice to give to a 3d beginner that you wish you knew when you started um it's a long game it's not so there's like a ton of people doing every days and and everything in the internet is fast-paced there's trends and every everyone is doing uh daily renderings and and stuff and you have all these people that are crazy good but um usually the ones that are really great at what they're doing they do that for a long time it's never there's nobody no 3d artisan or very few 3d artists that are extremely good at what they're doing and do it for little time so it's just like there's nobody doing that for two years that is tremendously good at it it's just like when you start with 3d it's only natural that you suck at it and you will get better and better and it takes a long long time and for the first years of this career uh i was really bad and i just learned a lot over the years it's just that's the secret in my opinion just don't listen to the people don't go too much on social media they all show off i mean that's what social media is for right people show off and what they don't show you is the the the the attempts that they failed at but you will fail and it's okay to fail don't get yourself crazy just take your time have fun and it will take a long time but it's okay oh man that's i i i mean i'm doing that for 17 years right now right and i have still so much to learn and it's just yes yeah dude we are totally in sync man that's the exact same thing i was gonna say it's just like yeah just don't be afraid to fail like i was so worried about my stuff looking bad and i look back and i'm like dude i just don't sweat the small stuff you know life's too short for that just just have fun that's the best biggest thing just enjoy yourself and have fun who cares if it's good or bad just enjoy it you know don't don't get so stressed out but uh yeah man that's awesome well with that said man we got to close it out and um so yeah we'll start to uh let's see one of the things i want to make sure i do before we go here is uh well obviously cornelius thank you so much for the time and i greatly enjoyed chatting with you man and just having just a nice kind of just just fun chat about just 3d in general and just you know you know where you came from and how you got started and it was just it's very inspiring and uh let's see also we did have a feedback a little survey that uh i think maureen and kaz had posted in the chat so if you guys don't mind uh just you know go ahead and hit that survey just let us know things we can improve on um you know and also uh a quick plug for our next live stream that's coming up um looks like it's gonna be on april 21st uh it's gonna be on packaging creation and it's gonna be awesome we're gonna have the source team with us uh i always say this uh you know the people that that that are at the substance team uh they're just amazing they're wizards and anytime we can have any of the team members on the on the on the stream it's just it meant it's just awesome to talk to them uh so we're gonna have them and then also we're going to have uh ronin who's done a lot of really great work for us as well uh uh teamed up with the source team on various projects so they're gonna go over um the the the project that they did for the packaging creation again that's on april 21st so that's it um cornelius thank you again man and thank you everyone for joining us this was so awesome to just talk again and uh we will uh everybody just you know be safe take care and we will see you next time

Channel: Adobe Substance 3D

Views: 10,595

Keywords: substance source, environment artist, materials, procedural, PBR, Physically based rendering, environment art, 3D design, 3D painting, 3D texturing, realistic, hyper-realistic, texturing, 3D material, substance designer, substance painter, game art, gamedev, digital art, game development, free, allegorithmic, 3d, substance painter tutorial, devlog, substance designer tutorial, art, game devlog, substance painter stylized, substance painter tutorial beginner, substance painter 2020

Id: WMeytQbWqDY

Length: 94min 45sec (5685 seconds)

Published: Wed Mar 31 2021