How to create a grimy barrel scene in Blender and Substance Painter

hey guys it's built in blender Brett today we're going to be creating this barrel scene using blender and substance painter now I've done a substance painter a tutorial before but it's quite basic didn't really cover a huge amount whereas today we're going to be starting from scratch we will empty scene and going through the entire process of modeling lighting texturing and substance painter and materials then in cycles rendering and a bit of compositing so it should be pretty fun so let's get started okay so here we have our empty blender scene I'm going to start by removing the cube and that light and let's move this camera over to layer 10 there you go so let's start by pressing shift a and adding in a circle let's bring up a little panel here and change the amount of vertices to 16 more enough for what we're using it for and now size wise a barrel is apparently point six one centimeters across the diameter and point eight eight high has a sort of standard height that's why we're using those numbers there and just apply that scale there we go tabbing to edit mode and then extrude up the z-axis by point eight eight and we should have the perfect outline of a barrel sighs perfect okay I'm just going to flip those normals because they are pointing in the wrong direction there we go now you probably uh have seen a tutorial involving red barrels before and that's exactly why I chose it and one way one of the first scenes I ever did in blender Tam was Andrew prices I think it was on environmental lighting a scene involving some red barrels and I was sitting trying to think of a nice simple scene that's easy to create but would also create some nice results from substance painter and I thought why not go back to good old red barrels which is why we're here so and watching this view and hit ctrl R to add in a loop cut use the mouse wheel to scroll up the amount of cuts in this case we just want to that will give us our four lines across like so and then within each one of these areas we're going to hit ctrl R add in another two loop cuts and they'll hit scale Z about 2.8 I think yeah happy nice so I control our two loop cups scale costes z axis or 2.8 and once more okay starting to get the sort of shape that we're after now what we're going to do is hold down alt and shift and select the top edge loop the middle one from these two sections and in the BOP now if you hit scale and shift Z in it won't scale across the z axis which is what we want in this case and this will allow us to bring out these these little bits like so now at this stage we'll add our subsurf to see what's going on there okay so you see we've got these kind of curves on these sections here we want that to be more a straight line so I'll add in some more libs you could do it where if I did on my one and I did it via the what's it called they're mean creases and but I run into a few issues and ended up having to put more loops in anyway so we'll just won't bother with that this time around keep it nice and easy so again control our two loops scale the z-axis let's go to point nine this time scale Z Y scale Z to them there we go that's a smooth shading and that is literally all we need to do for the barrel and I suppose we need to give it a bit of lip at the top and balm we don't need to do the top or the bottom because from the angle that will be picking and they won't be viewable so no need to model them so just scale that up there a little bit another loop there so got a sharp edge let's do the same on the bottom and I'll move this up to the floor excellent okay so we need to add in a seam at the back here so highlight that entire edge and then hit ctrl e and then Mark C now will bring up a little UV image editor or jump to the front view I like everything and then go unwrap cylinder protect projection awesome and then you end up with that now normally when you texturing you want to take up as much the UV as possible but because of the way substance painter works if you start to skew the scaling of course your problems later so in this instance we're going to waste all of this area here which isn't particularly efficient but it will work for for what we're doing but as a general rule try and use up as much of the UV map as possible but at like safe I'll do so ESCA this material we'll call it barrel and that is us and done for that so yes loo get rid of that now we'll hit shift a mesh and plane this will be our floor which will also extrude the walls from scale that up a little bit will be about there maybe a little more and then we'll highlight these two edges and extrude those up like so how highly actually going three meters is where we want it now I'm going to add in an edge loop to about there while we're creating here basically is a little door another door a which got a gap and I did initially start with just a square room we doing a very interesting South Floyd er we spice it up a little bit with a door there which I might have put too high 2.6 nerds about maybe maybe lower that just a little bit okay now I need to separate these bits up to be the floor and wool as in separate objects so let's go and grab that that that and that separate by selection excellent and now I'll bring that panel back so we can unwrap these and everything has to be a new V unwrapped wake up bill ah you really like that try yeah uses up a good amount of the UV and will do the same here except we don't want any painting along here or here because that's just a waste of a texture space you won't be seeing it from the angle that will be picking so get rid of that that's just a smart movie unwrapped on there that looks pretty good okay so give that a material called wall and then the floor material called floor and we now have our three export objects you'd be unwrapped and ready to go and we'll sort out there the rest or once we get back into blender after going to substance painter only if you want to do before doing that though is get the lighting out the way so let's bring back our camera now we want to pick an angle this is going our main focal solver element that we'll be focusing in on so I just want to bring that in little more like that yeah it should be pretty good yes ask me this via the angle of our scene we'll make some more adjustments to the to the camera once we get back and but I wanted it in the right sort of place so we know where to put our lamps now it's quite simple the lighting in this we're going to use a area lamp which we're going to set to a size of three so we've got a soft lighting and in terms of shadows anyway but quite right and seven hundred we're going to try here what you think is what I used and which is angle wraps like so and maybe they'll work just have a little look from here shall we yeah yeah yeah it's about right so that's the one light in now we'll add in a point light which we'll put a bit off the scene may be here about there and we'll set this to have a size of one so quite soft at least for a point light and we'll set that slice that the energy to be 50 we're going to give it a slight blue car mostly just to look interesting on the reflections yep that's good and then we'll duplicate that one and put it kind of there down that corridor and that will be a red car again just to be interesting in terms of lighting and but much for into why these colors are that maybe there's a fire down that way and the sky out that way I don't know okay it was good so that's going to be our basic lighting setup let's get that saved I've already given this a filename and but make sure you save at this point and the next stage is to export these objects so we can use them within substance painter which is there be a meeting potatoes of this tutorial so barrel selected we want the wall selected and floor with those free here file export and we're going to use FBX you can use OBJ's but I've gotten to habit of always using this so let's continue with that and only thing you need to change from these defaults is selected objects and you could turn off applying the modifiers but I believe that on sir no huge amount reefer sells its painted to deal with it shouldn't cause any problems leave it at export excellent so that's now exported as an FBX so at this stage we can move on to substance painter right now part of the reason I wanted to do this tutorial is substance painter has just been made available for free and when used under a student license for non-commercial purposes etc for learning and teaching and so it's if you've been holding out on getting into substance paint at now is the time it's a brilliant application I'm not particularly great at it yet but certainly good enough to pass on a bit of knowledge so let's see how we do I'm going to create a new file and now we're gonna you've got a lot of different workflows you can use within substance painter then one hoody fools - is the me metallic roughness workflow and that's the one we're going to focus on today so leave that as standard at metal rough next you have to select the mesh that we're going to use and we've exported one just for that purpose there we go okay we want to turn on or switch over to OpenGL normals rather than DirectX blender uses the OpenGL former so always make sure that's changed otherwise your normal directions will be wrong which is never good and turn on compute tangent space per-fragment I'm not sure why if I'm honest so justr and I was really off on the best way to use substance page we have blender and quite a few places to mention turn that on and this is where you set the resolution we're going to go for the max of four oh nine six and hit OK and that will bring that export into substance painter there you go okay so moving around a little different and compared to two blender if you hold down alt with the left mouse button you can rotate it round with middle mouse button is where moves around and then the mouse will turn to go in and out quite easy when you get used to it and let's get started on actually painting stuff shall we now first of all you do the barrel so so we can focus on just that I'm going to turn off the floor and wall but before I do that one thing we need to do if you go to the texture set settings here hit baked textures make sure everything's selected you've got output output sizes here you can miss around or if we're going to leave those a standard I think they'll be fine and just hit bakeable texture sets now what this is going to do it's going to create things like curvature maps distance Maps ambient occlusion all all of the maps that the various materials are going to need to reference and it's baked hos Horace for each of the individual materials so once that's all done we'll hide the floor in the wall and we'll get on to painting this barrel and it's done good and you can see here I'm under barrel now you've got all these different maps and which have been automatically generated from the model which these materials will make use of which is happy so let's go to the barrel sorry everything but the barrel we drag that down here and here we go good start actually getting some work them now this layers system is very silly if you've made textures in Photoshop before and use masks and all that sort of stuff this is going to be quickly become second nature to very very similar and first thing I'm going to do here is get rid of that default layer go to materials and we're going to find a nice metal laughing as a kind of a rusty metal material no I'm making that steel that was it I'm telling you metal it's steel it's not smart materials if normal material still rust so I'm going to drag that into there which create a new layer and it will add the material to our barrel there now for each of these materials you have various settings under properties that you can change around not going to do much on the scaling to be slightly different let's try that at foo actually gimmefive this is just scaling that the whole texture Android doing yeah that's quite nice but beyond just scaling you can also let's say for example rust intensity we're going to want quite a bit of that maybe even more in fact ooh too much sometimes you have to give substance paint a while to catch up with changes you make as it's calculating in the background and still maybe a little bit too much there yeah not too bad a little tiny bit lower we've also got a separate control here for metal roughness so if you take that down to zero that the bits that aren't rusted will go pletely reflective like so which we'll see we don't want it's quite old metal so take up to about 0.4 maybe 0.3 yeah that's pretty nice so there's a sort of base metal over the top of which we're now going to add a completely different layer of paint painted steel there we go so we'll add that in above still rust and it pretty much replaced the material you can see that it's kept in some of the normal effects from the from the material underneath but in general it's just completely painted over which is fine let's pick a color and going to go for seam as I did in the original which was a just slightly awful red orange sort of color like let's catch up darken that a bit yeah that should about work yeah there's not much else to change here you can fiddle with a scaling but given what we're about to do to this lair it's nothing ain't much different so yeah we'll call that done now this is the bit that's very luck to like Photoshop if I take this layer right mouse button and he'd add a black Mars that layer is now masked and because the entire mask is black it means none of that layer is being used but now we can effect this mask and to bring in that layer but only where we want it much like you would do in Photoshop so let's go you've got older various masks somewhat nice smart masks here we are so yeah if that's just up from typing in the word paint and I got quite a few but these are all the various smart so we can use so let's take a look at that again it's not actually what I used when I did this and before recording but it might work well so let's give it a go you've not quite and we kind of want the opposite of that don't we which have global invert yeah there we go so that mask is to using the edge detection map or the points of the curvature map to figure out where the pointy bits are and detract from there but now we can fiddle with these settings to get closer to the result that we're after I don't think I actually like this one I have this problem the first time around it's I couldn't quite get the look I wanted from there the masks it was using so what I used was the older generator and so at generator and then it was mg dripping I used but she said it's meant for doing like dripping down dripping rough stuff like that and they're not really suited to paint nuts chipped off but along with the rust and everything else I think you came up with quite a nice look so we'll stick with it yeah just play around with those numbers until you get something resembling what you're after yeah don't look too bad awesome em you need to bring in a bit more though cuz I want a nice good orange bit in the middle and so we can put our logo in in fact that's a very good point mm if you are using you can have multiple layers even underneath one of these masks so if I then go add a paint layer I'd have a paint layer on top of the generator here so I can paint in my my own like if I start painting here hopefully yeah there you go you get a nice big clear area not quite what I wanted and let you get the idea so I'm going to do the same again I'm just gonna create an area here that's kind of extra clear just because I want that logo on there there we go maybe just like that okay um yeah I think I'll do the trick for what we're doing anyway and so let's go back to the color here because we can paint directly onto here if I go at a paint layer there we go I can draw on here and it will change the color of the thing underneath awesome now on the other features you've got here is the ability to draw on directly with brushes and I'm going to use this little brush here change it to a yellowy color like so it's not actually that yellow is everything close enough and a bit to me there we go bang maybe and there's the logo if you've not used substance painter before when you first start using it you're just going to be shocked at the speed and ease of the majority of the workflow it really is crazy I love it and almost feels like you're cheating sometimes but I'm fine with that okay so third layer here is going to be rust at first it will cover the entire thing we can make sure the tiling looks good which I think it does pretty much as ears right mouse button and hit add a black mask and then let's see if we can get it good a smart mask of rust here ed rust let's try that not quite what I was after let's try Russ trips don't that's added to it keep God okay I'm going to do what I did before and hit a generator Oh smart masks think that they are good but I've not uh it's messing me I imagine I've just not got to grips with using them as effectively as this old generator method yeah spread it a bit more bit too much that should look pretty good maybe change the seed there we go quite like that and okay so free layers so far the last one is going to be dirt so yep select dirt drop that in there this kind of has it soon with not so much a mask but that's not very nice is it that is clearly not what I used before right there we go go to the mg dirt generator there and which definitely works a bit nicer we do need to affect the scaling there let's try 6 mm 8 maybe not bad and we want to slightly lower the amount of dirt being use there cuz it's going up a bit high for my liking let's turn down that their level down a bit other badly it looks pretty good only new go I have it's we've got loads of dirt down the bottom here but then this this rim hasn't been hasn't got any dirt on it which I'll you just doesn't look right to me so let's add in another paint layer on this mask and we'll just paint in that area manually and that will add in the dirt there and then already in very little time at all we have a fully my god I'm braking from moving back there we go we have a fully textured object which I just I can't imagine doing the same amount of work in something like a Photoshop as quickly I just maybe some people could buy Sony certainly good anyway let's bring up the floor and the wall now since we have one item pretty much painted and you'll notice that back sides back faces don't get rendered which is why you're getting that funny sort of look on the barrel there don't worry about that that's just substance painter next thing we'll do is have a look at the floor strip in concrete to see if we've got anything along that line yeah that's pretty good drop a lien give it a minute to think about it we have a basic sort of concrete looking floor you can adjust the scaling if you wish but I think they'll be fine as is and the only thing we gonna add to these is dirt it's the barrel that was there a complicated one so let's drop that roof getting it thank you drop that in there wait for it to catch out like so grab the mask editor and change the generator 2mg dirt works a lot nicer maybe a bit more grunge or bit less grunge excellent and we will actually it lets me I'm going to copy that layer paste that into the walls layer as well so we have the same dirt settings for the wall excellent now we just need a base material maybe I haven't got anything like that faster maybe now I do have in my material library but I can't be asked to find that right now trying to keep times down so I use a clean concrete there we go that looks pretty good and I'm going to turn down the dirt on the walls just a little bit because that's again higher than I would like yeah yeah that's pretty good and that is pretty much in for texture painter the rest we'll be doing in blender so all we need to do now is export all of these out all the textures that this is generating and so let's go file export textures it's got our separate material sets all selected barrel floor and wall which need to find a location so I'll save it with a rest of my rest of stuff to do this tutorial I can find it maybe I had too many things to go gone so is that selected best place we just hit export now there's a lot you can do to configure the outputs but on I wanted to keep this tutorial to be simple so I base the workflow around its default settings which is a metallic roughness workflow which is going to work fine for us anyway so let's hit export now while that's going just in case you haven't been following exactly what substance painter does the reason it is so powerful is throughout the entire time that I was working on the materials I wasn't just working on the color it was also adding in bump maps it was adding in roughness maps it was adding in metallic maps everything that's going to be needed for the PBR workflow that will then use in cycles it was handling in the background just but from a user point of view it's just like you're painting on the material be the background it's having all those maps separately and it what makes substance painter a substance designer and so powerful because it allows you to as an artist and work directly without having to think about those maps so much which is brilliant in my mind you know this is going to take quite a bit of time to export by the looks of it so a shop right with substance painter finally finished exporting we now have all of the textures saved away and ready to work with so I'm going to jump over to my normal nose for you and which you would have seen before by now and let's jump into rendered mode down here also we have our basic scene setup now we are going to be duplicating this barrel and moving about all over the place let's get materials in there first and then we can position where we want secondary barrels to go secondary elements anyway bill your chat and rubbish so let's start off with the barrel got that selected now throughout this I am going to be using the SP to blend node group which is a product I have up for sale on blender market however I don't agree with doing tutorial which forces you to then go out and buy a paid product if you want to buy SP to blend Berlin but I'm going to quickly show you a method of bringing in those texture maps and making a node set up for yourself and then you can decide where to go from there so let's leave that at the top for a moment what we want to do first of all is bring in those maps so I'm going to hit shift a texture multiple images now think that might be a feature of node Wrangler maybe not if you don't see multiple images at 10 onload Wrangler which is a built in atom and that will fix the problem now if I go to my textures folder let these all load up for a second you can see all of these maps that substance painter has generated for us which is everything we're going to but need to input our scenes again however we don't need all of them um let's let's take the barrel for example going to need the base color we won't need the height or the normal because the normal underscore OpenGL incorporates the normal and the height map together so we're going to use that we'll need the metallic map the mixed ambient occlusion is optional but I'll grab it and also the rough and snap so base color metallic mixed AO normal underscore OpenGL and roughness and that'll be the same air in every one so open those up next before we forget we have to change all but the base color to use non color data non color data there you go now the reason for that is blender and this is a value like relatively recent blender will automatically apply gamma correction unless told otherwise which is great when you're using the color textures because that allows us for a nice easy non linear workflow linear workflow it allows us to do not have to worry about the gamma which is a problem with I you see it with v-ray all the time and blender does it all for you but the downside is it will apply those gamma Corrections to maps where we wouldn't want it to and that's why we have to mark for non color data so once you have those maps in place let's just dump the diffuse for example the base color into the diffuse and you can see there's our texture now to do a really basic PBR setup and I'm talking real basically we needed a few shader a glossy shader and shoot a mix there we go and for now there we go excellent and I'd better preview what we're doing as the for now defuse colossi excellent okay in this case we also want to know again we'll grab that as a second glossy because this glossy may well be colored because it's going to be our metal glossy so we'll also drop a color into there will then grab a mix aider like so connect that into there and then the metallic a map we can drop into the mix chain so what that is in actual fact doing ears using this metallic map where am i there we go there's using this metallic map to decide whether to use our diffuse glossy from nail set up there or this separate glossy shader ìiím attack and that's being driven by the metallic come up there hopefully not too complicated and but yeah that's what that's what that is what that's doing I'm having trouble talking about okay so next is the mixed ambient occlusion I won't include that on this basic set up because it's confusing enough as it is we will obviously need a normal map so let's go grab a vector vector normal map there we go drop the normal into there and then you want to feed this to everything for now the diffuse that glassy and let nah see boom so what's our so bump map in place and now it's just the roughness value now because of the way blender works it doesn't it's roughness settings don't tie in well with with substance painters particularly well but you can fix that by adding in a math node changing it to power and then change that bottom value to two and then drop the roughness into there so the reference to the power of two basically is what we're going to use for roughness and that goes everywhere that it needs to as well so both of those and those so with that really basic set up and you will get relatively decent results from the maps that are coming out of substance painter and if you're after something a bit more complex and in-depth then you could either use this SP to blend I'm gonna be using throughout the rest of the tutorial or grab it even my PBR nodes for free off my website and do a metallic mix between those or make your own base value prices tutorial whatever you want to do and you've got plenty of options there I just wanted to show you a quick manual way of doing it and say you weren't being forced to go down the route that I'll be using anyway with that said let's get rid of all these nodes because I don't want to use them today I'm going to be dropping these into my node group here like so connect that up like so and bam that's that done one of the benefits of the no group I use here is you can quickly preview what's going on with the map so that's that the roughness setting that's our metallic setting ambient occlusion if I was using it I bring that in like so and then you've got your dielectric glass and the metallic rim shading which of which there is none model exhibitor it's goes off so now you could use a bit of metallic rim let's let's go for it needs a bit of rim lighting I doubt it will be that obvious in the render but certainly won't cause any harm anyway now I can see that I want to rotate this barrel around a little so the logo is kinda there exome okay so just need to quickly bring in those other materials and get that all working right so repeat the process floor base color metallic and bead occlusion OpenGL normal roughness change those to non color data like so excellent and drop mean like so this one have any metallic silent mess around with the room lighting on that but that is the floor nicely in place it's certainly not the texture I used on on the first go-round of this book it won't make much difference anyway and the wall in now like so floor wise at the wall to the wall now like wake up man check those two non color data I was actually thinking it might be worth adding the the gamma correction into this no group because if you can be using substance painter a lot and you got to drag in these textures all the time it reads as get annoying how to change everything to over to non kind of data so it's considering building in the gamma correction into that yeah I don't know what are your thoughts on the subject anyway BAM that's all our textures in place already looking a looking quite good we're gonna be doing quite a bit more and before we're done but it certainly is looking nice now one of the key things to point out and I didn't mention while I was in substance painter cuz I forgot he's even outside of the set of groups now we had barrel wall and floor groups but even outside of those it will look at objects that are nearby and use those in the calculations for example you can see now I've placed this barrel down here the floors got extra dirt around where the bow would be and the walls and the floor know where they're meeting in and the dirt is being added there and in a realistic way which is awesome and time-saving I love it now if you're gonna do it properly like if this was not still from a specific angle you'd want all of the extra barrels already in the scene probably with their own movie map so they can all get slightly different textures I don't know but for exactly for what we're doing just duplicating bow is fine that we're not gonna duplicate we get a reference we need a Aldi and make some copies of the barrel now so say a couple of those you want a couple in this doorway mmm something like that we just want lots of barrels basically go to that one it was pretty good and it should catch our lights quite nicely yep not looking too shabby at all and I think I had one more that was kind of falling over yeah behave thank you here we go gotta kind of that sort of angle what not bad now only thing left do obviously all these logos are pointing in the exact same way which looks a bit like rubbish doesn't so let's just do some round and rotate ting around the z-axis to fix that doesn't matter if some of them are showing just because I doesn't look all identical really yeah all right so we now have our barrels in place at this stage to make things a little easier I'm going to gear up all the barrels select linked publicly here there we go and move those to layer two so we're just going to be looking at our floor and wall for a while because we're not quite done there now what we're going to do next is add in some wetness to the floor we don't want it to be a bit dry floor we want some wetness on there and maybe because I thought it looked cool more than anything else and it's probably something we could fall about beforehand of done in substance painter and generate a map for it but I find this way a lot they're a lot easier and simpler to follow so let's do that I'm going to add in a glossy shader and for the pronounced look just at the glossy shader here we go ten the roughness way down 0.01 mm mm work quite well and at this stage I'm going to also bring in another image texture this one I'll make available for download and it is puddle splashed all which I'm going to if you're using node Wrangler with an image selected press ctrl T and that will bring up the texture coordinate and mapping nodes which is always handy I'm going to use generate two coordinates rather than the UV for this and let's just see what's doing first of all drop that in there I need to change that to box because we're using generated and I just want to see what's going on so these are basically going to be like little splashes in the puddle as it were so let's up the scale maybe a bit too much hmm yeah I should work about right just but obviously we don't want that plugged into the color cuz that is a normal so let's add in normal map make sure the image is set to none color data drop it in there drop it in the glossy and that starts to give us that sort of effect which is well stronger than we need so let's change that to a point one and then yeah so now if you're looking at that it's kind of got that distorted puddly sort of look to it which is exactly what we want and now we just need to find a way to mix these two together in a cool-looking way so let's add in a mix shader' drag the glossy into the bottom value and now we're going to create mask basically where black will be their floor and white will be the water that we've just made so let's go to a noise texture I think noise will work for us here hit control shift and left-click to preview it again need note Wrangler for that and start to get the scale right OOP tip like that really like plant Eva maybe I need to put in a color and protect get more control of this so I think that up a little bit and that down some so we just remember that the black areas are going to be a hundred percent floor and the white areas are going to be water hmm I brought the boughs back in so I can see I'm doing basically yeah like they're quite good yeah let's try that shall we so now let's hit mix shader' drop that in there oh not bad at all it's a little bit more fiddling on the water to be a bit more noticeable specially here and a black to frayed out a bit more in fact away grab that then bring that one down as well yes nice like that mm-hmm you could obviously spend some more time here giving that some TLC to look exactly the way you want it to but I don't think that is too bad China there we go yeah we'll call that done anyway and so that let me give us a sign I sort of wet looking floor mm which just you've just create a much nicer looking result because the floor then becomes almost mirror like reflective which gives you some something interesting to look at rather than fly up space and yes it just balances out the image and nicely in my opinion anyway so with the floor done we're almost there now what we're going to do though is adding if I go back to the original image and which I'll magically overlay with live editing you'll see that there's kind of a sort of smoky look to this and that we're going to faint now I'm not using a smoke simulator anything like that I'm going to use a technique I picked up from the lab Alexandrov actually and which works really well so let's go file import you know its images as planes which is an add-on isn't it so images as planes thank you and I can go back to my textures and I have a couple again that I'll be sharing let's have a look at smoke one to begin with excellent let's grab that up there rotate it into place some size a bit yeah yeah it should look pretty well this is going to be kind of our backdrop smoke in the background really notice exactly what it's doing oh yeah it should work pretty well for us awesome let's get rid of the bounce right I'm gonna put this to a new layer for a start also gave her the barrels go back to rendered mode and this will display we're also just gonna be laughs so she can work pretty well good so let's grab that to create another one here get out there mmm smokey heads motive at all and maybe a third one see where bounds are too flat perhaps yep that should be nice right now we have free materials now called smoke one now obviously us we do much smoke so what we're going to do for start I'm not going to use it as part of the diffuse color just going to use a white diffuse shader for this and the arbor shader we're going to need is a transparent one and I'm going to use a mix a derp attach a color ramp to the image and that allows us to decide on the transparency so texture note converter ah get it together bill so there's a color ramp drop that oh you're starting to bug me now blender there we go a by blender I mean me anyway drop that into the mix shade out but let's have a look exactly what we're doing there so you want a bit more transparency there probably want to bring this down a little bit so now it's completely opaque that has not worked as intended so fully white would be transparent yes and that is odd right gainer and IBM just gave myself a bit backwards here isn't it so the white areas are going to be transparent and I love you I was being stupid ignore me what we actually want is for practically all to be white like that so just a slight light gray there fully white on that side and then yeah here we get start to get the smoke effect that we're after probably make that even more subtle mmm like so and then you can choose wherever you want to actually use the color from the image or not in some cases you might yeah I just found out looks a bit more kind of grim you probably have to manually adjust by bringing that down but override you like it so I'm going to leave that as white and just leave that up there okay that has in some smokey sort of hair that smoke you saw the effect or seen now in my one I also add in another layer and I will include the texture for it just a bit of a close-up wispy smoke here and but it's exactly the same workflow teve you get the idea so we can now move on to render settings and because we are going to do a little bit of compositing which means we need to render so I've got my resolutions set to 1080p sampling I'm going to use just for this 500 in my final render I did 1500 and is a bit high I think with all the transparent bounce since it was causing a bit of noise I don't normally do 1500 these days but yeah 500 for now and clamp director for within director one that's to cut down on noise it's kind of the default settings I use sometimes I need to adjust from those but for this it worked fine white paths and let's have 32 bounces with transmission and bossy 16v - don't need a new volume and transparency at four - there's a lot of transparent bounces going on and I've also got filter glossy at one again just to help cut down noise tile size wise I use Auto tile size and set to two five six by two five six where possible that it will adjust it where needed and if you if you if you're not using a that mods just go for two five six point two five six that'll be fine and we're good to render I think all know a few more settings wake up here so we're going to use a little bit of depth of field so it's ten limits on and set the distance to be the first barrel so the focal point will kinda be that logo on the barrel there we go and we don't want much of an effect just something subtle so I've got a render mode again and change the radius to let's try point O one just slightly starts to blur the background yeah I think that's gonna be enough really I think we need more than that yeah that's what I'll do for that and I think that's it oh now another thing I like to do lately anyway if I can find it you do I haven't lost it again color management there we go so you have and quite a lot you can do with color management I've not really gone to huge amount of depth with my research mom all these things do but you can choose various various film types here and the wonderful thing I'm going to change under view is change from the default film which and it's cat gives kind of a darker and grungy sort of look to grungees not wear them after a high high contrast sort of look and then just about the exposure a little bit eight yeah actually uh actually gives a really a really nice sort of look and we'll be able to get their brightness levels exactly where you want in post-processing anyway but I think that's good enough for a render so make sure my smoke layers back save always like to save and now we'll hit render and I will pause until it's done right arrows hitting render I realize I had forgotten something which isn't massively important in this particular case and because we're primarily using some traditional writing rather than using a HDR and however and since there is quite a bit of metal showing through we really should do something about the reflections and there's nothing for the metal to reflect on these two light sources which isn't really ideal and so under our node view again I'll demonstrate what I'm talking about by turning off the barrels and the smoke and I'll add in a quick UV sphere skip that a bit there we go set that to smooth I'm going to give that a quick glossy material just so you can see what we're doing there we go so this gives you the the problem as it were that is what the scene is currently from that position that's the reflection so we're getting which isn't particularly interesting and if there was some more metal shearing or if the metal is cleaner and yuge you really notice it so let's go over to our world settings and I'm going to bring in a texture now this is the only texture I won't be able to share cuz it is a commercial one but it's any any similar air HDR will do fine as long as I can find the stupid there it is I've got this seshu here which should work quite well I've done it as a image texture on an environment texture wake up bill there we go boom so yeah just dropping that in looking a little sphere there there's now a lot more for the metal to be able to catch what we don't want to do really is have this effect our our our lighting it slows down rendering for a start and also we've already got sufficient lighting and for our scene so if you add in a light to path and then add in let's just just use the reflection ray in for a moment I'll turn off our lighting which I'm going to move to its own layer and you can see what's going on so with the with that left as normal if I increase this to say two we're getting quite a bit of writing they're just from the HDR which we don't want so let's go and add in a math node so we've got control over what we're doing here one word or two to match what we've got there drop that into our strengths and now it's only affecting the reflections you can go even further and tell it just to look at the glossy and then it will only bounce off the glossy and fat that's the one we're going to use because I feel he'll work quite nicely you see our glossy show you here is catching the light perfectly but it is barely affecting the rest of our scene which is in darkness until we bring back the lighting and then it all looks nice and normal perfect so we'll use that set up cool so with that done I'll now hit render again and that will be that let me just get rid of that annoying sphere there we go okay so let's hit render again and hopefully I won't have to pause and redo any right and after 15 minutes the air the render is done still looking a little bit on the noisy side but yeah it was expecting that anyway um but it is it's good enough to work on some summer compositing so that's what you're gonna do now so let's go to the compositing thing turn on use nodes and backdrop bring it down control shift click on render layers I'll add in a Bureau node and we can see what we're doing going to zoom that down little will fit it on our screen yeah howdy okay so I'm not going to a few things become to putting a little bit bloom glow on the brighter areas do a bit of color balancing lens distortion adding a vignette and steps about it oh I'm sharpening up a little bit so let's start with that filter set the filter to sharpen and if I drop that in you'll see what that does on its default setting of 1 it's a little too extreme so let's try point 1 yeah just sharpens up that nicely and next we will let's try and get away of just using a glare node because it's so much easier than trying to use a bunch of blur node so we tend to mix up to 1 you and you see the result of the glare and send the threshold to 0 that a glare everything and we want the fog glow yeah this is gonna cut it it okay we'll do it the less fun way filter blur and we also need a color RGB curves here we go drop that in there and let's see what we can get we just want the brightest sort of areas to poke through just the bits they're catching the light on the barrel mostly yes try that app in this blur node set fast gorgeou and let's try 0.5 we go maybe also try 1.5 and then maybe also try 3 yeah that worked quite well now let's get a color mix set it to add and combine all these effects I sure I saw that you tore recently a quicker way of doing this like to get the same result but without using all these different nodes and a cup for the light from your own bodies so apologies there and then we're adding a final add node which will come from our sharpen and it will add in the glow effect so that's it off maybe give us about point two root three yeah that's nice it brightens up the image a little bit and sort of that draws your eyes to these areas where the lights being caught I like it anyway next up is a color balance let's drop that in and now typically the way I do color balancing is probably completely wrong but it's how I do it I'll start with a mid-tone in one direction let's say green and then the highlight in the other direction usually a little less like so and now if you move the highlight a leave up or down the hue by sort of 10 degrees or so you can get some really nice effects like say that's got sort of greeny blue moody sort of sort of look there possibly a bit too green so that's ease that in a bit little bluer highlights yeah like that it's got kind of a gloomy depressing sort of feel to it which is nice now the vignette we're going to do two things with the vignette we're going to dark and also blur the edges so first thing we need is this mask because this mask will point seven no point six point five eight I never remember this five six five works pretty well maybe just five six five six two five hmm yeah whatever and then with one what this will do if I click on that now is it gives us a nice air masking for our vignette next we can add in the blur probably red purse and quite nice gentle one to gentle twenty five might be nice now if I add in a blur node grab this chap and click on there this will then blur the entire image about 5% yeah so that blows the entire image and then she might be able to get away with dumping it again that's cool right no it's not I still blowing everything anyway wake up man okay so we'll use the color mix so we're taking in the default color on a default color from there and the blur amount will be our factor and then the blurred image will be that and that's the opposite of what we want to swap those over BAM and now it's blurring where the vignette takes place as well as we also go darken it and it's a little too extreme actually but we'll see how it looks so let's add another color mix set this one to multiply and we'll multiply that by the value of the blow node and they're also darkens the edges but we want to lower the effects a bit maybe 0.4 a path to zero it's a little too harsh we change out to 20% rather than sometimes it's just a matter of fooling around till you get a look you're like yeah that's working pretty pretty well only other thing I want to do is add in a lens distortion which I have lost there we go so we'll drop that in there which also connects to there but we'll just have a look up to that point given the vignette for now change that to fit and try out 0.01 maybe 5 step 5 no point I rose alive yeah just a slight effect there maybe the ever so slight just enough of that as well yeah they're pretty well to connect that back up to that and there is our finished rather depressing gloomy air barrel see I hope you've enjoyed this tutorial I've certainly enjoyed making it and substance painter is a great program I strongly recommend you give it a try it's now free to download for non-commercial purposes and so you'll be able to have a lot of fun with it if you have any requests for future tutorials or comments on this one or and want to show some of your artwork dump it in the comments below and I tend to apply quite quickly for now although that is it and I shall speak to you next time you

Channel: BlenderBrit

Views: 54,416

Rating: 4.9364405 out of 5

Keywords: tutorial, blenderbrit, blender, substance painter, barrels, modelling, lighting, compositing, rendering

Id: QRPrPfWt-pg

Length: 71min 3sec (4263 seconds)

Published: Sat Aug 06 2016