How to process fabric scans in Substance Designer

hello everyone welcome to the stream thanks a lot for joining us so today we have released a new set of materials and these are going to be a new set of sportswear tech textile materials that re launched on substance source and so we did a blog post earlier today to communicate this and like I said the all of the materials are now live on substance source and ready to be downloaded so what we wanted to do in today's stream was you know just walk through the process of how we prepare these textile scans for substance source and I just want to show you how to use the scan processing filters here in designer and like I said just show that process so we have we have 30 new materials and all of these materials were scanned and processed using designer and so I don't want to make light of all the hard work that the substance source team does so what we're going to do today is to show kind of a basic demo and but like I said I don't want to make light of all of the work that they put into it but yeah this basic demo is really going to showcase what I think is a lot of the strength of substance designer being that as you'll see the process is pretty straightforward and allows you to create a full tileable material pretty quickly without a lot of trouble so again it's like I said I think it really speaks to the you know the overall design of substance designer in these new scan processing filters that we shipped okay so like I said let's see for the first thing that we want to do here is I'm gonna jump over here into designer and I think what we'll do first is kind of maybe just showcase some of these substances that we have here in source so let me just drag over here a browser window so we just a second here and let me grab something so I'm just gonna bring this browser window here into view and so here's substance source and what we're gonna do is just we'll just navigate here to our free assets and just gonna give you an idea of what some of these new fabrics look like here so like I said you can just log in start to download these now everything is live and so here are these sportswear textiles that that we're gonna be talking about here and so like I said there's gonna be 30 of these materials today we're actually going to take a look at this one here oops nope that's the wrong one it's let me scroll down it's this guy here this synthetic layered fabric so today we're going to take a look at the actual maps for this fabric and I'm gonna show you how you know going from the actual scan itself and how we can use our processing nodes we're going to create a material out of that here so that's kind of what the substances look like here that are in source and so before we get started and jump right into designer one of the things that I want to talk about is a little bit about the the process and so here I have an image that's just up but this kind of shows that we have scan device and from the scan device we're going to output specific Maps so we've got like color map normal map and Apostolou pasady and the first step is like I said here to take these high-quality pictures of the fabric we want to produce here what we're using for these fabrics was the Vizu scanner and this step gets us these non-title or like I said color normal and opacity and then what we're gonna do is we're gonna process these maps using substance designer so if we take a look at this second image you can see here that we're gonna have our input maps coming in from the scans so that's going to be color normal opacity then what we're gonna do is take these through a specific material crop filter and what that's gonna do is allow us to basically crop and fix the aspect ratio there of what the image is and you'll see all that when we do the live demo then from there we can run it through our Auto tile node which is going to allow us to create this material take these scans and then make these into a tileable material and then from there we'll go through processing and cleaning so for example we may use the color match node to extrapolate color data out correct it or use it as what you'll see here in our live demo is to be able to colorize a fabric so we can have you know user input parameters will take things will derive things like curvature so that we can create roughness maps from that so one question I think I see here in the chad is there a tutorial on scanning for roughness and specular layers so what we're going to showcase here today is what we typically do is especially like when we're using the scanner is that like I said we're gonna have color normal and opacity and then we're going to use the normal color we're gonna use these maps and to derive other maps from them like for example we'll create height will create ambient occlusion but then we're also going to manually create our roughness from that so we're not right now we're not doing any delighting to where we're pulling out specular information then using that directly we're going to for the most part generate those maps here within designer so that's kind of what we're gonna cover from there so from the next stage of that like I said we're gonna extrapolate these maps and then we're going to be able to output those they're from to the maps that we're going to use in source and in in that case what we always output is either going to be well the source material actually covers both the metallic roughness and spec gloss workflow today we're just going to look at just using base color and roughness okay so now what we're going to do is just kind of jump right here into kind of a live demo of how this works and so here I am inside a substance designer and I'm gonna show you how a lot of these scan processing nodes work so if if you haven't seen these before if you come over here to the library here in designer underneath material filters what you'll have here is scan processing underneath like I said material filters and then here is all of the material filters that we have and you'll see that we have some materials like we have you know material crop and then here we have cloning tools some of the nodes are going to have like multi-angle support as well so for example you have multi cropped greyscale and then we also have like multi angle albedo so some of the tutorials that we have on our website shows how we can you know if you were to have a photograph some type of material whether it be like a fabric or something like that from multi angles and you can take those different light angles and then combine those into for example like an albedo map or normal or something like that so we have tutorials on our site that show that what we're showing today though is not the multi angle support but just using the scan directly here inside of designer so for example you can see this is going to be the color map scan that we're going to be working with here and so these are the the nodes you can check these out explore them kind of see what they're all about and like I said we do have some tutorials on substance Academy that kind of go over this as well so here like I said my resources I have the color map that's what I'm gonna start with and then here I have the normal map and so here's what the normal map looks like your from the scan and like I said the spec and the rough that's still going to be a manual process at this stage so we're also just going to use just various nodes inside of designer to kind of put all this together as you'll see okay so first thing we want to do here is we're going to work with our nodes here our input map so these maps that I have here in the resource this is the raw map so for example you'll see here the resolution it's like 69 92 by 4536 this is the aspect ratio in the resolution so when I take this node now just drag and drop it here into a graph you can see that it's gonna crop it to you know this square ratio now just for demonstration purposes just to try to keep the machine working kind of quick here I have the base parameters now I have this output size lock tier 2 for 2k so just so everything is just a little snappy or here as I work through a demo instead of trying to work at for 8k and then I've done the same thing here with my normal but what you'll notice here is that we take a look at this node the app because the aspect ratio has now been you know it's going from something that's more wide like this here to something that's square like 1 to 1 we now start to get some distortions here within these patterns so we want to be able to work with the actual cropping and aspect ratio and we have a node that's specific for handling that so if we come in here and we come over to our crop you can see here that we have this multi crop node and we also have a material crop what we're looking at here is multi crop two versions of that as well so you have multi crop and then multi crop whoops sorry about that got cut off it's in here here let's do this let's just search for crop you can see this guy here is multi crop grayscale so we're gonna be working with color so that's what we're gonna work with here is the color version of this alright so let's just close up those base parameters and if we come over here to this crop node the first thing we want to work with is the input size and what this is talking about is the input size from the the raw image now another question here this that's being asked in the chat is this taken from a photograph what do you mean with scan this this particular this particular image that we're working with here this was not a photograph this was a scanned using a machine called a Vizu scanner so what it is it's just a machine you put the fabric in and then it's going to output specific types of map so for instance what it outputs is color normal and opacity here today we're not working with opacity so I'm just working with the color and normal output from that so it's coming from machine but it's not a photograph if you're interested in working with photographs just kind of go off on a little side tangent here we do have tutorials on Academy that showcase how we can derive scans from photographs I mean you could do the same process I'm doing here as well but if you check our blog I believe it was early last year may have been December and November we did a blog post on you know how to capture images using a camera that you can use for scans specifically when using the scan processing notes here in designer ok so we have this crop tool and like I said we we want to work with our input size so what we want to do is get the data from the actual like source raw image so like I said that's going to be this six sixty nine ninety to about forty five thirty six so let's come back here to this crop node and here in the input X&Y I'm just gonna set these values in here so we'll say 69 92 and then I can just hit tab here to go to the Y and then we'll type 45 36 and hit enter okay so that's gonna set our input size whoops didn't set that right let's do that one more time and see here 6992 set this guy 45:36 he's good okay so first thing for my input as well I'm going to bring in this crop here oops I'm using the crop not the multi crop sorry about this we want to make sure we're using multi crop here so let's get rid of that node okay so with multi crop we have an input count and I do have two textures here so I want to set this input count to two and that's gonna give me these two inputs now once again I just have to go back and just set this up so let me just come in here set this guy there we go so that again that input size is coming from the the pixel resolution from the actual source image itself okay so now our output I'm going to plug our color which is looks like this guy now so we're gonna plug that into input one and then we'll take our normal and plug that here into input two so now if we take a look at this you can see we have three outputs here we have output 1 output to an area one thing I want to talk about too with these outputs so for example here at the top of the bar you can see that we have this creation mode and so this is something we get questions a lot and it can be confusing if you're if you're new to designer so we have these three mode standard material and compact so if this was in compact material mode you would see this as two so a scan and an area so when something's in compact material mode it'll basically take outputs that are linked to be a material so in our case we have these two images coming in and these two images now are contained in this one single link creation output here so that's what that's doing if we look at this here in standard mode we can see just the actual outputs and we can make a connection individually with these outputs so that what's happening there so output one is going to be the color output two is going to be our normal and then we have this area output which allows us to see what this crop is doing so what I'm gonna do in this case is I'm just gonna try to expand my 2d view as much as I can and using this area tool you can see that here within this kind of square aspect ratio that we have we can see the underlying raw source aspect ratio for the image and then we have this square that allows us to set this cropping here so I can you know if I hold down ctrl + alt I can uniformly drag out kind of this cropping area that I want to choose for this material so everything in this white area I basically want to crop down to and you'll also notice as i zoom in really close the aspect ratio here is now correct it's no longer squished as it was before so now we're getting that aspect ratio because we're using multi crop or taking these two inputs and we're cropping them using this same setting that we set here for this area so now when we look at the actual crop itself this is the base color this is the normal both have the exact same crop mentioned I'm sorry the exact same crop together and so you know that way we can do everything at once again if we take a look at this we now have the correct X but X aspect ratio so here you can see where everything's kind of you know squeezed or squished together horizontally like this and then here we can see our aspect ratio is now set so that's kind of our first stage we're going to take our two inputs here and we're gonna crop them together now the next stage of this is we want to start to look at tiling so here in my 2d view if I just hit the spacebar this kind of lets me just view how this image is tiling in its current state so you'll notice if I kind of mouse over into like the the texture area or if you look at it is a UV like 0 to 1 you get this little red box around it that just indicates what our main texture area is and everything outside of its what's being tiled so if we zoom in you can see that WowWee we definitely have some seem problem issues with this guy no problem though we have specific tools here and designer 2 to work with this so what we're gonna do here if we look over in our scan processing tools it'll scroll down here through our nodes and let's see here I here at the very bottom we have the Smart Auto tile node so let's let's make an instance of this guy so I'm just gonna left click and drag and drop that here into my graph now this smart auto tile if we take a look at this guy here you can see that it has some inputs here for base color normal and height now in this particular case I'm not working with height at this stage in this stage of the game so I'm just gonna turn that off so I don't have to worry about that input doesn't hurt if it's on I just turned it off because it's just a little cleaner looking here so now what we're gonna do is take our output one which I know is my base color and we'll plug that guy into there and we're gonna take our output two and we're gonna plug that into our normal so both of these guys are going to get tiled based on the settings that I choose for this smart auto tile so now we'll just kind of maximize here our 2d view and let's zoom in and see what we have so right off the bat if i zoom in close you can see well I'm getting some kind of weird artifacting what's going on here so let's take a look now if you if you look at this for the edge settings we've got a lot of control over how this smart auto tile is gonna work so I mean it's in some cases it could just be we call it Auto tile you plug it in and it depends on the input but it could just you know work out perfectly the first time in cases like this where you have very specific patterns you're gonna have to do some work here to get to it but as you'll see the node you know it's pretty easy to use so for example you have this cut off set and threshold so first thing I want to do is this detect edges notice that we're getting kind of this you know kind of wavy line pattern like this if I turn this off you can see now what we get is just straight kind of cut lines so this is like you know if you've ever used Photoshop to try to make a tiling images is like if you go into that filter offset XY and then you have to like clone out these lines and all that that's kind of you know if you can think about it that's kind of where the stage we're at right now but we have this detect edges algorithm that runs on this and what it does is it takes that underlying image here and it tries to follow along with these lines like this and depending like I said on what the input coming in is is that you could get a really awesome result automatically because you're not gonna have like these perfectly you know straight lined edges here for your tiling so here in this case I'll just leave this on for now I can also adjust like a threshold to this so for example if we start to just lower off threshold the you know the closer we get to 0 the more straight the lines get so it's not really trying to pick up that underlying pattern here so here you can see kind of whether you have this white and this blue and we have these kind of you know up and down kind of pattern like this the the detect edges is trying to mimic that pattern and then we also have a blur here so if I start to introduce a bit of blur to that now you get something like this so you can get an idea how that here in that case where we started to get that seam so look here if I set this here to zero Lorde's trying to do this patch so right in here you have the line it's following that pattern we put a little blur into this guy and it that scene kind of goes away so you can see where this smart auto tile is doing a lot of work right off the bat without hardly any without much work at all so here you get something like this now what we want to do though is we want to make some adjustments because we're still getting issues like here and here and if we look all the way over here we're getting these types of issues here so what I'm gonna do in this particular case is I'm gonna start to work with this kind of transform widget that I have here and I'm gonna start to just kind of offset things so here we've got these points I'm gonna come over here to this middle point here on this side now I can hold down the Alt key and that's gonna let me kind of skew this transform here so what I'm gonna do is hold down the Alt key hold down the left mouse button and I can start to click or scar II just drag downwards and this is gonna help me to kind of straighten up this pattern so here if I just undo that real quick you can see like right now the whole pattern has this kind of diagonal tilt to everything and if I want to straighten up this pattern here what I'm gonna do is just hold down the Alt key like I said drag down and I'm just gonna start to kind of straighten my pattern here so I'm gonna try to get something like maybe this here okay so now I'm starting to straighten this up still having some problems here but we'll be able to fix that so something else that you can adjust that that can be helpful is this grid resolution so it kind of defaults to nine and so depending on the pattern you may need to actually change this grid resolution so I think here when I did some tests on this if I set this to a grid resolution of around 4 it starts to you know set up a pretty good result here for me already so just changing that grid pattern I'm already starting to get a little bit of a better tile however I want to make sure I want to check it so I'm gonna hit spacebar and I'm gonna take a look and I'm still having some problems here so what I'm gonna do here at this stage is I'm gonna hold down here my control key now and left-click and now I can start to just expand and change this pattern from this horizontal kind of standpoint here to start to try to fix this tile like this and like I said what I can do is just start messing around with this until I get this exactly the way I want and I'll play around with it here just for a minute I don't want to waste everybody's time too much I've got one that I just did that's working pretty well so I might just switch over to that in just a second but let me check this here do something like this so you can see here I'm just making some adjustments here just to line up my patterns and this little transform tools allowing me to do that and just trying to remember exactly what which ways I went here like I said it just took me a little bit to kind of play around with it okay so just making these same adjustments that I'm doing right now I've got another version here that I just that I did just a little bit ago that I spent a little bit more time lining things up so I'm just going to jump over to that instead of keep messing around with that guy so here we'll go back here to our base color and so here in this one you can see up looks like I still had a little bit of a problem here so let me just play around with that a little bit fix that guy on that side find that guy up here so you can see again I'm just using that transform just to help me kind of line up my pattern just to get it just right when you have a like a real complex pattern like this like I said so it can be a little tricky here to mess with it but you can get pretty good results just using this tool and I might shrink that in just a little bit okay all right so I'm gonna leave it at that for now so that's going to give me my base color and then this year is going to give it all so it's going to come in here and it's going to do that same cropping so here you can see my scene here it's going to do that same crop here on the normal as well as the base color and then like I said I can also introduce a little bit of blur to that as well now these cut lines that you get like I said if you think about using like the Photoshop filter where you're going offset X Y and you get these cut lines what you can do is change the X&Y offset for these cut lines here so you can see if I just here I'll do something rather large so you can see what it's actually doing and so these are the cut lines that are that are showing up based on you know what these offsets are going to be for that so here in this case I'm just going to leave it over here at 0 0 and then we'll get a tile pattern like this ok so now we'll just move this over here and we'll I've got this mesh that I have here in my 3d view and I've got my base color and normal output so one thing I'm going to do just to kind of help visualize this so kind of like to do this with all my materials is I'm just going to quickly create a base material node and for this guy for the preset I'm gonna set this to be a dielectric material and for now I'm just gonna set the roughness to be pretty high and then I just right click and drag that and drop that right here into my 3d view so now all of my material is being driven here off this base material and whatever settings I or whatever type of inputs I plug into this so I don't have to worry about creating outputs and all that so what I'm gonna do first is I'm just going to create a base color input and a normal input on this guy and then just drag these into here like this and like this and so now we can get just a quick idea of what this material is doing here on an actual mesh let's come over here to our materials and for the definitions physically-based metal rough you can see I'm using the tessellation shader and then here I'm just gonna click the edit button and this is gonna let me adjust things like my scale we don't have any height at this time so we won't do that for now but I'm might want to adjust my tiling so here I'll just set this at two and so now I'm just tiling this material so now you can see what it's doing here on this mesh let's see so for now we'll just leave it here at one so we can see these details up close as we start to work all right so this is our base material here and what we've done if we take our source we've cropped them we've tiled them and then here we have our base material that we're doing an output for that so the next thing I want to do is start to extrapolate some of my some of my different Maps so one thing that we could do here once we've done the tiling fix for this so we've used the auto tile to kind of set this up if you had any cleaning that you needed to do within this so let's say for example I wanted to do some clone patching so here let's do this let's just look at it over here in the the actual library so here you can see that we have clone patch here so I'm just gonna make an instance of this node and so we have clone patch and then here we also have material clone patch so in this case let's use this one here since we have a material at this stage actually all we really have so far is just our base color and our normal but what you would do here at this at this point is we could maybe do this closer to the end but for example just to give you an idea of how this works this particular material you can see it's actually already pretty clean so I don't need to worry about cloning anything but I just want to show you how this works so I'm just gonna take the base color and plug it into here and then I can look at my output here for this node and this is going to show me what the source and target areas are so here underneath once this node when I'm viewing these area outputs you'll see that we have this little drop-down so what I can do is grab the source so this is going to be like the area that I want to clone and then here let's just zoom in let's focus on this 2d view pretty good zoom in pretty close so this is like I said gonna be my source and then here you can see where now the target is it's basically cloning from what we have underneath the source and it's cloning that here to the target area and if we need to adjust the target area we just choose the target and then from there we can move the target also we can adjust things like our threshold we can blur and adjust smoothness adjust our grid resolution and so on so if I up this grid grid resolution let's drop increase our threshold here drop our blur and smoothness and things like that so we can get you know now we're getting a little bit of a harder edge on this here so now we'll just blur that edge and so on so this is how you could do some cloning if you needed to you know remove any type maybe there was some kind of stain or some dirt or something like that that you wanted to get you that you wanted to clean up or whatever from there all right so that's our clone patch in this particular material we didn't actually have to we didn't have to use it but I just wanted to let you know that it was there in case you haven't seen these tools before okay so now I'm at the stage where I need to start kind of extrapolating just more map types from this so first thing I'm just gonna grab a height so if I start to type in normal you can see that we have a node here called the normal to height high quality so I'm gonna use this guy here and I'm going to take my normal output and plug it in and then here we get a height map instantly from that and then we have the ability to adjust our relief balance and so on so what I want to do with this guy is for the relief balance I like to just blur it just a bit if I'm using this for a displacement I kind of like the height to basically encompass that kind of the overall silhouette of what the shapes are and then a lot of that high frequency detail is going to be is coming from the normal so that's just one way to work in this case so I might adjust my relief balance I can also choose to just do a height normalize the height by just enabling this to true so that just normalizes and then I'm going to adjust my relief balance and so on so here you can see what you're getting we can also adjust our height intensity so I might use something like that here so now we get our normal to height all right so the next thing that we're going to do is extrapolate some ambient occlusion so again I'll hit the spacebar I'll start to type in ambient occlusion and here we have this ambient inclusion node now this node is a really really powerful node and it's it's a horizon based aiming occlusion node and so here what it does is it takes our height map as an input and then it generates maybe an occlusion from that now when you're working with scans in particular there is a setting for this called use world units and if I enable that we can actually set the surface size and the height scale in centimeters here now I I didn't scan this so I don't actually know what the surface size is so I'm not gonna be able to set that exactly but say if you you know we're scanning this place in this and the Vizu you would know what the sample of the size would be so you could just enter that value here in centimeters in my case I'm just gonna disable it and just kind of you know use my eye to adjust my height depth and my radius here so I'll do something like this let's see just make a few adjustments maybe I'll use this here for my ambient occlusion but you can see the detail that you can get from the same in occlusion note it's it's really really a good node alright so now that I have a new map type let's just feed that into our base material so here we'll expand our 3d view so we can see that let's enable ambient occlusion let's grab our node here our output and plug that in and so now we have some ambient occlusion data into here okay and like I said if we need to make any adjustments to that we can do so just by you know changing our height depth so here I just increased it a little bit more so you know it's a little bit more contrast II in this case so we can see it may be a little better in the stream alright so now we have our ambient occlusion for us working here let's see the next thing that we want to do is work on our roughness so like I said with the scan we're not going to be pulling the the specular information off we don't have a due lighting tool that we're working with at this time so what we typically do is we're going to manually generate this this data for us and if you if you check out what we have in the blog post typically you know one of the ways we can do that is just pull curvature information and use that to create some roughness and as you can see here it's going to be a pretty simple process so what I'm going to do here is just use our curvature node and the curvature just takes our normal map as input so we'll do that we just organized these guys he's gonna be all my map extraction stuff here and so now we have this curvature and then with this guy here what I like to do is I'm gonna come over and then I'm going to use a histogram scan excuse me histogram range node right after this so we'll plug this histogram range node in and if I set the range all the way up to 1 you're basically you're gonna get the exact input value as the output at this stage so we've got range at 1 and position at 0.5 but what's nice about this node is I can use this position to help me create an input parameter here for roughness so as you can see if I start to pull this down towards zero we still have detail here in this rough information but it's getting darker so when using the metallic roughness workflow this is going to be more of a glossy result whereas if we pull this closer to a value you know something closer to 1 we start to get more of an overall white here which is going to denote more roughness and but yet we still have some nice detail in here as well so I'm just gonna use this information here to just generate my roughness and like I said what i could do I'll come in and expose this I'm gonna give this a new name and I'm just gonna call this roughness so here rough amount and now if we look here at the root level of my graph I'm gonna have let's see we'll call this roughness I'm now going to have this user this user parameter that I can use to change the value for roughness depending on you know different scenarios and things okay so now that we have this I'm going to enable my roughness channel here I'm gonna take my roughness information and plug that in and so here if we come back to our range tool actually let's go to our root level since we've exposed that if I lower this value here start to see that now we're getting you know a little bit more of a kind of a gloss Sheen here on this it's not really what I want for this fabric so I'm just gonna move this up to a little higher value like this I don't know let's try 0.65 okay so that's just another way that you know we could extrapolate out our roughness information like that okay so another thing that we can do here is well I'll tell you what once I kind of have this in place you can just right click on this node here and just kind of a shortcut we can create output nodes ask if I want to use any hidden connectors what this is talking about is this node supports the specular glossiness workflow as well I'm not using that so I'm just gonna say no and it will automatically generate all my outputs for me so now if I just right click and view outputs in 3d view it's gonna I'm gonna view these outputs now instead of just viewing this base material and so with that what I want to do is I'm going to hit my spacebar here grab my output node and I'm gonna create another output for this that's going to be my specular level so we start to type this and you can see it automatically shows up what I do for these outputs I'll just select this this usage information I'll come over here to the identify owner to paste it in and then I paste it for the level all right so what does this guy do all right the specular level is is specific to the metallic roughness workflow which is what I have here now just a little bit on PBR if you if you're not familiar with it when you use the metallic roughness workflow the dielectric fzero or that's the final zero reflectivity point is hard-coded in the shader to be four percent reflective so with metallic roughness you do not have a map that you set like a specular map that you set so that you can you know change what that dielectric F 0 value is going to be it's hard coded like I said at 4% so some shaders will give you an input that allows you to override that 4% value so for example here in substance designer that input is called specular level if you're using Unreal Engine Unreal Engine does not support speck loss at all so it's only metallic roughness and if you look at the Unreal Engine material editor there's a specular input and that specular input is exactly what I'm going to be showcasing here so what I can do here at this point is just input in a value so I'm gonna do a uniform color here and I'm gonna set it to grayscale and then here I'm just going to set the value to 0.5 okay and then I'm gonna plug that right there into the specular level input and then I'm just going to right click and view my outputs in 3d view now you'll see absolutely nothing changes okay so what I'm doing here is I'm setting I'm setting the basics here for the ability to override this now when I said that specular level is controlling that hard-coded value there inside of the the shader so what happens is on the metallic roughness 4% at the Fornell 0 angle is what's reflected back to us okay and what we do in our shader is we remap a value from 0 to 0.08 now 0.08 is linear for 8% reflective so if we look at this specular level control in the dark area it's going to be zero and at the white area it's going to represent eight percent reflective and so that value is remapped zero to one so at a value of one you're eight percent reflective at a value of zero you're zero and at a value of 0.5 zero and eight the middle of that point five is four so when I set this value to 0.5 I'm really just using that same 4 percent reflective value for this dielectric and in most cases that's that's good enough that works fine but like I said if you need to override it especially when working with textiles and things like that if you need to be able to overwrite that you now have the ability to do that using that specular level so for example if I start to move this to like something like point three it's a very subtle change but it's now we're less than 4% or if we go above that were higher than 4% and so you know different materials could have a variance on that f0 you and so what we have here in the shader is just the ability for you to change that if you want to the big takeaway from that is is that that zero to eight percent is remap to zero to one so in order to get the correct results you need to input a float that's going to go from zero to one where 0.5 is 4% if you're using Unreal Engine with substance that specular channel and the Unreal Engine material is doing the exact same thing it's remapping zero and eight percent reflective to zero to one and a point five means four percent so sorry the long-winded explanation there but in just in case anyone's listening who hasn't seen or know what that's for it's very very specific to the metallic roughness output if you're using spec gloss you can actually author the dielectric zero right there in the in the specular map okay so here we were able to use that specular level and we're starting to build up our material so we have a material here but we want to sit like I said we want to start having like user parameters because that's really what the substance is all about you know we were able to take some scan data we were able to you know we were able to go in and you know tile it we're starting to extrapolate maps we want to be able to change colors and do things like that and we'll do that a few questions I see coming up in the stream about high-pass and things like that we do have tools for that as well we have high-pass filters another thing that you can do that I kind of wanted to showcase here as well let's see we have a color equaliser so depending on the scan itself to this one is pretty uniform already but let's say that maybe if you using a photograph or if you look at the scan itself and there's some discrepancy in the in the in the shadowing going across the surface so like maybe it's darker over here brighter in the middle and so on and if you need to kind of equalize all that you can use our color equalizer so if we plug this guy here into the color equalizer you can see that I have the ability to change a balance between my bright and dark balance I can set up a custom color variation here where I can change hue chroma and lumina and so on and then also adjust my radius now in this particular map it's all be balanced enough so it's it's not it's not really useful so that's why I didn't use it so far in this stream but I saw some comments there just so I just wanted to you know bring this up in case again people are watching they haven't seen that before so it's another node in the Arsenal they're highly recommend for you to just run through these scan processing nodes and just take a look at what's available in here as well okay so like I said the next stage of this is we want to start to look at colorizing this because you know this is a substance that we want to be able to have you know user driven parameters and things like that so the next part of this is I'm gonna start to look at you know making some color changes and so we have a node that's really good at helping me to do this and that's gonna be our color match node again can be found here in the scan processing nodes so let me just look and see where this guy is actually I might be lying it's not in here I typically don't use this I kind of always just do a search for things I found that just to be a little quicker if you're new to designer it's always best to kind of just start here so you can get an idea of what's here but once you know what's here you just start searching and here's color match okay so color match this is what we want to do now let's say that we want to take this base color and we want to colorize this guy so what we're gonna do is just grab that base color output plug it in to color match then here you have this source color mode we have a couple options we have average parameter and input so it defaults to average and what that's doing is it's taking the average like the median value which is going to be this blue since that's what's the main if the overall I'm kind of median of the color input coming in it's gonna be this blue and it's gonna take that average and then it's gonna change it to whatever this target color is gonna be so for example let's say that I want to make this green I can just click green for the target color now I'm changing it like this you also have the ability to look at this mask output to see what's being generated here so if I look I can see well it did an okay job to start but I'm starting to get you know some some speckling and things like that so maybe what I want to be able to do is start to adjust maybe some things like my hue range you know the chroma range to this and so on so you can see that maybe to get some of these values here I'm gonna adjust my luma range to kind of get rid of some of that and then added just a little bit of blur to it like this so now I'm getting a pretty clean mask and if we take a look at our output we're getting something like this and then again I might want to start to adjust some more of these settings in here to make sure that I just get everything the way I needed to be so this is one way of just using that average median value of that color another way that we can work with this is to use a parameter so parameter now gives me like a color picker so so what we have here is source color and target color and so here if I just do a color pick I can choose you know this blue value here and now I can you know adjust my target color again I can go in and take a look at my mask to start to go through and derive you know different settings and values like that to get exactly what I want to do here for you know - I'm going to generate that mask with that in that particular case so here we might use something like this color mask let's see we'll do something like this here question is that color match available in the scan processing group I don't think it is in there I'm sorry I don't know exactly where it is in in the library but like I said if you just hit spacebar and start to type in color you'll see it shows up right here at the almost the very top so just quick way to get to it so here we're gonna do our color match let's do another color match in here so we'll just create another instance of this node so whoops there's color match here I'm gonna grab my base color and plug that into here whoops okay so what we're gonna do now is let's see here let's try to target kind of the white areas of this so here I'm going to set this to a parameter and I'm gonna do my source and choose white let's take a look at our mask and then we'll just mess around with some of these values here until we can actually get you know what what it is we need to get for this mask so here I'm going to adjust my hue range a little bit of setting here on this chroma and then luma and then we're gonna blur this a little bit here okay and then for this target color I will do something like kind of like a red value like this so now we're just targeting different areas here I'm just going to do a blend will plug these guys into here now I need a mask for this blend so here you can see that the node gives me a specific mask output so I can just plug that into the opacity to get kind of a colorization here for this and then like I said you can go through and start to just tweak these values until you get the exact result that you need here for this let's see we'll do blur and also adjust kind of my smoothness value here so this lets us just kind of colorize this texture again we'll just plug this here to our base color and now we're going to get you know a different result here for our material so in this stage what we could do is then come back and we could expose this target color value so that you have a user driven parameter here for this substance so that you have these parameters so you can easily change the material so we started you know from this material here this is what we had by default and then we did one variation where we had something like this here and we're able just to kind of colorize that that fabric and again like I said you can set this up to have just as many as as you want through that okay so that's pretty much gonna close out kind of everything that I want to show here and then today's webinar so big takeaway is that you know today we dropped 30 of these textile materials geared around sportswear fabrics they're available on substance source now we have a new blog post so if you haven't seen that check that out well we have some more information about the scanning process here always take a look at the scan processing notes that we have here here in designer like I said this has just kind of been a really basic walkthrough on how these nodes are used but the substance source team who is creating all of these assets you know they're using these same tools they're using designer to create the assets that we place they're on source and so like I said earlier not to make light of what they do because they do amazing work those guys are texturing wizards and so you know it takes some not too long to do it you know they obviously have more care and what I'm doing here but but as you can see you know using these nodes I mean you can get a tileable material pretty quickly here in designer and the idea behind these nodes was you know we would looked at all of these different scenarios where you know people were hand processing these scans in Photoshop and we looked at all of the minut things they were having to do so we tried to take designer and create nodes that just helped speed up that process again so the whole idea being to enhance productivity so you can get the skins in use them you know create the materials you need and then get them out as quickly as possible so I just want to thank everyone for joining us here today just always stay tuned to our Twitter our Facebook so when we have new webinars coming up you know we'll communicate those and also let us know if you have any suggestions if you need any help we're all here in the forums so if you have any questions about what you saw today I just jump in the forums let us know and be happy to help so thanks a lot everybody and we will see you next time

Channel: Adobe Substance 3D

Views: 46,096

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

Id: c9itx_9p5AA

Length: 49min 31sec (2971 seconds)

Published: Thu Feb 22 2018