Innovative Workflows from Substance Designer to Unreal Engine

[Music] so [Music] so [Music] so [Music] so [Music] so [Music] [Music] first [Music] so [Music] so [Music] so [Music] [Music] hello everyone good evening or good afternoon department of where you are i am vincent go and i'm going to be your host tonight for this special substance live stream with our invitee roberto the rose hey roberto how is it going hey winston uh i'm god i'm i'm good how are you pretty good pretty good confined but but good um so uh today we are here with roberto who is the co-founder of state of the art academy which is arc vis school and studio if i'm not from in italy close to venice yeah and we are going to talk not specifically about agvis today but it will be mostly about some tips and tricks within unreal engine that you have learnt by the time of course substance substance tips and tricks but before to start maybe you can present yourself a bit roberto yeah sure um i'm roberto from uh italy from uh state of art academy and uh can i share my screen sure yeah it's better to to share your screen just wait a second and then it won't be long um basically i'm i'm a 3d artist and i'm also a teacher in in our academy um i i i'm here because i fell in love with you know samsung designer and um i'm also working with unreal engine uh in you know the last years and um i i really i really enjoy to discover new way to create contents and uh basically new way to uh new workflows um to um you know to speed up the process uh in unreal and um i mean uh i will uh i will speak a little bit about myself i don't really like to talk about me uh so we have a lot of stuff to see today and uh this is not the classical um i mean uh tutorial or webinar about you know material making um this is basically a talk about uh how i normally um work with unreal and some tips and tricks i normally use to speed up the process and to um do stuff that you normally can't do just with unreal um i would say that you know samsung designer is the backbone of of my uh you know uh workflow every day and um um as as you will see uh there is a little bit of it in in each in each in each thing uh we do at soa um so after that i will um you know uh talk about the project um is i have i have a project a personal project um in my hat about a short movie i want to do with unreal and of course substance designer is part of the process is a one-man band thing so um you know i'm i'm working alone at home at night you know when the kids go to bed and i i have to find ways uh to get a result in a very short amount of time and you know because i i have uh no help in in this project and because of this project i've done some research and development and i found new ways you know to achieve uh good results in in a short amount of time which is basically what we are going to see uh in the talk today um so you know what we're going to see is um i mean is like five points uh actually four one is bonus if we have enough time vincent and um uh we are going to see how to do post-production of textures using uh soft designer inside unreal and how to make auto matching vehicles uh depending on the shader where the vehicles are projected how to mix procedural materials from substance designer and photogrammetry from whatever you want to take uh textures and uh for you know for the end um how to make endless materials with any samsung designer graph for example from you know graphs you can download from the source from source.substance.com um if we have time it would be cool to see also how to make flipbooks because you know you know the new version of unreal will support clouds and uh to create volumetric you know uh clouds you know um substance designer will be an incredible tool because we can build volumetric textures um so uh let's let's go ahead um i mean i have a small art station page um this is these are some artwork i've done uh years ago and this is before i knew you know the existence of substance and uh i i mean i work in the arcmits field but you know personally when i'm home i like to do different things like illustrations like you know sci-fi stuff and um i love also to change a lot uh because you know i get bored very very quickly and so it's like say okay this month i will do some math painting the next month i don't know maybe some shaders and so um this this artwork here are made for the academy days we are which i i'm going to talk about that later um and this is the first artwork where i where where i used software designer for some textures and this is like years ago and um i i also enjoy that because um i understood the importance the meaning of creating like assets you can repeat and we can use in the scene many times uh because in the whole cave we have just three rocks and you know um and they're just you know repeated over and over and you know uh i i did what i you know those three rocks did uh a great job and uh this this was the first uh test i've done with substance painter uh actually the sentinel took me like eight hours to to model and eight hours to unwrap and just 35 minutes of substance painters so that day you say okay this is this is the way to go uh this is the the right tool you know um you know to save time and get a nice nice result um i you know this is this is another artwork i've done uh in my free time uh i know it could be a little bit gross but um is i i pick it because i remember that i found a photo of a texture of some flesh some animal flesh and i just you know make it tileable with the smart auto tiles from samsung designer and this is another proof you know and there's only one in the whole scene and um i was happy because you know it took me like five min five minutes and i get something i got something and you know uh i work with i mean i mean in this one i i just made plastic for the for the case and uh but i mean i really love also to work you know ups outside substance designer sometimes i love to uh do some math painting this is my kind of this is my first love this is this is what i uh really enjoy to do uh and of course i love to do shaders so in the studio normally what i do is uh shaders and and uh matte painting and these are just some examples of stuff i found on um on your instagram page and i'm i'm i'm basically being copying them um we work at uh i work at star studio as i'm a co-founder with with jumpiero and manuela and we do uh classic you know arcbits stuff and in the studio normally i'm the one uh in charge of materials so when the client comes in uh i just you know work on materials and then i pass them to um my colleagues and they continue to work and uh you know sometimes uh substance is amazing because it let us do something that you know there's no way to do another way like creating like custom uh you know breaks for every every different windows of these facades and you know it's i mean i built uh um um a graph uh it took me like two days but then in 20 minutes a facade was was done and um and you know it was the only one was very cool [Music] now about academy uh we um there is a video and uh we um i mean it's ten years now we uh teach uh people how to do art with and um we really love that we really love to see uh artists you know grow and grow and then find jobs and you know there's so many people now around the world that you know came to academy and uh i we always you know try to do our best now we have also a new a new website and uh we are going to do online classes soon and um i mean we have also a new a new uh space uh you know to fight against covet and uh we have you know larger larger rooms larger spaces uh and uh you know it's it's it's uh it's it's it's something that we really trust um on and and we we try to improve ourselves every day and uh we work a lot on on the academy site and about academy every year we do the academy days uh which are basically like the events uh but normally you know is live i mean i think there is another video and um the the the academy days are kind of like you know the um the the party like it is like like meeting friends you know that you know um year after year and you know we have tons of uh very cool uh artists presenting their jobs and you know their works and uh this year unfortunately for the covet situation is not possible to go um to go live so we're going to do an online version on 3rd and 4th of december and uh thanks also to substance for being a sponsors and you know and we will we just released the website you know yesterday and we almost uh uh you know 500 500 tickets are gone so um i'm pretty happy um and you know we are doing this to support red cross uh against uh kovit so it's it's for a good cause and you know um you know with great contents and um that's it i mean it's it's it's it's gonna be it's gonna be great um now uh going back to uh the uh presentation um we have an art station uh page on uh our station so academy and you can you can check here you can see all the final images that students have done in this 10 years uh because at the end of the course every everyone has one image and that's actually where i stole my my background actual background which is made by one of your students who is called chantal if i'm not yeah yeah yeah and uh we are really proud of them and uh they they do a lot a lot of great job i mean it's it's it's one month is a tough uh it's tough for people uh but you know um the result i think uh is is also um as great as the effort um now um going back to the presentation i'm sorry i'm a little bit nervous um i want i want to uh talk one minute about the project i'm working on on my free time uh it's called frank and uh is is a v is a short movie done in unreal and it's about a robot that just saved the entire human race but you know at a price um and is in you know the story is in london in the near future and it's about climate change and you know um in the the main story is um as an underground facility and so at this time i i really trust in this project and i want to um spend enough time doing the right thing so i uh do some math painting of the different uh you know arias uh so i just you know prepare some sketches of this scenes and um and uh um i've done some uh tests with you know uh outside scene because i need to show the situation on you know on in on the polls and uh and then i i i really i really like this one i really like this this um uh this map painting i've done and then i uh convert this into unreal and you know uh this is still a work in progress uh but this is the the scene um i've done um right now and um and this is also the the reason for this for this lecture because i i really um i i found some problems and i tried to solve them because of the scene so today we are going to see how i solve these problems and um one thing more i mean i'm shocked about you know the quality that nowadays we can render with unreal and you know we can really um understand why is so important to work with substance and and and get nice quality out of it because now you we can render like a 16k image in like two minutes so this this is basically rendered in in 16k uh with the high resolution render and you can you can tell how much you can zoom in and uh you know it's um you know two minutes for a 16k render is is amazing um these days and um that's it now let's let's go back to uh the presentation and um i mean when i work on a scene normally uh the first thing i do is i use uh simple geometries which in unreal are called brushes uh so imagine something like cubes and cylinders you know and uh planes and you can decide the size of them and you can place them around and so you can build your scene before actually modeling in introduce max so the cool thing is you do this in unreal with simple shapes and then you export the results in um in in as fbx you import them in 3ds max and you can uh just you know um model model over them um in uh in um in 3ds max um then i mean we can uh we can see that this is the the the second step you know with the meshes imported from 3ds max and with the shaders applied and this is like a full screen render of of the final thing but i just show you this um now before we start with the um with talk i need to um show i mean probably not everybody has um as you know work with with unreal and and the substance plugin uh so i thought that it was cool to show how to install the plugin and how what what is a master material and what is a material instance in unreal and how to work with the uh substance plug-in um inside and reel is okay for you winston yeah it's definitely okay i have already a question which is i don't know if it's a joke or not but i think it it's still cool to to to say it is someone is asking is matte painting is actually math painting so but uh the because we are with substance so there is a mathematical process i would say but there is no relation so i can let you explain you can make this joke with your students if you want after this is a good it's a good joke it's a good joke um i mean uh i i wish i could use substance designer also in in photoshop is probably too much even for me um so now the thing is uh if i if if we jump into unreal i mean this is the scene and uh you know i of course installed the uh substance plugin but um if we open uh the launcher give me a second um if we open the launcher here we go um to install the substance plugin you need to go into the marketplace and search here in the search field substance and then whoops sorry and then you will find substance in real engine and of course here i already uh install it so um if you don't have it uh you should see here uh download install ins instead of install to engine you download it takes a minute and then once is downloaded you click on install and you know you pick the version of the software you want to install this for and of course i have already installed so um but you should have a drop down menu with i don't know 4.25 and you click and then and then substance um is installed uh please remember to uh close unreal when you do that so you shouldn't have unreal your little engine opened when you when you install it also i want to uh remind you guys that if you work in production and heavily with substance that uh of course unreal is uh updated a lot and we we also update the the the plug-in but just make sure before to update unreal that the substance engine uh works uh and has been updated for the current version because if not you you may have some incompatibility we just released the one version one week ago if i'm not wrong but sometimes we have some people who update really quickly unreal meanwhile the plugins are not yet up to date because there is a delay for validation etc so just make sure before to update unreal that all the plugins including substance one are are available as well and compatible yeah and and and also if you you can see my screen yeah and and and yeah also if you if you have an update of you know if you have to install an update in in the plug-in you need to go here install plug-in and you will see here if there is an update so if there is an update you can shut down unreal and heal will be there there will be a button uh with update on um so once it is done you can start and start um unreal once it's installed and you can click on here settings plugins and you need to turn on the the plugin from here and probably uh once you do that uh unreal will restart and that's it that that's that's all you need to do um now before we start with the talk uh i need to talk about master materials now in an unreal um you know unreal is different from v-ray or corona or other render engines where you know you can just start with the new material in unreal you need to create you need to create your own material first and this materials are called masters and you can tell the difference between a master and another type of material because if you click on a master material you can open it and you can see notes basically so when you have a master material you have attributes here on the right so you have base color metallic specular roughness and then you have and then you can have other stuff now this is a very simplified version of a master material because normally what you have is some textures okay so some texture samples and uh you have some coordinates so a node that say okay this texture goes in this way applied to the object and then normally we have some post-production for example if you have a texture and you want the texture like to be kind of i don't know darker you can have some notes here that makes the texture darker in real time but the best practice is you never apply a master material to something in the scene and the reason is the master material every time you change something inside it have to be compiled again so it takes time so you don't want that you want you know to right click on a master material and create a material instance so the material instance is pre-compiled and it works basically uh in real time so if you change something in in here you see it change it change the result at the same time in real time i would say and that's why you need to make your master material and then make an instance of it and apply the instance and as you can do in substance designer with every kind of value you can have constants so values that you can change only from within the master material and you can have parameters like you know what like you know vincent when you have like a value in substance designer and you right click expose and you expose the value then that value becomes a parameter and you can change it from the outside you can change it from the other softwares in the master material is the same if i want to change this texture from the outside right now i cannot do that you see there's no texture here but if i right click on the texture and i convert this to a parameter then you know i pick a name for this parameter i don't know base color and i can save and the instance material will be updated and i can have now a texture slot here and so if i put a texture there you know i would see it in in the shader uh so this is this is the difference between master materials and um instances and you know it's pretty important to understand this uh basically the rule is in the scene you just use instances no master materials okay and of course for every project you can have different master materials depending on what you need to do now what can we do with the substance plugin we can import any sps ar file basically okay so we can click on import and for example here i have something like i don't know a concrete horizon tiles and you know we can uh i did that's that's a shader i downloaded from source you know from from from from the website um here i download it and um and then and then when you open it a substance the substance plugin asks you for um i mean if you want to just create the notes or you want also to create a material and you can you can go with the material if you want and basically you get this so you get this two weird notes and then you have some textures and then you have a material so the cool thing about the source is is like you know drag and drop you can download the shader import it unreal and then apply apply the shooter uh and and that's it you can open it and you can you have some controls you know and uh you can you know tile it more and and that's it but as you can see you don't have any kind of um control on the um post production you know by default so you cannot say okay i want this darker i want this brighter uh because those controls are inside here are inside the easterns okay you see there is two nodes one is green one is red the green one is the graph itself it's the package i would say yeah and this is an instance of that package so every time you want a new instance you right click here create graph instance and you create another copy of this concrete okay and from this for this other copy you will have even more textures and another shader so you can i don't know have two different concretes right now normally the post-production of of a shader is inside here inside the instance if the guy if the artist that made the shader thought about it you know if the guy did some post-production inside the graph but sometimes it doesn't happen sometimes you know uh you don't have any control on i don't know the luminosity in this case you have okay but i want to find a way to do post-production on textures even on texture that don't come from substance designer so from any kind of texture you can have in unreal and nowadays you know people you know download textures from everywhere so um i will go back for a second to my presentation and um sorry and now this is this is the the core of my of my idea this option designer uh today is i mean for me today is not uh a software to create textures to make materials but is kind of a filter it's something that is in between you know uh old textures and new textures so for me is like i told you it's like a little bit like hacking textures okay from others from from from source from everywhere and um you know uh you will see this a lot of times so uh in in in in in substance designer you can have an input right uh it's a node it's called input and something can happen in the middle okay i don't know for example you can take that input and you know rotate it or you can scale it or you can make it darker and then you get an output so this is what happens you we we have something and a texture coming in in on the left and something else will came out on the right and this is the idea okay uh now why uh the first first point of the talk why post-production of texture is so important uh because um you know every node you have in a master material um increase the number of instructions and you know the instructions the number of instruction is basically the complexity of a shader in real and you can tell you can you can read that number so if you if i go back in unreal and i and i open a shader a master material of course i can read here on the bottom here this master material has 124 instructions which is not a lot because we have a few notes but you know you can easily go higher than than those instant instructions and the problem is when you when you go over 200 instructions then you know is is not that good right so as as as as a best practice i would always say okay let's stay under 200. and um the thing is if we um and when we can check also we can check from from the viewport uh you know if you if you press alt 8 or you go in uh you know this this panel view mode optimization view mode shadow complexity you can get this out of the same so basically you know the greener the better and there's some which are you know brighter than others which like this one for the pipe this one costs less than this one for example uh but yeah as you can see you know it's pretty easy to go red and you know to create something that cost to unreal uh too much probably and so uh you know we need to find a way to decrease the number of nodes inside a master material and so my thought is uh what if and this is this is a basic uh this is the easiest one you know we have for you know the um a master material in soa you know we have three texture the base color the roughness and the normal map we have some tiling and then all the stuff is post-production you know because you can change the color of the base color you know you can change the roughness you can change the intensity of the normal maps i mean i don't care i mean you don't have to understand this the only thing you need to understand is that this stuff this top cost you 130 138 instructions okay and maybe this one with the parallax effect which is a kind of displacement cost you 197 extraction and there is no post-production in here so if i add some post-production it will cost over you know 200 and so what can we do you know to keep the uh instruction as low as possible we can take and you know bring the post-production inside um a graph in in saturn designer and um it's going to look like this you know so we will have some input and we are going to do the same thing the same type of production i don't know for example luminosity hue saturation we are going to put some ambient occlusion on top we are going to put some you know a curvature from the normal map and we are going to increase the strength or decrease the strength of the of the normal map uh we are going to change the roughness so everything is it's here and so we don't have to do that in in the master material um now if we switch to the um to the to the substance uh substance designer i have here uh some textures so you can understand what happens if we uh basically import this material in unreal um so in as you can see we have some base post production for the base color we have some you know hue saturation lightness and as you can see everything here in this nodes is exposed so we can control that from unreal yeah definitely and um and for example the ambient occlusion is then merged with the base color on top of it of course in in multiply and and we are doing this because uh if you think uh we will end up with less textures uh than when we started so instead of using five textures in unreal we are using only four and um and and and for example here i have another kind of uh ambient occlusion because i love to work with curvature you know um and uh the curvature's moved from from the normal map and i blend them together and i created another kind of ambient occlusion and i uh blend it in overlay over the top over over the original over the original base color i just wanted to make a pose on this because for for people to understand that how uh shadow works compared to to substance engine the substance engine is a texture generator so basically it will proceed process the texture once and then you have a static result in the texture so which means that you do the instruction once you read the graph and then it's like in the memory and the cpu is not used meanwhile a shader and will calculate all the instructions 30 frames per second 30 times per seconds more or less or 60 60 times per second that's why you you want to think about looking at you at the results you want see what could be static so which needs to be calculated once and once to what's maybe dynamic in that case you may want to put this in the shader so that's about so that's that's the idea behind separating and putting within the texture of the results because once it's calculated it's calculated it doesn't have to be reprocessed every uh 60 times per second yeah the texture is done and you don't have to touch it anymore um and um i mean like like in unreal if we want to increase the normal intensity um we need to touch only the red and the green channel so it's it's it's a it's a rule you don't touch the blue channel when you want to modify the um the normal map so i just put a contrast luminosity to contrast a little bit more the uh red and the green channel and um and the roughness is basically just a mask for two values of of roughness um now i mean i can show you the result in in unreal um i have here um a scene and is is quite an empty scene and i have um a master uh material here and uh which is very simple which is something like this as you can see there's no post-production in this in this master material uh just three textures and some you know tiling specular and metallic and then this is the um instance so is waiting for is waiting for three textures okay base color normal and glossiness and uh here we have here i have my the instance of the shader the graphite i just show you and it is asking me for those five inputs okay and i can just uh use some texture i have here i don't load them from uh source so i put the um the base color i put the height here i put the normal map here put the ambient occlusion here and the roughness down here and basically now the graph is working and we can go back on part one here and if i save and uh it should work if i go and wait for a second here we have let's wait another couple of seconds because i put like 4k and um i need to save and well we we have a question uh someone is asking uh about the instructions if they were the nod in the substance graph not not exactly um they were asking what instructions are exactly so basically that's the command you send to the processor to be processed so the more complex is your shader the more instruction it will send to the to your processor either the gpu or the cpu i and i think it was a second question which was does your cpu have an influence on instructions yes the more powerful of course the more it will be able to treat instructions um i think i think i'm right roberto um wait a second because i need to do i need to put the new texture here for a second oh sorry no problem but i i i think i'm right anyway [Music] um yeah so basically uh yeah instructions are not in the substance graph even if basically that's what we do also in the substance graph but it's not the same notion because we are going to treat the substance graph once and then it will be a texture so it may take more or less time depending of the complexity of your graph but once it's done it's done you don't it won't it will occupy memory as a texture but it will it won't occupy the it won't occupy [Music] processing time i mean meanwhile the shader of the instruction of a shader yes that's really exact so so right now what i've done is i had some textures i put those textures into the um graph as inputs and then i get back these textures as results and i can i can just you know i apply the shader which is basically the shader i show you before the one very simple the simple with 128 instructions and i can play now with this uh um with this and i get i get you know real time almost real-time updates and i can change the color i can change the the darkness of it i can change the roughness and um it's like doing post-production with the standard unreal material but this is not going to cost you and that's it i mean it's it's um it's it's a great thing um what else if you are not working outside source if you are working just with source think about this as a way to do some uh channel packing for example so you know you can have uh five textures from the source material but then you can do some you know rgbi merge inside substance and you can get like three texture out of it uh because you can channel pack into substance designer um so so it's is is a great is a great thing because um uh it brings out you know um it gives you the power to uh get what you want uh and with the minimal effort for the engine to run that uh that shooter shader now uh you see this is the pros uh we can reduce the number of instruction in a shader we can reduce the number of textures used in game we can change any texture in real time like we do in unreal we can control the starting resolution of any texture because you know now those textures go into uh substance graph so you can say okay i don't i don't need a 4k texture you could be just 1k and so you you reduce the number of of of of you know uh mid maps you have and mid maps are basically the um you know when you import a texture in in unreal unreal creates automatically all the uh smaller brothers of that textures like i don't know if you import a 4k texture then you have a 2k texture a 1k texture a 500 pixel texture and unreal loads those textures when he needs them you know so you if you are far from an object you don't see the 4k texture you see maybe the 1k texture and um the starting resolution is important because if you have a lower resolution then you will have less uh less smaller textures um and and so on and then modifying the substance graph i show you you can also do some channel packing uh automatically um cool we we have some questions in the chat about all of this so to summarize i will say that whenever you can put the details or the information within the texture in the substance file uh the better because it means you save in the instructions and so in the in the question we have one uh does the texture sample size effect number of instructions in the material no the the the size size does not change it will just occupy more memory yeah time because if it's done by pixel for example it need more pixels but so the instruction will be longer to be treated but the number of interest instruction won't change and more than that also you need to be careful because some nodes are more expensive than others yeah in unreal so you need to know which one to use um that that's that's it uh next next topic yeah yeah yeah we there is other questions but we'll treat them later on all right so uh next topic is uh is really cool i believe um it is about vehicles now decals in unreal uh are like labels you know or like you know uh uh stuff you can project on surface surfaces and uh you can change them like i don't know you have a perfect road but you want some cracks you know some you know holes and then you can download you know from source so you can do yourself this kind of you know cracks like as you can see from my screen and you can just project them on on a surface now normally what you do is you try to match the color of these cracks to the color of the asphalt for example and it happens every day that then you know when everything is over uh then you go back on the shader and you say ah maybe i don't like this um asphalt color maybe i wanna i want to make it a little bit darker and then you feel like you know oh crap you know i have 100 decals over that shader i need to go in every decal and change every decal manually i have to you know modify the brightness of every vehicle and match it again so for me this process you know it's it takes too much so um i came up with an idea and said okay what if the decal can understand um the the the color of of the bottom layer what if the decal can understand you know the color of uh the the floor or or or the or the surface where is attached and then and and and automatically uh updates and uh i thought about it and then the solution is again the substance plug-in and basically um and you can tell in here in in in my in my image all the green squares all the green cubes are vehicles so the scene is full of vehicles and um you know um it would take hours to update them manually if i had to uh so the solution is to create a substance graph and in this substance graph we are going to put two inputs the original decals and the surface base color and automatically uh samsung designer will you know take this uh take this color take this luminosity and change the vehicle you know uh to match that and um so in you know is is is very cool and um actually i found this uh kind of uh problematic because uh you know something wasn't working probably um at the beginning so um i have to i have to show you so now uh let me take let me take this as as an example okay so let's say that let's say that we have um this uh surface uh as a base color and we have this uh you know concrete uh decal uh and we want to match them together right and so what happened is um right now you know uh right now they are basically um you know two different but this is the kind of result i want you know so i want to match this this color and luminosity to this one so um what can we do well first of all we need to understand how to extract the color and the luminosity from this texture and i try different things like you know the color node and i don't know why but you know um i'm technically i don't know why it happens but the final color is kind of different from the original one as you can see here this is kind of brownish you know reddish uh and and then this is kind of a purple to me and i also tried the prominence uh extract note which as you can see looks a little bit better on the color but not on the luminosity and so what i've done was i mean i feel i i feel bad to say that but i just blurred that i just blurred the texture a lot and the second problem is how we can uh take this color and this luminosity and you know put it over uh the original the original vehicle well um i found that that if you just um you know if you just uh i mean i we don't we don't need the color we don't need the original color of the first eagle so i said okay let's put it like black and black and white you know make it make it grayscale uh but when you when you grayscale um a texture i mean you don't have control on um you know uh the you know yeah yeah you have control on the weights of each uh channel but um you should change every time you change you should change those those lighters every time you have a new a new decal so i've done a little bit of research and i found this note which is the uh grayscale conversion advanced and uh basically what happened with this one is that you can have a slider here you can have a drop down menu you can change the max value so um is is still black and white but it is basically as bright as it can be and i need the original vehicle as bright as it can be because then if i put the color here in overlay i mean overlay will darken it a little bit so the the grayscale conversion in max mode is basically balancing it a little bit and um and that's it so it's pretty simple i blurred the original texture and i put an overlay over um a black and white decal that that's the result and yeah that works well uh but we as you can see we lost a little bit of you know i don't want maybe to change everything here i want to change maybe you know uh the inside but maybe these rocks you know i want to keep them as you know with the original color so um i use this color match node you see and oh yes in average mode it gets it you get you get back a little bit of the original color of the texture and then i just you just use a blend to say okay maybe i want this one maybe i want this one i don't know depends on the decals sometimes it works sometimes it doesn't and so i can just with the opacity you know control the result from the outside so now this graph will need to you know to input and as you can see from from you know uh the unreal scene now i have here um another scene i don't know if you heard my son is is screaming from the other door i'm sorry but not that much that's fine okay we we are all uh we i think everyone here understands with the with the situation the worldwide situation everywhere in the same case so i'm sorry for that but um so this is this is a as uh you know a test scene i've done and as you can see here we have um you know the um the decal and we can move it around and as you can see it doesn't match at all with the asphalt i have here okay so the asphalt is just a source material i've downloaded and as you can see here i can change the color of the asphalt you know as much as i want and then um what i've done is i put this base color of the asphalt inside this uh decals color here and in the first lot i put the decals i downloaded from source so you know now if i press play uh the match will happen and now the decal is is matched with the um with the uh original uh with with the new asphalt i would say so we can try we can try again uh i'm i'm making the asphalt way more darker as you can see the decals doesn't match anymore but if i press play it updates and now it play will reprocess the the base right yes basically uh yes um and if doesn't work because you know as you saw as you said before you know there's always some you know problems when a new version of unreal you know came out you know the the plug-in have to update so sometimes you know this doesn't work out domestically i've done uh a blueprint here uh which basically uh take all the decals uh and update them manually with uh with the with the with the new with the new texture okay this is not this is not necessary um normally okay so it should work as it is and um i i i talked with the guys in the in your um discord you know chat and uh they they they assure me that is is working so um that that's just basically uh you know a safe net for me okay something but that that's super cool and the cool thing with this workflow is that you can actually prototype within substance designer and once you have your effect you can choose which part will be uh within the substance graph which part is with is in the shader instructions so yeah that works well now we have one decals but imagine we have hundreds of them you know you press play you don't have to make them one by one no because otherwise otherwise you know you should like you know normally what you do is you go inside you know the vehicle here and then you match the caller manually you know and it takes forever because because this is how how it works uh there's nothing you can do but with substance designer we can solve the problem okay um if you have any questions i mean otherwise you can go on yeah yeah people are really curious about uh all these processes and uh um so really one this one is cool is will you be able to make the post-production of a substance material in real time within unreal i think that technically yes no um sorry can you repeat the question yeah actually it was what what you were showing before if actually all this work could be done within uh unreal but uh whatever work but i i think we are already more or less answered because in most of the case it's feasible but it will cost more instruction for nothing sure yeah i mean if i if i if i uh this this is a this is a master material with some pot production in it and um and if i make an instance of this you know and i open it as you can see we have some you see brightness metallic normal power contrast etcetera etcetera and and you can do the post production uh from here but the thing is from here it costs you you know uh in terms of um frame rate probably i don't know resources uh i'm not i'm not a technician you know but you know um but you know you can you can you can do that um yeah the compiling exactly the more the more instruction you will add in uh within uh within unreal the more costly it will be so it's better if you can to to put this kind of information within it it stops the substance frame yeah i mean this this this values these parameters you know we can have them here but they will cost you uh is instead if you have them inside here they will not cost you anything yeah and it's the same thing yeah yeah it's exactly the same most of the cases the same mathematical uh comp process behind it is just in one case it's processed one to generate the texture and the other one it has to be processed every uh 30 frames 30 times per second or 60 times per second so it means like imagine if you if you have like for example folding water on the folding water on the animated water on the on a rock of course it's not interesting to to make it in a substance designer because it means that you will have to process reprocess the texture of 30 frames per second and you don't want that but in that case you would put this information in a shader which is made to work 30 frames per second but for anything static if you can put it in the texture which means in the substance file it's better yeah but i i i just just give you an idea um let's say you have an object in the scene right and and then and and you can like in unreal you can make a a shot in like a take a frame of or with a camera of where the object is right so you can you can have an orthographic photo of that object from the top you can then process that photo make it like a texture and i don't know um you know you can make that thing into some dirt through a graph so the dirt is made in the texture not live with some materials so so everything that turns into a texture in an unreal can can be processed by a substance designer and become another texture um but you know the the con the pro are you know it's a texture is not something you have to process every frame um so uh we have three more questions so quickly once we have been answering does the fact that you are using 4k texture are at more instruction in unreal rather than that okay um once again it will bore memory or if the instructions mean has to be treated by pixel for example it's it it will be the same amount but for more pixels so it means that it will take longer yeah maybe maybe maybe it will take a little bit longer you know to see the preview but we are talking about milliseconds exactly um the thing is yeah we have to think is it an instruction which is to the full texture or by pixel for example if it's by pixel it may take longer normally what i do is i keep the output size very low when i have to deal with you know the starting texture and then when i'm happy with the color and the result i just put 4k and and i get the 4k body exactly 40k uh results um [Music] meanwhile you should load the next example the next topic i'm going to ask you two other questions uh basically the substance graph adjustment will be set into a new texture in real time yeah the texture will be regenerated so yeah sure and the one is it possible to have height with the decal height map um no i don't think so but you can have parallax mapping parallax occlusion so it's something that looks like height map yeah it will fake uh it will fake the hybrid and it's a really good fake yeah and in unreal you can also um uh with blueprints you can tell uh you can tell uh um um you can basically um pick up position for a light you have in the scene and you can also generate fake fake shadows okay fire locks so it will very it will be very cool normally you don't see the difference uh if you get to the end of the the talk i can show you an example we'll try and uh generally it works well it works better for concave shape than the convex one but it's it's really convincing now uh parallax is i mean yeah i mean it's not working if you have a circle i mean if you have you know like a hill but um if you have something that is lightly bumped is is fine or short or flat it's fine perfect um and of course you don't have to exaggerate because it's a fake effect if you see this the the border you know of the object you can tell is fake yeah yeah definitely if you look at this an angle which is a bit uh yeah uh like from the reason for horizon for example you will see the trick but in most of the angle view it's it's pretty cool it's pretty cool uh and it and it's and it's very uh it's very like um cheap you know to uh calculate um than than a than a displacement for sure um now this this topic is a little bit uh probably like uh i mean it's it's it's difficult um for me to to explain and uh i will try to go pretty slow um the thing is uh nowadays uh when you work in production or when you are alone at night like me you know working on a project uh there's no uh there's not a lot of time and so sometimes i found myself don't not doing my own shaders i i found myself downloading stuff from internet you know pre-made stuff uh but um and nowadays you know we have photogrammetry which is which is great and which means uh very high quality uh for textures but at the same time photogrammetry uh lose everything about you know procedural maps so my my thought was how can i mix both of them how can i mix the two how can i have something which is procedural but at the same time uh with the quality of photogrammetry and then i run some tests and i found an idea so what i'm going to show you is is a beta right this is not like a finished thing but i mean it's working but uh it's just um probably the tip of an iceberg um so are going to use of course option designer to uh mix um procedural and and scans and in this example we are going to uh basically uh work on some tiles so my uh the goal of this is to take some uh textures of tiles and hack them change them completely and get something completely new all right like like you see in the preview here and this silly preview here on the top um now to understand uh the process i need to start from here now um when we apply a texture on a mesh uh we we can do that because of you uv coordinates okay and uh a uv coordinate basically is nothing nothing more than um a link between a 2d a b dimensional area and a three-dimensional object you know which means that to every point of of uh of a 2d texture you know it belongs to a point in a 3d mesh and you know when when we talk about uvs uh normally this kind of things came out which is basically how the software's um you know uh kind of preview the the the uv coordinates i would say yeah okay this is this this looks like that because it's like a gradient that goes from left to right black and white gradient that goes left to right in the red channel and uh black and white gradient that goes from bottom to top in the green channel is like like a way to say a coordinate okay this point is a coordinate which me which means that uh is this green because you know is this red in the red channel and is this green in the green channel right we we don't have to think about color in that case but really about uh values number of value from zero to one okay exactly uh so a point in in the center here is zero five zero five i would say right um now um so when when you scale and rotate or move a texture actually uh you are um moving the uvs you are not moving the texture out at all okay you're moving the uvs and in this example i'm moving the you know um some rows of the uvs and as you can see the texture you know is is moving at the same time um so is this if you think about this it's kind of the same of the directional work in something designer and i believe that you know everybody sooner or later you know end up knowing about you know the directional warp in substance designer is that node that moves the content to a direction for an intensity right and um you know the thing is if we want to uh take some tiles and completely randomize the position of those styles we need two of them we need two directional warp if you think right because one directional work will move the tiles on the horizon or or sorry horizontal line and one directional warp will move them on the vertical okay so we need two of them but beside this um the thing is um how directional warp works basically if you input a white color in the intensity slot you can move the original content by one full unit if you put 255 in the directional warp intensity okay so um i can show you i can show you an example if we have uh directional warp and we have you know uh something here i don't know a noise okay or maybe maybe it's better to use a gradient okay here we go siri is trying to help me um and here we have a white color you have a substance designer that speaks italian to you no it's it's google uh you know sometimes understand you know weird stuff um so if we if we if we move uh this by uh 256 uh the uh the the map does a full circle you see if i have meat gray here it moves by half all right so 255 if 250 sorry 256 if the is the magic number that allows us to move the content by you know uh 100 okay if we put if we put white here if we put uh 50 gray here the content will move 50 all right is this clear because we need to get this clear yeah it's definitely clear it's it's really offsetting depending of the value of the grayscale of this one so if i put like 25 gray is going to move 25 and so on okay but we need to put you know um we need to put 22 to um 256 here in the intensity of the directional warp yeah which corresponds to the in order for this to work so um now how can we use the directional work well normally what we do is we use it with generic textures to break them you know we use them to create like from one single ground texture we can get like different tiles all right but there's a problem the problem is if we randomly move around tiles we will end up with this which is not great you know because maybe this style is moved you know i don't know 35 percent it doesn't end in a specific point of the grid and that's the difficult part you know um we cannot just move with the directional warp a tile texture by a random value this is the tricky part is is is is i don't think is is easy to understand yeah it's first place i think it's clear yeah okay it's very clear okay so this is something we cannot do right we need to move each tile of a specific amount because um you know this style can only end up here or here or here all right so if we need this style to end up here or here or here we need to move it like 25 or 50 or 75 percent right okay so basically what we need is a node that read the tile generator and read each value of the tile generator and you know transform those values in usable values okay yeah imagine imagine this as like a random random movements and these as perfect movements yeah we have to put some uh some order in the randomness yeah so uh now this this could be scary but um i'm going i mean i need to i need to explain this now if you have a pixel processor a pixel processor is a special node in software designer that read the values of each pixel you know it's like a scanner um so with these two nodes you can read um every pixel value it's like it's like if i open the texture in photoshop and i start from the first pixel on the top and say okay this is gray fifty percent this is gray fifty percent and so on okay and then um i need to know how many tiles we have in in our map for example we have four in here okay so if you think now to transform each gray value each random gray value in exact like those values like 25 50 74 or 1 we need to do this uh simple math which means this um let's say that the value we read is 25 is 20 gray right so um we have um i don't know we have like let me open it let's say we are here okay there are some people happy in the chat to see some pixel processor okay so um i'm happy so let's say that you know the pixel processor is reading the original tile generator and it's reading these pixels um let's say that this is 20 gray okay uh twenty percent gray uh mathematically is zero point two okay um so it multiplied those that zero point two by four which is the number of tiles that we have here okay the result is 0.8 and then we need um another node which is called seal which basically takes the number we have and bring it to the next integer okay so 0.8 becomes 1 of course yeah and then you divide that again by the number of tiles and the result is 0.25 and so now that 20 gray which is not usable for this texture is becomes 25 gray which is perfect yeah so it's a which will yeah you move exactly from what you will move that tile 25 so it will move by one basically yeah and if it's from if it's more it will adjust to move exactly the the exactly let's take another example let's take another example if we read a value of 30 percent gray is 0.3 okay multiplied by 4 is 1.2 seal becomes two because the higher the the the highest you know the higher integer is two and then divided by four is 0.5 yeah and if you read like 80 gray in the end it becomes one because you know it becomes by before 33.2 sealed it becomes four divided by four the one becomes one and as as we loop it will go the way around and so basically what happened is this um what happened is that um uh this is the original texture okay and um the pixel processor um is is um [Music] sorry let me show you if we put this texture here you see this is not good yeah it's going all over the places because we are moving we are moving these tiles by random numbers uh but if we uh instead of that if we uh make a pixel processor the pixel processor you see this is uh this is the the same math i i just i just show you um basically uh it give us um a perfect result because each tile he can move only in in in displaces yeah that's perfect so basically just to uh maybe there was one stuff that people in the pixel processor there was a tile y which was exposed basically this is the tile y from from the um from the um generator so we take this value and we use it to adapt uh to the current number i mean i mean is uh i have some exposed values in this graph yeah and uh you see it's it's coming from there that's a really trick because this way you you add some variation while respecting the bricks exactly so basically um what happens now um we are going to in unreal we are going to input some um some textures i can show you what happens okay so um the first thing we need to do in in unreal is to match the number of tiles so in unreal we are going to look at the original texture and we are going to say okay in x we have one two three and four in why we have one two three four five ten of them okay and once we have this then the work is done because um [Music] the graph will basically um use a flood fill oh here we have i mean uh let me let me do one thing sorry i put up i put up okay i put a global scale because the other thing is um maybe you want more tiles than just the one you have so what i've done is um after each input i've put a transformation to d uh to uh sorry this safe transform color to increase the number of tiles so basically like you know it's like saying okay i i maybe i want more tiles so i can just bring the texture inside a safe transform color and i can expose this number so if i want more of them i can just increase the number of dials and i will generate a much bigger uh kind of texture but then the the trick is you know to get from this texture here um um a tile generator look like and to make this you need to go through uh flood fill now flood fill understand where white shapes are and as you can see the flood feel is the only problem with flood fields is that we have edges and uh we don't we don't we don't need edges so a small trick for uh for for this is um to use the flood fill and a flood fill to grayscale which basically um will generate a different gray value for each uh tile but you can choose the uniform you can choose a color a maximum color for it and if you use mid gray as a maximum color you know the darkest color here will be mid gray and we need to do this because then if we put this result in inside a distance node this the distance node will basically um delete every gap every every every grout of those tiles and from there you can just do the um you know auto levels to get more values and the pixel processor to get the right values the one i just show you here um so these two i have why we have two of them because um i mean it's the same thing but i want two different results because with the first one i will move the texture on the horizon horizontal you know line and with the second i will move it on the vertical line and so you know is it a way you see so we start we start with this one this is the original one and as you can see is just tiled twice you can see the repetition um i put a little bit of these maps on the top just to get a little bit more differences you know that helps but then with the two directional warp i move them with you know horizontally by a random number on the grid and with the second directional warp on the top again with uh a random number but also on the grid nice and and so in in in in unreal uh we can let me show you this is the original texture i downloaded from source and here we have you know the tile test oh sorry um where is it i have it in another folder but anyway this is basically the textures i have um i have done so this is the original one and this is the new one of course as you can see you can tell there is some you know beans here that they repeat you know yeah but you know but that that that's because the original texture is you know uh probably uh you know two you know there's there's a few of them uh but if you and there's and there's some uh very detailed you know uh parts so i mean probably is the best to do this is to use something like i don't know something like this and and basically you can uh i can show you uh we can make i will show you because i i kind of lost it so here we have i need the new texture to tiles instance either meanwhile you make it you are making it i will answer a question um someone was asking if it was possible to create procedural landscape height map in substance designer technically you can there are some examples there is the erosions which is a bit more complicated to do after yeah some people if you look on our station for example you will find some example of it then there is some resolution problem as well which can be an issue because for a landscape it means like a super wide space or maybe a 4k texture 8k texture won't be enough um in case you have some dedicated software as well which are made for this and even i think in unreal you have some you have some feature that allows you to create lens games um and yeah go ahead so this is this is my graph i just created okay and i plugged in these textures and now i'm getting i'm going to save and hopefully i'm going to you know get some new texture from that stuff as you can see there they are you know they're making the thing is now by default here we have two tiles and x and five thousand y uh but you know the original the original texture is different so the first thing we need to do is to match the number of of tiles so i go back here i open this one and i can see very clearly that in this texture here i have one two and a three okay on on the x so i put three here and two in the y so i put two here okay and i save again and now i should i should get uh the right result um let's move this here and uh the problem as you can see is this texture is not starting from zero right is there is a style this yeah so there is an offset so what i've what i've done is i put a pre-offset on on the texture which is uh here so as you can see from from from the graph i said okay if somebody input a texture which is not perfectly starting on zero let's have here um let's move it ourselves to zero you know before doing the whole operation and so i expose those values and and we have them and we have them here um expo so i'm i'm going i'm going to move them and as you can see um i mean now it's it's not easy because i need to move them by you know the right value but if i you know it's a 4k texture so it stays taking probably too much but if i move by you know the right value give me a second you know it's the beauty of the live thing a little bit more a little bit more yeah they would match eventually yeah and then we'll have to skip to the latest because we are almost already one and one half okay so you see okay so you see now it basically is is a brand new texture as a brand new set of textures uh and he started with the freeze start from the from from the first one and you can get some differences and uh you can also add a offset post to move just one one single line of of of textures you know to create some kind of bricks thing so yeah basically from a picture uh from a static picture you almost make it a half procedural by just with this substance fine yeah so from this one that's awesome uh last thing um endless materials now uh the problem we normally have sorry um the problem we normally have with textures is uh repetitions okay so it's very easy to see the same texture over and over uh and the last year i came up with an idea about treating texture which you know the brain can i mean can't see the repetition okay uh of it and um the idea of an endless texture is basically a texture made of four different sub textures um and the inside of each sub texture is different but the borders are the same and normally the borders came from the first one okay so in this way what happened is this if the software can then randomly place you know each sub texture in a different part of the surface you know they will match together they will match because they have the same outside but they will not look you know like we normally are used to you know uh see i mean they will not we are not going to see the repetition actually if let's say that we have our player here and we are playing we are we are playing um you're not going to see all of them you know you are going to see like the first 20 of them and that's enough for the brain to not get the uh yeah the the repetition thing um so what can we do i mean in substance it's very easy to get you know instances of the same texture you can take the same graph and place it into a new graph and change the seed number right so this is exact this is this is a shooter i've downloaded from source right so my my uh idea now is i can i know how to do endless texture myself the trick is how to make endless texture with shaders from source and actually it's very easy to do that so i just downloaded from source the shader which is this one i download the sbs of course you can do this only if you have the sps file and i open it in um i open it in an in samsung designer i will show you later just as a detail in case uh in that case it's not relevant but substance source once you have installed the unreal plugin uh it's also directly available within unreal engine so you can open source within unreal engine and download as well yeah but it wasn't working yesterday yesterday yes but today i i was probably was my fault probably i don't know i had a problem with the line so i we we never had books never no no but i mean it's very cool because you can download it directly into the uh unreal engine from from from the button on the top um so so what what we need is you know to put these four textures one in each you know um in each quad i would say and then uh the second problem is to solve is that we need to understand the the borders of the first the first one because if we get you know the texture from the border that we we can we can replicate that texture four times only this part and then if we put the two things one on top of the other you know um that's it we we have an endless texture so as you can see here i mean it looks natural it looks okay yeah uh but the thing is uh the thing is uh the borders are always the same and the in inside aria is always different so how can how can you do that um uh this is how you do that you download the shader the sps ar file the sps file sorry and you double click to open it and then you get scared by it because you get this okay and uh that that's perfectly okay because this is this is how stuff you know sometimes works when you know you don't load things from uh someone else you know is not maybe it's not your way to do things and uh but the thing is we don't care about it um because all the all what we care about is to create what we need is just to create another output so we create another output um we add uh mask as usage if you want i mean it's not really necessary but you know um it's it's in my habits and then what we need to do is to go and search in this graph something that looks like the shape of your stones okay and and this is it i i just i just watched you know a little bit like it took me a minute i just you know search here and said okay at one point i found like this one you know and this one looks like you know the the shape of the stones take that note bring it out in that output that's all you need to do to convert um a normal material from source to an endless material and then and this this stuff you can find it uh on our youtube channel and um this these two um you need these two uh graphs you will find it also on our website soon so basically this this um this uh graph take this one and um and do the job so um basically it it makes it makes four iterations of the original material from source and uh understand you know through a smart mask uh the shape you know the the outside of of it and thanks to the smart mask you can also um and this is stuff this stuff you can modify it from from unreal so you can you see uh you can modify the the the mask on the borders because you need at least one stone on the borders and um and once you have it then the the the graph mix everything together here you can see it mix the four the four base color together it mix the four normals together and then and then mix uh these maps with the original uh texture uh using this kind of smart mask so um once you have these textured this texture is done it's an endless texture and we can go in unreal and uh use it so i will the last thing i will show you was the difference between uh the normal um this is this is this this is the shader downloaded from source and as you can see you can tell the repetition the tiling of it and uh this is the this is the same texture in but endless and you you can't you cannot see and do you do anything in um unreal engine to for example to make the the repetition like uh i mean the endless material is is is very simple as you can see um the the uvs basically uh do all the job so the uvs takes one of these sub texture and place them randomly on on the object perfect and if you want more if you want to know more about this uh you can search soe academy on youtube and you will find uh some tutorials about uh the endless textures in unreal and it works also with parallax yeah and it's pretty convincing i think your the video you made is like 52 minutes or something like this so it's pretty complete it details all the process to make it but that's a perfect way because there is no magic to do it but the you you can just trick the ice and uh and it works it works super well it's just one texture so you know it's uh it's it's really like um a good starting point because then in real you can you know add the details on top of this but at least you know that you know you're not gonna see the the tiling repetition yeah so i think uh so thanks a lot because this was a super trick i i want to try to do something myself with that because it seems like lots of and it gives idea and one of the ideas that someone had actually in the chat was um so first of all if you guys have questions i think we uh we already like one over 40. so if you guys have questions in the chat that's the the right moment to ask them uh one of them is uh is the texture full square at the beginning can you add a function from for random rotation on based on 90 degrees 100 degrees i think it depends on the border it will be more complex this is called wonktailing i think i mean the the inner part could be rotated but the outside cannot be rotated and and and because any because then you you will not have i would i i'm sure i will show you another a very cool thing um there is a random value here and when you when i change the random value we you will understand the trick look yeah we see actually that the border are statistics meanwhile there yes which but it's great because that's the po some people were asking about other solutions compared to substance designer but one of the strengths of substance designer is that if it's 100 procedural you can get this kind of stuff like meaning repeating everything from scratch and regenerating procedure randomly the concern but yeah we technically may be making something more complex to rotate but as you can see the it works perfectly here we without the need to i mean you can do something that rotate the the content but then it is going to work only if you have perfect tiles yeah exactly and you have uh if you guys are interesting and really passionate you can google wonktailing there is a lot of theory about that on making like uh border tiles on two sides um that's way more tricky that's way uh but uh that's visible i think we have someone internally david larson who made some something like that a lot if you published it uh somewhere um i think i'm looking um can you tell me how to add height without the mesh totally dislodging when it move i move i think it's a bit out of topic uh adding more resolution to your base mesh uh may help i guess in unreal yeah i think in unreal so you need to work with the tessellation yeah and there is dynamic tessellation i guess uh depending on the distance or and the complexity of the yeah here you need to turn on you need to turn on tessellation and um here and and and and you need to put here a number okay perfect so like a scholar um and 0 0 is the lowest quality if you go up the mesh will uh breaks apart a lot more but i mean i'm i'm not i'm not suggesting you to do this because it happens in on every frame so it's better to load a pre tessellated mesh in unreal and and just to the displacement perfect perfect well uh roberto thanks a lot that was a lot of information so we have learnt a lot i i hope you guys like this kind of format we we wanted to do something a bit different than before like uh showing how to use substance in another context uh if you guys have more questions you don't don't hesitate to go to sr academy to look at it especially if you are in northeast uh passionate about athletes but not only uh and also i think the sso days are from the three and fourth of the december yeah so definitely go and watch um the cool thing is substance is that it's used used in many industries and many techniques are available uh what is right for argvis can be used in uh environment art as well uh so academy days uh yeah it's real at the end at the end of the page you will find um some extra contents from our uh artists also about substance designer so guys if you if you're interested i mean uh just just be here on third of december um vincent thank thanks a lot thanks a lot thanks a lot also to tao and all all the guys you know involved in this um it's it's been an honor to be here with you guys uh you do such a great job and i really we really love your your software so you know keep keep rocking guys cheers and uh see thank you everyone and uh it was wes and marine in the church thanks to islam and see you for the next simpsons live stream bye-bye okay man bye

Channel: Adobe Substance 3D

Views: 13,583

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

Id: PmvBlbLeuC4

Length: 106min 35sec (6395 seconds)

Published: Tue Nov 17 2020