Substance Livestream: William Ruhlig

[Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] hello everyone and welcome to our substance livestream my name is Wes and I will be your host today I also have with me marine who will be monitoring our chat and collecting questions for our QA at the end of today's session I am thrilled to have William with me today on the substance livestream William is the winner of our meet Matt - contest and during the stream he is going to walk us through the creation of his amazing submission so everyone I'd like to welcome William hey William how's it going and they joining me today yeah thanks for having me out it's very exciting him just went via great great start things off why don't you just tell us a little bit about yourself what you do things like that so I mainly work as a motion graphics artists free lots and I'm doing an indie game development for myself so starting from my graphic design I've moved into motion graphics and now freelance mainly working on doing my own game development and I think I think they were telling me that with your submission this was kind of one of the first times you've used substance painter is that right it was yeah I got substance painter into the fluster and then as for the contest and I thought well this is a great great way to learn how to use substance painter quite impressive and so yeah so in today's stream you're gonna walk us through just kind of their creation I I know you have a presentation to kind of start us off with and then right after that we're gonna just dive right into substance painter you're gonna show us some things yeah all right well great man why don't we just kick it off can you go ahead and show your screen let's check it out okay so these are just my contact details I've recently started a patreon channel so if anyone was to support me for my heart my Instagram and my Twitter probably the places where I'm more active for anyone who's just wants to see some of my stuff and you can see the the HD artwork for my penguin for this contest is on my own station there but basically since I started doing stuff in the Internet's I've gone on to the nickname Pig of a man and that means penguin man in Afrikaans which is one of the languages in South Africa yeah I'm South African if no one's heard my accent so I don't know why that started but the very first render I actually made was over penguin so this was in 2005 when I started really getting into digital art and made this looping when I think it was in blender and now once this 15 years later I've made my little polar climate scientist penguin and just sort of a follow-up to that I guess you can see 15 years progress I remember you were telling us that when we were doing the rehearsal and I thought that's so incredible man just to see that whole journey I'm sure that I mean that was amazing for you I mean you look at what you have here and then what you produce today I mean yeah I mean Wow big difference I I've completely forgotten about this uh little render and then I managed to dig it out of my files yeah so if anyone hasn't seen it yet here is one of the images that I submitted so the contest involved submitting to 4k renders from specific camera angles so this was the one and then this was an extra scissor front and a third person sort of you so then this one is a little render I did in blender a little turntable so you can just sort of see around him all the upper renders you'll see I did in substance painter because that poster was actually a requirement for entering so a lot of people have asked like in my Instagram stuff like to see these layers so this made a little gift so you can quickly see all the different channels that I used you'll see that's even this a little bit of an admission channel that's just on the body for lights but like most of the detail is actually going to be in the high channel so that was that one just there but we'll look at all this just now yeah man I can't wait to you dive into the the actual displacement I remember when we were kind of talking about this last week that was truly amazing to me like the hand-painted details that you added like for the beak and things like that it was it was mind-blowing I mean look at the detail you see in this image I mean like the straps and everything it's quite quite astounding thank you yeah so I've done just a few zoom in so you can actually see them proper quality there are a lot of high detail stuff that you might not actually see on the stream tonight because I've had to reduce the quality or some other things so it actually runs my computer I was sort of a good pace but I can see all these little close-ups you can see I've even included will pick of a man badge on his front there yeah nice details and we'll talk to met climate science and I'll talk about it later but all these badges and things are based on my reference images so yeah you can see some more channels just zoomed in on the body and you can see specifically on the high channel that's actually almost all the detail comes from so that's that and something that I think it's hard to see in the main renders is actually looking at his feet and this little hammer at the bottom and all his little gear and he's got a funny little faux pro his walkie-talkie with the substance logo on it yeah very nice thanks so just we'll zoom in on the the fur because I think that's the thing that a lot of people have been curious on is what that actually looks like and you don't actually get to see that quite too well from the edges so yeah some of those channels on there and you'll see that most of the detail is coming from a high channel again and I've got fingerprints and things sitting on the metallic channel not actually on the roughest channel that's just because I was doing this as a project for the competition not really as a production renderer things just whatever made it look good is what I was doing so he has just a little bit more the channels zoomed in on the fur so you can see there's not actually a whole lot going on there it's just poking up Heights and getting rid of color and then I've got a bit of scattering on the tips of the fur but if you look at the beak you can see her a lot of height detail okay so this get into my inspiration so penguins as I said at the start is something I would just love for a long time and they it's a whole lot of different types of penguins but they're also and I decided I'm gonna go with the cutest ones that I could find so I went with this sort of the baby emperor penguin because I mean we've seen them in movies and animations they just super cute so he's actually I guess he's a teenager maybe he wasn't actually always going to be a scientist I knew I was wanting to do a penguin but my first thought was you know that's do like a an aviator penguin with like will do a 188 of goggles and stuff but it didn't really go anywhere from there but then a friend of mine reminded me of this old meme the penguin hello yes I would like to signs please and then you know what happens if he actually did get to do this inside so you've got dual climate science penguin so that's where the idea came from and that's there's a whole lot of cool stuff I can get from this you know all these Antarctic scientists so like the United States Antarctic Program which is like one of the biggest ones and they all have got this very iconic sort of polar Parker that they wear and it actually turns out that this parka is a specific brand so it's Canada to Goose expedition pockets and they either have Canada Goose logo if it's like civilians getting into a few like on an expedition or something you get your own special badge I thought out design my own little badge for this so we've got a ready to science penguin Science Foundation will badge that I made so it's based on that and they're the u.s. Antarctic Program one and you'll see that I've got a little bit of hand stitching and stuff that I tried to put on that I did take a little bit of Liberty n I move this from the chests and put it on his arm because that was just more visible okay so meet Matt Matt is this cool model which comes as a template in substance painter and so the contest was texturing this guy up so it's a three-part model it's got the head the body and the base and what really excited me about the the contest is when I read I can introductory paragraph and said you can use displacement sir yeah I'm definitely gonna use that it's new feature and I think you can do some cool stuff make some cool images out of that so one of the things is you've got a render from these two views the 3/4 view and the front of you so I went around made sure that all the time I was looking in substance painter from these views just so my renders would actually look good from these angles I did do some stuff on the back but as you can see here it's not a whole much detail as it's called at the front but like I just got to focus my efforts for the contest once the bits that you'll see in the renders and as I said I really wanted to focus on displacement because that's you know the big cool new thing that you can do um throughout this I used a whole lot of materials from substance source and substance shares there was actually one here in particular the the cotton polar fleece which i think is actually based off of that Canada Goose Parker so it matches perfectly but it's very flat smooth just plain cotton material so of course I went and changed that a lot yeah so uh sorry William so yeah pretty cool you're just looking through source and you found something that pretty much matched what you needed huh yeah I was quite amazed to actually find that this quite a variety of things in there and miraculously there was perfect material uh yeah I also used a bunch of other ones there like this is seat belt material which makes the perfect straps on the front and I used like jeans for patches and patchwork things on him the one thing that I didn't find the exact material for was for the reflective strips that I have on the front but I did find some sort of reflective I think they're from like car mirrors or whatever that I then sort of manipulated and added sort of things on and then the rest is sort of like the ground planes and little plastics and we would have metal for the handle of the hammer but yeah I think everyone wants to actually see the model itself if I can just go into substance painter quickly now William as you were switching into substance painter I'm actually going to show some of the actual 3d print so I'm gonna run through a slideshow real quick and you can see that the model we're actually having that 3d printed and we were able to get these images back today so here you're seeing the penguin as it's being 3d printed so basically kind of coming out of the machine and yeah it's it's the detail is again astounding I mean it looks a little bits of snow and again here we can see it being printed by the machine and we have another image here we'll just kind of like this yeah this is the head here this one was awesome so yeah as a detail the fur and how it all came out man it's it's it's quite awesome so you will definitely yeah yeah you're gonna be gifted one of these here so nice to see that being printed now so cool alright so I jump back to your screen share and once you take it away here we are in substance painter okay so this is just a flat layer of all my things just flattened all the layers so I can just manipulate it so you can see it better so this is the full high-resolution model that I made and I think people will enjoy seeing all the different channels and stuff that I've got here so if I just go can see the normals I just step the playing based color channel it looks a lot different without the displacement doesn't it yes definitely yeah displacement just really brings it alive yeah so this is completely is there's no normal information here either right or is there yeah no this is just completely flat but you can see all the little details a lot better with like the color and the dirt and snow the face just looks absolutely terrible Vardis massive yeah and one of the new features that we have coming out here pretty soon I think we talked about it in our last keynote livestream was that you can now export the tessellated mash or the display smash out of substance painter and get actual geometry so that'll that'll be pretty cool too so you could actually export this to play displace model with you know full tessellation and use that for any rendering that you're gonna do I'm excited for that because when I try to get it into blender as it was I had to match a whole lot of settings and it was quite difficult so that's exciting so I think this yeah this is a metallic channel you can see stitching that I've done and this all the detail for like fingerprints on the glossiness with the visor see some details from the roughness channel for the beak and all the turrets as well shoelaces zipper and stuff you can see like those stitching and stuff some of its coming apart on that badge I have so many details I have to ask I mean like so so I guess you would say was this was the adding the detail was that fun or after a while was it just so tedious did you start to feel like oh there's so much I'm never gonna get done or was it just really fun adding all these little intricate details the whole time it was a lot of fun except I think for some of the stitching because that became quite a slave getting around all little details on the cuffs and stuff took quite a while I think I spent like half a day at least just doing stitching that's one thing I think lost Streamy did there were talks of the upcoming feature of painting around an object or doing loops around things yes it's uh it's I don't know what the name of it is but it's like a like a curved based tool so you can you know draw a line and it like say for example if you're trying to do you know the stitching around the cuff of the arm you need to draw a line it'll kind of automatically wrap that stroke around the entire arm so really good for doing like some some drill equal type shapes and things like that yeah I thought that would have been super useful when I saw it before doing the stitching yeah definitely so you can see a lot of the detail is actually sitting in this side channel so because I was concentrating all my effort onto just making a displacement of good that's where a whole lot of this detail is so you can see whether the snow and the visor sort of sits and all those little bits around the edge here is actually the fur and it's I think it's a 32 bit channel so it's a lot of detailing yeah that you can't actually see just plain on the screen because there's also a bits weird pushes back the face of it as well you can see in the buttons and stuff will push up and stitching in the pockets I think a lot of the time actually went into painting the fabric pushing it up and stuff did you start with this height data first I mean you've mentioned this is kind of like where most of the detail is did you start height first or color yeah that work III think I really wanted to see if I could actually get sort of a penguin looking thing with like a beak and stuff so I tried to get the face coming out first you know just to see if I could actually do it if the substance displacement was detailed enough and stuff and it really was it's super useful wow that's great to hear yeah so you're actually gonna walk us through some of the creation elements of that that height here in just a bit as well yes I'll open up my next little editable file with layers just a second I think this is the last channel so this is just the emissive channel and you'll see that I made the the reflective strips actually have some emission on them so that they actually looked like they you know pushing light back at the viewer and there's also little lights and stuff that come from the walkie-talkie and a little camera on him so yeah I think that's it let's go back to the material so one thing that I messed around with a lot was the settings for the displacement and how detailed though I wanted so what I say to wear for my renders was using the edge length mode and an X length of 1000 which I think looks pretty good but I actually had started designing it with that's edge length at a part 2000 or so and you'll see that it adds a whole lot more detail on here but what I found is that I couldn't render it because my computer would crash so I think here anyone's experimenting with like this basement and stuff if your computer's not amazing maybe just just try lowering it down a little bit you'll see how it really affects the detail of the FIR because those are just like the one pixel displacements and things but for things like the beak and things you can go pretty low without it's losing too much detail and if I miss with the scale you can see it just how much it affects the look of this model likely this is just displacement everywhere so I think I'm gonna try open up that other file quickly so William just as you're doing that question for your scale so did you just kind of work up like an arbitrary scale value and then as you painted height you were just basing everything off that that first value that you came up with you didn't change that often right I guess no I I sit that's once and then worked off with that I just made sure that I could get sort of like the beak pushing out as far as I wanted and then I left the scale at at that point okay I think so since Peter has crash loading our files and then just quickly open up again oh yeah that's odd substance Patriot would never crash I'm just kidding of course it would crash especially on a live stream that happens to me like every time I've ever done a demo in my life is the demo unit let's start off with through them something crashed you know whether software or my computer or whatever it's just part of the fun I guess yeah well I think people who do digital art will experience these things a lot especially 3d things okay so while that loads you've got any other questions yeah it's it was basically all hand painting the only things that weren't hand painted with like the base shape and text with this badge and the substance logo like everything else was hand painted on yeah so this is a little bit back in the creation of the things William I think yeah I think you need you to share your screen and I was just muted I needed to go so I was talking you could hear me but no one else could oh yeah a lot a lot a lot of buttons and switches I'm pulling over here so yeah it's fine here we go we're back up so sorry everyone okay technical difficulties every stream it's our trademark it's not a stream without problems yeah exactly okay so this showing up now yes it looks good everything's good okay so let me go into the head and I will assure the process of creating that's hide stuff from the start so I'm just gonna hide all the layers and then it should disappear oh another tip if you're working with displacement turn off your other model sections because can be quite slow you see with all the layers my computer's really struggling just give it a second to recompute so what resolution do you work at at your base are you I'd like to okay or do you even go down to 1k for the when I was actually working on the project I had it set for K for this at the moment I've lowered it down to 2k just so it's not so bad but you can see how that's degrades the details like the text in the writing there is gone so I think I suffered through work he had 4k for most of the project so I could get all the details yeah I imagine it would be difficult to be able to you know paint the details and know exactly what fidelity you're getting unless you're at that higher resolution you know especially with the the displacement because they were all refined things so I could probably have lowered its and then just appraised it later but I wanted to keep all those details so let me just turn on the 2d and 3d so you can see so I'm going to switch onto the high channel I think so you can just see what I was doing so I think the first thing I did was just filling it up with a base bit of height there not sure which was easiest to see if I have it on the the material or the heights I'm just gonna start adding layers are there you go so I was just I just tried to get the base shape in and see if I could you know push out a basic penguin shape and then as I went again I would just refine these things I'd add like details on the eyes and the beak and slowly just build up all these different layers of detail so I mentioned to me earlier you just started with this basic shape and then you started to skew and just layer on top of it to get the final results so again it's like starting you know something very basic simple shape and then adding complexity as you go yeah so you see it's basically just almost a penguin at this point but it's it's not detailed at all so I was just trying to see what I could do I kept the little base color of the penguin there so I could get it but the eyes are just basically circles that push out at the moments and then I'll just continually refine this as I went layer after layer and some of these layers are probably did later as I sort of detailed things up and put them back into them now these layers you're adding are they mainly just like fill layers with height information that you then masked with like a like paint like paint strokes or are you using any kind of like procedural layers or how's that work this at this point for the the face it was all hand painted so the only thing that was not the basic brush is when I started doing this fur so I think there was a brush that sort of looked like yeah one of these basic fur brushes and I just got these all three details on but the wrist was just using him ordinary standard soft brush and painting these details on I think just standard brushes what I used for 90% of this yeah and as I went I just continually added more details started a dangle shapes with the eye and that's basically the basics of the face all in there though the one thing that did become a problem is when I exported its it had chopped off the tip of the beak cuz my computer was getting really slow so I exported the entire the channel maps into a new substance planar file so I didn't you know have all these layers slowing down my computer but I think I used the wrong takes reformats and I lost some of the high detail so that was I had to repaint the entire front of the nose but I only noticed that was missing like after I had done like five hours of work or something oh wow so did you change like for your your your layer settings for the height or you said you switch that to 32-bit I think yes it was using actually no it's just sixteen that float I think it was you can tell me if that's what that format is okay yeah it's actually the standard one okay but when I when you export it it's like the you know export your textures I think I used a PNG and it just didn't have enough detail so if you want to actually export super high detailed ones I would use like a taja file or something else I don't know maybe a tiff yeah yeah you could use TIFF or EXR and I think that's one of the things that's that could be that's that's a little confusing is that right now the the bit-depth like when you select a format it will export to whatever the highest bit depth that format can support so we're starting to add more options to that based on user feedback yeah well it wasn't too bad it was just I think I didn't take that in time but more features is always good so you can see the the basics of the furrow here which was actually just set up with a fill layer that I put just finite to stay surprisingly a filter in the high channel and when I just adjusted the scale it actually created a fairly detailed looking bit of fur and because of the way meet met model is it actually gets a little bit of variation in like the direction that the first it start so it looks fairly realistic without having to do any funny things which is playing displacement like if you were using an another like 3d program where you wanted to actually groom for something you could probably better results but I think it was pretty cool so that's also William I think I asked you before like when we had our rehearsal like when you had the the displacement for the fur like like you said it is kind of moving a bit in different direction like I would have assumed that it was just gonna go straight out so how did you get it to kind of curve a little bit and move in different directions what's what are you modulating that with all I did was make some of the sections push out a little bit further than others so because of the way the edge curves over there plus which to base charlie see you got this curve on the edge here so I made some of the areas to guard further than others and it gives that appearance that they're coming out in all sorts of different directions so it's something that I tweaked a lot like I would use channel adjustments and stuff and just make some areas sort of clumpy and some areas not as long so you get a whole lot more variation but as well purely just sticking out straight you'll see this is one of those where I just sort of tweak the length and the color and just getting more detail on there but one thing that was needing a lot of filters and stuff was to make sure that the fur doesn't come out from underneath this hood area over here because otherwise it would sort of poke out through the whole model so I used a mask with a position filter I think it was a position generator which then I multiplied it onto the color selections that's using the the idea masks just to isolate this fur to come from that area and then multiplying it with a 3d position that just makes this mask with the fur coming out of only this area so if I just this position thing you'll see that that adjust where the fur comes out so that way I didn't have to go in and hand paint all those little details under that's a low hood area yeah that's really awesome to be able to make little systems like that to for your mass so like you said you're kind of doing a bit of procedural work and then you know letting that hand-painting part kind of be the last you know 20 or or 10 percent that you help push your artwork completely to the end yeah so I would use a lot of the procedural stuff for like the fur and then for masking specific areas I think mask is where I used a whole lot of filters it's really useful I think next time I get into substance designer yes I would love to see what you do in substance designer I actually I think that's why the fit my favorite tool that we have so it's quite fine I'm excited to try it so you'll see this is that Pollock couldn't free sand without any high detail and stuff it's so cool material but it's not really exciting so all the stuff that I would do now is just painting on a whole lot of different or coffee bits and folds so I I like working with a whole lot of layers so that I can always go back and adjust think so that no if I don't like how I did something I can just go back and remove it so added some stitching on here this was actually originally part of the the World War one pilot helmet but I kind of liked how the stitches looked so they remain that's why I like working of multiple layers so I can just keep things around yeah it gives you a lot of flexibility like you said to you know make variations but then also you know change your mind or you know mix things up down the road yeah that's really cool and you can see yeah I was sort of pushing back the area with a strap for the goggles wind and then so this is just the basic strip using I think I'm a plastic or a rubber material and then over time I just sort of refined these hide things so when I add the goggles over here you'll see that the layers that I had to sew just smooth the transition from being like cloth to being more sort of just solid plastic and stuff so one thing that I did adjust specifically for the contest just to make it look good is if you look at the front view if I turn off this layer you see that you can't actually see the tops of the goggles so I just added a mask that sort of pushes the top of the congos so you can see them better from that front view and so to create that mask what did you use I think you mentioned before it was like a gradient I think I used too great and let me just check yeah so I used position gradients and I am just added that to the high channel and then I could easily adjust it pushing it up backwards and forwards and adjusting the height how I wanted so didn't look like a triangle but more like just leaning forwards and I used a lot of anchor points for like saying I want to use the hide data from this point and then use that to creates like ambient occlusion for different areas so I use that just for adding a little bit of contrast in this area around the goggle so much so if you can see that there just a little bit of lighting detail in there yeah it's just enough the subtlety though because this isn't a production thing you want to have the render with all the the details you can get so I would bake in that ambient occlusion and you can see now it's time to slow down cuz I've got all these layers active but the last thing is how I did the the snow which was basically using a whole lot of cool generators and things so using ambient occlusion to put snow in certain bits and I paint over there two different points and stuff so that way I could get the snow that sort of fits in the fur and soften bits like that and then I could always go back and sort of paint out areas and stuff as I wanted I mean just go to the body ensure that there as well so although the cloth folds and stuff were hand painted and as I said there like some of those things were procedure with the firm that's basically everything else is just hand painted now for the hand painting of those folds did you just use like a standard brush and and then paint or were you also relying on any kind of like alphas that had cloth folds in them how did that work I did find a free set of cloth alphas that I gets got some basic folds in that's that was just kids like basic shapes and stuff and then I would sort of go in by hand and paint these details in so like it would fit better with the directions and stuff weird would sort of naturally move so for that I would just use a basic standard brush and then I'll just have height turned on very soft brush and I basically have no like capacity of like 1% or something and then just paint on a little bit of height over there so can we just add another layer here so what I'll do is if I wanted to paint over a specific area I would sort of I dropped just to get the heights at that point and then I just sort of turned off color and whatever if I just wanted to paint the heights and then I would paint that with a really low opacity so as I said like 1% and then you see you could get these really subtle changes that you could then go over so it was a lot of detailed stuff but working in the displacement if you don't have this opacity really low you get very sudden sort of horrible jagged edges and stuff like that so you're just kind of building up the detail you know with low opacity and just kind of building it up slowly yeah I think I wanted to start off with more I mean less rather than more so and then I would sort of emphasize the areas so it would sort of have the details that I wanted and yeah because we really wanted to emphasize displacement some of these things are over exaggerated like you'll see the little zipper bits and maybe like the stitching and stuff maybe sticks out more than it would if you would use it somewhere else but when you look at the the render from pretty far away you don't actually see there's sort of unrealistic heights yeah so you can see the way I did the FIR against this as I said is an older file so this is not the actual final fur that I used but it's basically the same process of filling in like in the dark areas with ambient occlusion channels and then like if I didn't want it to be in front of like the badge or something I would just paint in the moss so you could see them open and stuff so this one I'll just go backwards unless you can see seeing so one thing that kept me a little bit weird is when you're working with the displacement you've got to make sure that like your edges don't pull up other areas so I'd have to go over and like add tweaks to the edges so that they're not pulling up the texture that's not supposed to be pulled up so that's a little fine detail hand painting that I had to go in there and just check so further Willy I'm sorry for that tweak like it was that a what did you have on that layer was that a transform or were you just painting I'll just hand painting so I would sort of like I wanted it to be the plastic material and I just sort of okay because it's basically like one pixel on the edge there without displacement another thing that I found useful is like when you're painting the high channel or just like in general if you're using the material view and you sort of let me just open up this layer if you want to like draw in this area over here it might not appear actually where you were looking because of the displacement so you see my cursor is like at that point over there but because I'm using a high amount of displacement it sort of appears somewhere else so I would just switch to the base color and then okay in that case a bit much then just it would sort of paint where I wanted it to yeah let me just go back more layers so all these things were just hand painted on details the label was just all hand-drawn all stitching's and writing there even these sort of metallic rings and stuff were just hand-painted on because if you use like an alpha on a displaced area you'll see that you sort of get like it sticks arted like a weird angle or something so I just I got a little reference of where I wanted it to go and then I would paint on to get the height that I wanted to because this is actually like on an area that sort of slanted backwards so the helper wouldn't work there so this is the reflectors that I added so you'll see that they've got the little emissive layer which is just a little bit of glow on those but they're just sort of color adjusted version with its reflector cut material that I was talking about and like even these straps and stuff they're all just hand painted on over so you can sort of see as I go back it just returns back to just this basic trough material which is right at the bottom and of course I had a little like a bunch of different dirty little grungy layers over there just to get get it looking a bit more interesting you know see how I like it little adjustments to the height to get little details on his gloves so it would sort of look like it's actually part of him and what's just stuck on him and they have like a base little layer of height right at the bottom which is just roughed out where I want some things look and I think the base was pretty simple I didn't spend a whole lot of time here basically did some footprints and then in that vision that I'm gonna now you can see that I sort of added little rocks and the little hammer and stuff there on the ground so this is just fairly simple it's just materials that are pulled in and I just masked out certain areas yeah I think we noticed that last week that you have like a little ice pick or hammer if we didn't even know it I mean it's like these all these small details that you know even you look and you miss but after this deep dive we were like oh wow there's a hammer there dude it's really cool yeah I spent a lot of time just adding in all the little details like I'd look at those reference images you know what are these guys wearing on them like what do they do just try to find things to add to make it as interesting as possible hopefully it's not crashing your desk you know moment to load because these files on my computer ended up being about 2 gigabytes or something so can take a little bit of a while to open up ok so you'll see this is a little bit later like basically the the finished layers with what you saw just now as just the exported and re-imported full layer at the bottom so if I hide that's you'll see were little details that I added on after over here so it'll tweaks to the fur remember I said I needed to add the beak back and just a lot more detailed in the snow and like just tweaks yeah adding a little bit more detail to the edges of the goggles and you can see the nefarious sort of feels sort of more random cuz I've got the belay is that sort of just modulate that a little bit when my computer decides to load and so it looks like you were working on kind of multiple painter files if I if I get this right so you you did you did you know a set of work and then maybe export the maps and then bring them into a new painter project kind of in a way of building your own merge layers is that kind of right yeah I was kind of missing the the Photoshop merge layer sort of thing I wouldn't mind like a feature just to like flatten all the layers or something because my computer was just kidding too slow mine was 10 years old so I don't think it's a problem with substance painter it's just ancient computer yeah but we've had a lot of I think customers asked about being able to merge layers and things like that a lot of users so it's it's definitely definitely something that that we definitely probably need so I'm sure the team's going into it I look forward to that so you see you like to survive who adjustments over here to fur and since I've got the snow layers showing when I hide the layers over here they will sort of adjust to fit no that's that was nice you just designed the snow and then anything I changed would sort of just come back and exist yeah so if there's any other details you want me to zoom in on you'll see that this is where I started adding all the stitching and the patches and stuff so I added the hand-painted this little like this guy had been working in there Antarctica for ten years and wearing the same suit or something on the patches like the I guess the one the the I forget what you called it but it was the the actual logo patch for this type of jacket and you kind of made yeah that's it you made that one so did you you you kind of designed that yourself right and then you did you bring that in as an image and then start to use that as maybe a stencil or something in painter how did you how did you make this come to reality here yeah I used I created that externally just like basic shapes with where the penguin is and like the writing because writing on a curve is a little bit difficult and then I just use that as a stencil and plopped it on each of the arms and then I went over and sort of hand-painted all this sort of stitching and pushing out certain areas making it look like fabric so you'll see when I hide that's background full you can sort of see little stitches that I added over here remember this is 2 km/h instead of the 4 K that I use so no wow yeah that's that's super cool yeah so you're just adding like you're not relying on some kind of like filter or anything you were just hand painting in these stitches to get that detail that's that's amazing what I did do though is I added like a drop shadow so that just adds a little bit of detail to the stitches and makes them sort of feel more sort of 3d maybe even though they are actually displaced if i zoom in they see that each stitch sort of pushes up a little bit so I did the same with the South African flag all the stitching for his pockets and the writing on his little badges and things over there so I mean actually it's pretty interesting yeah looks yeah it's crazy I'm sorry did you say earlier that the stitching is what took the the most amount of work or the longest period of time was it I'm not sure if it was the longest period of time but I took a really long time you can see they're stitching basically all over him even on the back I don't even know why I put all this detail on the back because you don't see it cuz that sits on these little straps that go at the back so I just tried to make everything as realistic as I could so stitching how would you attach this reflector around his arm so stitching done Center his arm was even stitching on his boots his the soles of his boots sort of have stitching there as well even though it's caked under a layer of mud there I think this so the dirt I used a dybbuk generator and then I just sort of masked out certain areas I think it makes it just look a whole lot more sort of grounded in realistic and I actually have like multiple layers of snow so yes sort of fluffy snow that sits on top and then sort of more i seee snow like he just went through like splashed by water or something there's whole lot of different layers that I did and you'll see that each one of these has painted on bits and bits that use filters just to get it into certain areas yeah I'm not sure what else there is to sure yeah that's that's a it's extremely inspirational I'm just I'm sitting here and I'm watching you go through this and I just keep thinking to myself man he just started using substance painter and it's just it's blowing my mind but but you know what really it shouldn't because you know what when I think about you know arts and I was talking with some co-workers about this earlier like I mean you know tools are just tools and you know the software just helps you do something but the software's not important it's it's it's your artistic ability that you have William is and you can see how how a high degree of skill you have and that that just can translate into you know whatever software whether it be substance painter or any other kind of package it doesn't matter I mean it's it's your skillset that matters and I find that to be so inspirational even for myself because I keep thinking man I just need to go back and really focus on traditional skills you know it's quit you know yes learning software is important for our trade but you can never abandon those traditional art skills and those instincts and and things like that so man this is really inspirational to watch you work yeah well thank you yeah I think people just need to just open up a software and sort of mess around like I didn't know what I was doing when I got in here I would just add a filter and see what it looked good and now do remember that fellate says just add things and it just was easy to use really I must say cuz that's just it was like 3d Photoshop for me well that's also good to see you as someone again new to substance but we're able to get this high level of work within not a very long period of time so I guess overall like from I guess once you actually started the work in painter I mean how long did it take so I think the contest was about three four weeks and I sort of heard about it the first week it came out and I immediately started working on it so three or three weeks maybe like the last week or two a whole lot of use so like warmest all day for some of that yeah I think you can you can get up and running panting pretty quickly so so three weeks for a new substance painter and you can win a major contest well that's that's awesome William and so we're getting you know just just add an hour so that's that's good and if you don't have anything else specific to show I think what we can do is start to move over into our QA like I said we have a Marine and Vincent from our marketing team has been in the chat and so I am going to maybe look to start to queue up some of their questions and I think we could probably just leave maybe your screen share on in case you need to display anything yeah I'll do that all right let me check what they have here all right so going through some questions okay let's well for first question here was how long did it take you to make so I think you already we kind of covered that one is about three weeks right yeah yeah and then like three old nights is the last weekend yeah that's right yeah three three all-nighters yeah okay let's see here's the question what does the scattering channel do so the scattering channel is full subsurface scattering so that basically it simulates like like the snow in this case we'll shoot a bit of like light through it so it's not going to be like completely blocked so you see I've got that scattering channel just on like wherever I have snow so if I turn on the snow layer over here anyway and so it just sort of softens up it makes little lights pass through the layers let me just see if so I'm not sure if you can see that on the screen is showing yeah I'm trying to look let's see I'm looking through like multiple monitors so the one thing is like really small so I can't tell so you're enabling your scattering parameters I'm not sure if you can actually see the difference but in there the actual renders what it'll do is will make the snow a bit sort of just softer yeah I guess you could look at the channel you you painted if we wanted just not in material so look at your channel maybe that yeah you were showing that so so I actually was so use it on the eyes this is so from the highs and the fair on his face and otherwise just snow yeah and substance for scattering like it's very helpful but it's also it's one of those things like I think I had a co-worker to kind of talk to me about this too it's kind of like one of those things we're like you know it's like a Photoshop filter sometimes people go crazy on it like this subtle the more subtle it is the more the best the better result you'll get I think yeah I don't think you can really see it on the renders even I added it also to the tips of the fur on the over here so just like moss that's the tips would scatter a bit but I don't think it makes an enormous difference but maybe just a little enough to make it sort of feel more realistic and it also makes the snow like weather in the shadows appear more blue because like this blue scattering in there okay so checking more questions here so this is this is a question on your height painting so like brushes what I guess it's asking what brush is used when painting height did you do you have a set any Alfa's like like how did that work most of it was just using standard little circular alpha and then as I said just lowering the opacity really low and just painting that on there so it wasn't any special brushes for most of the time the only thing that I use any special brushes for work really was for stitching which I used just a one of these stitch brushes over here so I think I just created my own version with a little small stitching thing but otherwise yeah it was just a default brush wow that's awesome yeah in four stitches in the future we also have I think of it's maybe in the last release we added like a paint roller brush it's similar to like the the Alpha roll in ZBrush you know I guess it's not exactly that something like that but but yeah I just found out about that like two or three days ago when I was using it to do some stitches like oh this is so much better than me trying to you know build something myself so yeah it's funny how you just got to keep up with you know new stuff that's that's in software yeah just find all the tools like you didn't even know about it now but I enjoy that like just opening up a tool and just messing around I think that's the best way to learn any other stuffs just open up try and draw stemming yeah definitely you got to make sure that you're having fun okay so another question here this one is this this question is asking is this game ready this fir can be used in a game engine I mean you could probably open it in the game engine but I don't think it would be the idea you see yeah that's definitely not game ready No yeah you know you would have to sort of maybe make sort of textured patches billboards or something like that for four you wouldn't use displaced little spikes for your firm you can definitely get a lot better results with that yeah I think this is a good example when you think about like what you're doing here is you're building like something like more like concept arts you're doing something for meandering but then also as we've shown earlier this is 3d printable too so you know we were able to take this and have it printed yeah so I think basically the only thing that wouldn't work in a game is sort of the fur but anything else you more likely normally just have it all these things modeled out in 3d and then you use painters who add detail to that like painting this all from scratch is just a requirement for for the contest I think it would actually be a lot easier for someone's here create their own thing and then texture it later I guess that just depends on workflow which is what kind of look you're going for yeah parallax displacement and stuff like that might work in a game engine oh yeah definitely I guess depending on you know your shader setup and everything yeah but this this s it's definitely not game ready yeah yeah all right so yeah moving on looking at some other questions here so okay this one is just it says more info bat okay yeah that was a so the question was that was really neat trick using the position map to tilt the goggles so the this person was asked they still didn't quite understand like what you were doing there can you maybe just revisit that a little bit more truth that's in this file at the moment but what I would do is I basically created a so like a full layer okay let's just look at the bodies home and then I would so I wanted to use that in maybe I think I used it in the mask so if I put just a white mask in there and it's a day filter so I'm going to add a Rosetta generator I think that some generates I'm not a filter now so like this position generator in this case basically creates a mask you'll see that it's going from the top to the bottom so it's going me just so it's going from white to black at the top to bottom and you can adjust that so let's say I wanted to make snow only appear on the shoulders or something like that so I could use that and push that up and then I can combine that with other things so if I wanted to add a painted area like I didn't want it to appear on the badge or something so I could just mask out an area or something like that so you can combine these different things to get that so I combined that position with I think it was just a fill layer with height in it so if I just add height to this fill so you can see now well he's beefed up so he's got massive shoulders now so it's just cuz that's position is just applying to that here yeah so he hit the gym he's all yeah it's thick man yeah I think I actually had him little chubby Bailey at some point yeah yeah just for clarification - so so you're using that position in case anyone who's watching who doesn't know how that's working William if you go back to that position you scroll down you can see that it's been driven by this baked information and substance painter is able to bake this model information using the integrated Baker yeah so it's just Maps the way this object is in space onto it takes gel yeah hopefully that makes sense oh definitely thank you okay so here's this is on using software I love how marine gives me these nice categories when I'm doing the comments so thank you marine still awesome so on the category of using software this one is so what is not the first work for him but okay so this was asking like Bailey we had we established like you're new to substance painter but is this have you been doing 3d work before or you've also pretty new to 3d as well no well I've been doing 3d and digital art for 15 20 years now so it wasn't a completely new experience it was just new to substance painter so I think a lot of things sort of translate between those things yeah and I think again that kind of goes back to that point I was saying it's it's not even it has nothing to do with really the software it has to do with like you said you you have that 15 year experience that you know that you've been honing your skills and working and all that can translate to anywhere so whether using substance painter or another software I mean your art and skill is what matters yeah just getting in and experimenting with these things that spray the best and a lot of them like the terminology you might not know the first time you're going in but when you learn about ambient occlusion or whatever you translate that to other programs as well so so with that said having made this what features would you like substance to include that would have made this project easier or more efficient well I think the one thing that I said I would like is a layer merging thing because that's just how I'm used to working with things like Photoshop just when I'm happy with say like the base hides merge all those layers in together and so it doesn't use up processing or something and one thing which I think I saw her last week stream was the the exporting just adjusting that so like he said you could add now export the heights and tessellation and like just revamping some of these things because it can be a little bit confusing going into the configurations for what to export and stuff but I think that's what being changed so I don't need to wait long for that yeah that's right the export textures has been completely reworked so we have a new system it's it's it's quite nice and it's it's really born from a lot of the feedback that all the users have been giving us over the years in terms of you know letting you know your output can I configure like you said can I want height to be you know this the EXR but maybe my normal I'm gonna export as a PNG you can you know mix and match and really further customize your outputs and gives you more control yeah I think that would be perfect you know I don't show I don't know how much I'm allowed to say marine for marketing's on the chat you might start hitting me up on slack you know but I guess I guess I'd better be quiet okay yeah no I think I'm pretty happy with substance painter like I'm I'm gonna be using it a lot more for taking game assets and stuff pretty exciting that's that's awesome to hear okay so here this is kind of moving towards hardware and this one was what config did you use so I think this is talking about like your your your template when you when you when you you know new substrate a project are you using like metal Roth as the templates back gloss like what's your shader set up so I think I was just using I think it was just met with roughness and I went from the sample project which includes the meet that model and the only thing that I really changed is that I went and I put it into 4k texture settings and then I added a scattering layer for the fur and then the missive layer for P reflectors that's that's all that I changed so it was just the basic metal roughness normal height scattering any missive and I don't think I actually changed the format for any of these things okay so for I guess also with the hardware category are using a Wacom tablet to draw or Mouse for your sculpting I am using the one by Wacom which i think is the cheapest Wacom tablet available so you don't need amazing things to be able to create not that's the that's an awesome yeah that's an awesome quote man yeah I I truly believe that yeah but I think it does help a lot to use a tablet pressure and like especially for the height details and stuff really useful yes okay so this was maybe you like this question so how old is your computer and how excited are you for the prize for winning the prize my computer currently is ancient and I've been dreading needing to get an upgrade so I'm I'm super excited this is gonna be amazing there's like five times better upgrade than I could possibly ever want wow that's awesome man that's it's so well deserved plug the sponsors Thank You HP and NVIDIA and welcome yes thank you for the CD yeah no it's it's amazing I'm I'm extremely excited the only upgrade I've had to my computer in ten years is a graphics card now which is already still dated now and it's not a super modern system but you can still do nice things in it just really slowly okay so I'm checking the the question I think that's that's pretty much it with our chat so we can kind of look to start closing this out let's see why don't can you go ahead and stop your screen share don't gets back to our meeting view here and wait a second Marine has what question she wants me to add I don't I don't know if I understand this one so it you know maybe it's maybe it's bad for me but it says we want Grail ask him about Grail Grail it's my dog he's a oh okay okay so your dog okay awesome easy I next me oh can you move your camera can we check him out maybe not too much structure yeah much it'll work but if anyone wants to see this girl yeah yeah he's just hanging out not weeping oh man awesome dog so cool all right very cool man so let's see I think that's gonna close out our QA and so before we we take off I do want to see I've got another slide here to show so I do just want to remind everybody that we are continuing on with our live streams so our next live stream is going to be on African inspiration and we are going to showcase the creation of African masks here using the substance tools again another stream that's gonna be very very cool very art art centric so I'm really excited for this one as well this is happening on April 23rd 11:00 a.m. PST so just you know stay tuned to like all of our channels we got our discord server and as well as our our Twitter feed Facebook group you know we're constantly communicating all of these types of things and whenever we have like new contests or anything coming up so you know we try to communicate those things quite often and I think that's it I think that's gonna close everything out so um William Mann thank you so much man it was a real honor just to hang out with you like I said man what you did was super inspirational that was really fun I want to also thank everyone in the chat for hanging out with this and yeah so internet kind of was able to stay up before a system we only had one mess up so far yeah it's like kind of like that every every stream there's some type of technical glitch but yeah I'm it's getting better so again thank you yeah thanks everyone really awesome and we really appreciate it so yes they say safe everyone and hit us up online on our servers forums we'd love to hear from you and take care and we will see everyone next time thanks bye

Channel: Adobe Substance 3D

Views: 8,257

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Id: x61Y3ewxjuQ

Length: 82min 53sec (4973 seconds)

Published: Fri Apr 17 2020