substance Painter Techniques

[Music] hello guys welcome to the tutorial of texturing substance dinner this particular tutorial is about finding some natural stuff like the ground have some water on it and I have some rock and other random stuff if you look at the geometry it's actually very simple they're just in geometric geometry all the geometry are created instead of ZBrush and baked using the brush - okay so let's start with the ground so let's select the ground here okay and then create a new fill layer let's call it ground a baby sub substances such as - the texture and it's always fun because it's actually making things very easy to do like if you want to some because you can't do the material it's just instead of just a texture and gave you a very nice video so let's go through the color and then change the color to a brownish color like a mud or something okay alright and then it should be now shouldn't shouldn't be that shiny so let's drag out that's like after your office but you still want to give it some reflections because nothing is not reflective at all okay oh the lighting we can give it a more realistic lighting by goto viewer settings and change the environment map to something that does have color exclamation and also check on shadows to give you a more realistic result okay so we have crumb base but the third or the grass shouldn't be just one color I mean control-c control-v to duplicate this layer has called its new ones rather this one because it's going to give it a brighter color okay and then oh and also change the color to a little bit alright and then give it a black mask and then you can use smart max to give you some variation to start with like dirt that they may be anemic because we were pretty random and you can play it if I go there and change the global contrast slower and then balance them more or less I just have one thin layer of the brighter bass and you can right click on the mask again and add tent I always believe it's always better to have some human printed various initials I instead of always rely on the young the computer-generated result so I'm going to find some high ground and then tent the back color to enhance the volume I do believe the the color variation should be pretty random so there is no rules for where they should be but you know tinting the color based on the geometry variation is always good because it can enhance the detail of the shape all right so that is one more layer of variation okay now the water should be mad let's go create the water layer a new fill layer let's call it water if a water layer what I want to do is go change the color to something quite dark and then the roughness is quite low that's quite reflective value don't want to turn it all the way down and you look at the reflection there let make it a brewery okay I just uh metallic to give it more reflect respectively okay on the the because you have more reflection when you look at from this handle and you have less reflection when you look at this angle but dragging the metallic up can make that run so it will be the same reflection on our land of but I don't want that much either this little okay and then it it's not supposed to be happening anywhere so let's give it a hope before we do that let's also drive the Hat down a little bit that will bring them down and then transparency lower because the water is transparent okay right quick and add a black mask here and then we can go use some brush to panic back okay just drawing out where the water should be you can press X to reverse your brush colors okay so now what I'm doing is masking out where the water is it doesn't have to be super organic yep those are supposed to be a well print so you know some kind of card so I'm just going to draw some lines in the middle too you know mimic that okay let's mask it out first to worry about too much of the blending it here you can find the low ground like that one here okay and here too maybe somewhere here I brush it click all right and then let's blend them with the surroundings they're not supposed to be really that crisp clear the edges should be blending so let's select some other brushes like this mode brush and let's press X to reverse the mask and then just clean it back up that way okay you can also use a white path to blend some the mat in the middle okay all right something's in the middle could be back hot instead of water or they just wet so we're just going to draw some subtle stalks on them just blending those song with the surrounding bud okay I can choose a soft brush here and then lower down the flow so it's really subtle now you can't enter the edge white okay because they were supposed to be white they're close to the water trying to mimic reality here okay all right now of course oh here I won't do anything area let me use my mode brush again of course you can do some more on the low ground maybe here I think I have some low ground here it's time to some white water there all right you can go crazy about defining their distribution here but I'm going to stop here it's up to you to refine it all right good enough let's move on to some more detailing on the ground one of the things I want to have is some because it's kind of wet and so is we better - it would be better to have some not a softer some most of it so let's go to the substance share by clicking that button and then login you can create a free account and then let's search for MOOCs and then let's go thing I used this one got fresnels not quite this one actually but let's try this the one I used earlier is this one I think the color is closer a chair this one I think this one is better because it's color is warmer color more like my current colors so they are more consistent okay and then let's drag this one the SBS AR to the shelf and substitutional will bring up the import resource dialog window and you can what you want to change the the capital base material and then the import to you can choose project import that way you can look that into instead of project and then you can drag it on top of the ground but below water okay and they're really crazy here I don't want it to be anywhere in right-click on it and give that black mask and then I can manually define where it is here on the five ten teams and mask myself I'm still I think I'm looking for high ground to give it a mouse maybe some more mouths around the rocks here of course you can use smart masks to do that for you if you are lazy but I don't think that makes much time to do this one so I'm just going to do it manually I think manually created without it's better than computer-generated way because computer generated regenerated way it has no accident and which is naturally natural in reality there is some accident but human the ways of a few human thinks it's also kind of really easy to get computer like reload because you think in a straight way so you want to UM you know when you're drawing or pinching be little roots okay alright and anyway have those mouth is here okay so that's one of the layers you can add you can keep adding new layers like can search for like any ground and then fun suppose sharp a set of the ground I think there's a lot of things you can go for maybe that one and this one is quite interesting it's a lot of branching on the top and do all those nice result there those are substance are created using a substance designer which educates a node-based procedural texture in software and but we don't have that that we cannot demonstrate how to do that Oh drag it into the project it's also a base material okay here let's drag it down top of the ground mobs and some of them with the smart materials are pretty expensive though so it's going to take a little while to calculate and that's the calculation bar all right I don't want it to be anywhere either so give it up black mask and then you can apply it somewhere I don't want it to have too much of that so maybe just run the rock maybe from the ground that is closer to water I think that's where the branches are okay don't really want it to be too much of their um the entire models and gonna series some of the things alright and anyway you can go crazy on you know how much things you want to have on the ground this one out I think it's getting up for demonstration purpose but let's move on to the rock let's go to the rock by selecting the rock in the texture staff list and then you can start with adding a new fill layer just like before and let's call it a rock bass I always start with creating my home based color because that makes my stuff looks more unique than you know other people because if we're all using the same s I have our result is going to be the same - okay but anyway so I'm a rock here and let's let me give it a color the one alright color actually some blueish gray blue color okay and it's not supposed to be that shiny so drag out the the roughness okay a little bit metallic duplicate the layer let's call this one a lot predator okay and then this one will have brighter color maybe a little bit colder all right and then I want to I want the brighter color to only appear on the edges so give it up black mask and of course manually turn that but that's going to take forever so I'm going to use smart mask to help me and you have one called es scratch track that on the right on top of the black mask we created earlier that will apply only rock okay now let's select that we're and then we can do some changes like the amount of the noises the size of the noise and then the level of we're you have can go crazy like a lot or very little it's out it's your choice and the contrast out of the where okay and then you can right click on the mask again and add a tint that way you can start printing some manually created stuff he is this chalk brush and then come annually pending some of those scratches because computer-generated ways are like what I mentioned before no accidents but some cracks or scratches could happen here cuz on you know maybe some people fall on it and scratch it a lot okay so you can manually print in some scratches yourself some human touch is always better so texture is used one of the theories of using texture is used to support your geometry volume so you can draw a lot of scratches on the most prominent area to make it even stronger okay and then what is a little problem of this rock and the ground is that they are not blending while here there's a sharp transition so I want to change that let me go back to the ground material and copy the four layers I used to create the ground okay copy that and then go back to the rock and then ctrl V to paste those in control G to group them together and let's call it but okay as I don't I don't want it to be anywhere so let's wreck click on it and then give it a black mask and then we can apply a smart mask here using the Graham dirt that will only have them on the ground so they're not enough so let's go select the smart mask and then drag out the third hat okay maybe more contrast to hi okay I can of course manually create binary fixing what's happening there by select the mask and then rock we can create a tenth layer and manually pin it like here actually want anymore right that way they were planned it better check out one more loss there let me get rid of some the route I created there and then instead I want some Mouse so I'm just reading their individual masks now to match with the ground you can always go back to the ground on Twitter too to match them okay here give it more math up here every letter on the top a more mouse here too okay just to match it with the here alright let make some looks like planning your blending a batter alright so for the rock you can do after you have figured out the basic color you want to have now you can apply something from you know other people or you know from other images you can go to the substance shower and search for rocks and then you can to enter the same C's thanks it with your but if you don't have any good ones here you don't like any of those things okay you can always go create your own you can use all different ways but I'm good it's gonna use just going to use click so for me to help me I need a rock texture go to see detaches and then search for rock okay and then maybe the video choice better I want some cracks like that maybe that one is good okay so download it and drag it into Photoshop I'm going to use and do to help me convert that into a number map so follow the normal presets you can control shape to you to make it a grayscale before you do that okay then follow to normal and you can change like maybe the crack one is good okay and then it's not terrible so check that off and then no edge bevel okay active document that will actually convert that into a normal map and resilient really the reason I do that it's because I want to actually don't need those fun and smaller noisy details okay stress up back up drag those sliders down that way I will only have the crack over there which is what I need here in cracks maybe not that strong okay doesn't have that much other variations okay let's say this is good and let's save it as a normal map okay save it with a better naming okay jetpack and then let's call it rock okay and then we can go drag the drop normal into the substance dinner and then it's a texture now and then put it on this project and import okay now you can find it in the project cost lab no more and then you can go create a new fill layer above the rock writer okay but beneath the lot let's call it extra okay now for the extra cracks I don't want to change the color the Hat roughness meadow or Nova but I only want no more okay and drag the drug known around the normal okay that will apply that extra smaller cracks on the rock to give it more detail okay so you can approach and create custom maps using all the ways you can also try crazy bump which is a another way to convert any image into a normal map but I do encourage you to do that first before you plug it in because if you just drag it in let's try lab we just use the image here okay disable this one by use hapmap inset and they use that as hotness it may give you a very noisy result which is really hard to real of even you lower down the Hat a bit still kind of noisy actually this one is not bad because I'm choosing a one that it's not having that much nobody stops but I know my map is always better so let me control II go back and then have to little man okay alright and yeah you can have more variations on it by you know adding more stuff like you can control C control V to duplicate the rock face and for this new one I'm just going to change it to rock stars colors and then for the dark colors we just gonna make the color suckers okay just for the top colors so I'm going to use the smart mask can maybe use the gravity or maybe this a dust soft as a smart mask layer okay and drag it out so you know give you more variation on the color wise you can also a little bit and I wanted to be happening on the crivit seas so I can click on the global invert to invert it okay take the global contest or balance okay hope you can also apply some other masks on it too so let's give it a maybe the honking occlusion one is good the dragon on top that will apply a new one honest okay let's change them to multiply we will multiply it on it okay and for this one let's change the balance - oh you know what I apply applied it on the monitor which is not bad actually chance but if let's do the weight and let's use a nama crackpots a linear Dodge words yeah so have the crisis to have a match as we cannot copy it looks like let's hunt like a new one - the extra a - the rock doc good one there okay and then let's use a multi okay because I want to like make them affecting each other okay so I'm more at the crevices okay all right so you can go crazy on how much detail you want to have a variation you want to have on the rock like you can add tens but I think that illegal for you to refine it okay so that is that Z rock I don't really recommend on using too much of you know the ones from the substance jar because if everyone is using that then you who ends up do with a very similar result okay so that's like that's the rock it's moving on to other stuff for the shout I reason is the reason I created this one is I want to demonstrate the smart of the polygon feel functionality huge I want the others of the outside edge and there's those two circles we met oh but the other areas are wood so let's go to smart materials and then drag in a steel stand here okay see the the color variation is not really that nice it's because you select the texture settings I don't have any color on a texture information here you need to take the texture and then big fat in select the rock and the ground I already baked those things just make sure that you bake stuff bake the textures before you apply it to my material because we rely on those it's after baking it's giving me a much reasonable result okay now for the middle part I want it to be the wood so let's go back to shelf and then drag the wood top and then give it a black smack okay now let's use the polygon feel and use UV and then you see I intentionally separated the UV they can just go grab those two and it's going to fill those ones would okay that's it if you want to have more variation might be like you want to have some tinted layer on top of the metal you can select the metal layer and then create a new fill layer on top of it let's call it ten okay and then you can give it a hand color maybe this kind of color and other things is the roughness you can make it a bit rougher than the metal but still kinda funnier okay and then you can make the Hat higher okay let's right click and give it our black mask and then you can tent the tent back take the hat too high lower down map and you can use a smart mask for you to do that other things you can do is go add strong and drag it there that will only have that appears on the edge but what you want is the reverse so select the the generator and then click on the up to invert it that way you have that only on the edge okay change the global balance to give it some more variation on it okay I think it would be better to use that one actually because it does have more information but now you can of course go right click on Lima and add a tent layer and you can manually pending the scratches let me use the chalk all right on the scratches on the pins in constant we have this benefit because it can really give it unique characteristics all right so that's the scratches okay and let's fold our shells let's move on to this one which is this plate and it starts with a smart material again let's use the wood here in the brighter one maybe and for this one I want to demonstrate the way of using ARCA okay so I want some scented you know symbol on it and let's go search for the left of us butter not that bad fireflies go okay just to play with it like that one okay let's save image to those maybe and go back to photoshop and open app and ctrl I to invert it okay and let's save it as the actually Photoshop file let's cause it's a Firefly symbol the reason I reverted is because the white color is actually now transparent the black is transparent all right when that is done you can go to the tunnels and drag it in which is this one and it's going to be recognized as the air path and then let me put it for that underneath project to here click on it oh let's go create a new filter cause it's a tent to be really bright not shiny at all okay and it's higher let's go give it a black mark and then let's click on that so use that as your Mac and then you can holding down ctrl and left mouse button up and down to rotate it and if you use your mouse to click on it it's going to print it but it is printing in a rock face guys it's not where we position the the mouse let's because the brush settings have the jittering sides here and then position jitter and handle dinner let's turn that off that way you can print it directly there okay so that's how you print something on a surface go through the brushes and then use any brush to give it some more imperfections like you know make it transparent down some areas so it's not like perfect there all right that's it so that's that for the claws just creating that to make it looks complicated I just Giga run on clothes fabric now now they're actually go to the cloth here and drag it in okay and so the cloud you can do something like sound maybe the top area it's going to be brighter okay so what you can do is create a new field layer but this feel layer what you want to do is you don't want to do roughness meadow normal or hat you want to do the color but for the color you want to change the blend mode to maybe string that will make it brighter right and also just give it a color variation with your bluish color okay a cooler color and now way you're using this layer to actually make it brighter let's right click on it and the change that give it a black mask and then you can you know have some brighter color on the top area of the cloth she's the that's piracy so it's stutterer than the ones I have for you all right now way you're adding some manually creating creative detail on the class inside out we saw that you know just put some armature because everyone is the using that you have to make changes to make yours unique okay so let's say this is all good now everything is there after the mud ground mouse and then the some of the water stuff okay it's pretty complete now now you can go to the renderer here that's the area here it is using and you can see how the how a detail render looks like yes okay but we're not actually wanting to be just seeing it in substance painter we wanted to bring it into game engine okay so let's see how we can do that go back here different game engine and it's different textures so that's why when you go file export textures it will ask you for presets okay and there are a whole lot of presets so the one there's even one for sketch pads okay well the one we want to go for is unity five a standard metallic that's the one unity you use in the default settings you can change the format anything have a our car should be good you can use Targa because it's pretty common and then other things like the sides you can use document size or you can change that to even 4k or 8 K which is experimental let's use 2k for performance for our performance issues okay and that's where you pull it so click on there and let's go on just do that in the download new folder let's call it unity textually okay select folder and then export that's going to export the captures and for every object so you got a lot of textures at open unity and then see how we can apply that that was a new project if you go to the forum and it's advanced about W now we have the PBR asset I also shared the Addie model here to you okay download it it's an FBX so you can just drag it into the unity unfortunately you cannot export model directly from sub spinners the only way I know you can sort up is in the sketchfab preset because you know if you're uploading your file to sketch map you need a model anyways so there will be something inside of the zip file we created which have the model okay that's tell me where you can do that alright now we have the model imported in it looks like this okay we have the materials with all the materials and you have to name them correctly in Maya and that's and that's how they are appeared here okay let's go to the textures we exported we can drag the entire texture folder into unity that will import everything including this folder so it will create a folder named unity textures and pulled out the texture inside of the texture folder here okay so let's the Sun materials photographs here let's open the ground material and then Sun detectors that's the albedo which is the default the diffuse color okay let's also dragging in the this one this is the ground metallic okay we're dragon is it's accurately reflecting you know the reflection we defined in substance manner okay now it doesn't have toughness yes so that's dragging the normal map onto the normal map okay and it appears to be something outrageous that's because the normal map it's not considered as in or web here yet which is fixed now and that will mix it all correct now you see the result here is really close to what we're having in staten spinner it's just because the lining is slightly different but the roughness and everything is quite close to what substance inner gives you which is pretty nice the reason for that is because they're all using TVR material okay that's why you're getting very similar results because they're using the same Center but if you're doing valid for winners like very or a node you will get you cannot get the same result the reason for that is those winners are using a more complicated with so they're not PPR what PPR is does is that PPR material never violates physics if you look at the any material it has only this drop into metallic and if it's colored and based on that it calculates the weighting of diffuse and reflection so everything is accurate no matter how you change those values they are always fitting with the reality but in winners like uh no deliveries they give you flexibility to actually violate physics they can control the weighting of diffuse reflection to whatever way you want and the separate those things so that means you have to define those things in a correct way to get realistic results and those laps here never is enough so those so yeah you know it's not PPR so the stunner is different it's really hard to get the same readout but maybe someday they can fix it but for now no there's no perfect way of doing that so you have to tweak but anyway for game engine though they're pretty much the same so that's why you're getting very similar results let's for unity okay if you want to use our engine you can also do that so let's go to our new engine I launched it and Melania in a while since I launched it last time so it's kind of a slow okay so let's go create a new project so you can use blueprints and setup C++ and use any way you want let's use the third-person way as has an app screen instead of it all right is a much bigger engine and it's slow more complicated as like a double-sided blade it's more complicated they have more control but you have to control more to make it work all right so let's also drag in our model which is this one oh that's imported instead not driving it so file importing to level okay and then go to download model okay and you will ask you where to put it let's select geometry and then meshes and create a new folder let's call it my spin and then okay and then we will bring up the import settings you can use the default setting for now okay import and it will create a blueprint for everything Brooklyn is more like a like a prefab in unity okay you can after that you can save out to save it okay it's imported into the scene already okay let's look at it it's not big enough that's wrong check it big cover the red sighs all right now we have all the material and the geometry and the raw FBX data here also go export textures for Unreal Engine this time you just look for arranging for okay and then let's create a new folder called ue4 textures export okay so we got another set of vectors let's check that entire texture Oh before we do that let's create a folder for it first because it doesn't do that creating folders in unity does for you let's call this our textures and then we can put it here by dragging the beautiful textures folder into this content brothers holidays the new folder we created and that will import all the textures okay let's save up okay double-click on the ground that will allow you to select the crown is set up this blueprint and you see that's the ground material and then you can double click on it to open the material editor just like the material editor in my ice node-based okay so it's much more flexible than what unity can do still in that Hector and the Dragons and images like this albedo that's the normal map and that is the weird one it's weird because if you have your mouse or a mouse here the name is occlusion roughness the metallic what it does is the red channel is occluded the green Channel is rapid the blue channel is much hot so let's connect with the images so the color goes to base and then the normal goes to normal those are easy and then the this one you have to connect the red to ambient occlusion the grin to roughness and then the blue to metallic okay and then apply and say okay all right they were getting pretty similar allowed to here in our own engine alright so that is it that is how you import textures and material into game engine now one of the things you can do differently in our engine is that sometimes you'll really compare it and carefully it's actually pretty close the reflectance here I think it's actually accurate but if it's not you can select this map here okay and then uncheck srgb that will give you a raw information instead see on an opera is slightly different and then I'll save it that will make it to rate the raw information but because that you have to there will be an arrow here okay you have to really important image but I think it's the fix that problem now so it's not doing that anymore which is good okay cooked so yeah that's how you import detectors into El Rio engines now they're pretty similar buddy you can see our Ranger is a more complicated render it requires more steps to set things up but yeah that's it so uh thanks for watching and see you next time

Channel: UIW 3D Animation and Game Design

Views: 140,506

Rating: 4.9321556 out of 5

Keywords: Substance Painter, Unity 5, Unreal Engine 4

Id: NLGs0BtN0yc

Length: 55min 48sec (3348 seconds)

Published: Mon Mar 20 2017