Substance Painter to Renderman for Maya

hey guys today I'd like to cover how to export textures out of substance painter and into Maya for use with render man 21 now this should work with pretty much any render the way I'm going to try to explain it to you but this is something that I I couldn't find easily on the internet a process I couldn't find easily on the Internet and I did you know my own troubleshooting and sort of research and and so I thought I'd record a video on how how my process for exporting these out from substant painter into Maya and for use in render man 21 specifically so here we are in substance painter and this is just our I ray view so a back out of that so basically what we need to do first in substance painter is create a preset a configuration preset before we do that let's jump over into Maya and and what I have here is just a default pxr surface shader 1 and what we need to do is look at the sort of attributes that we have in this shader because we're going to need to know what we need to export out so first we have color diffuse color so that's a straightforward one roughness jump down to two primary specular what we want to do is switch to our friend l mode from artistic to physical and that's going to give us an edge color and index of refraction and a roughness and then under advanced we want to switch our specular model to ggx just because it's a much better specular model and this is actually what I believe it's what substance painter uses but either way it's a much better specular model now usually what I like to do in render man 21 has this awesome material preset browser and we can we can basically what I like to do is start with something basic here and and then I'll use that I'll plug in my all my maps to something similar so we start out with materials and we come and look at something like metal plain metal is fine probably something like this is going to be made out of copper or probably not aluminum I would say probably either steel or copper I'm going to go with the copper look so with my lantern selected I'm just going to right click and say import and assign to selected and that's going to give us this copper material and we can kind of look in here and see what's going on so we have a color plugged in or actually our color is set to zero our gain for our diffuse is set to zero as well and then we have index of refraction we have extinction coefficient which it hasn't changed much so all these settings are sort of automatically set up for us to to render a copper like material our model is set to physical so oh that's awesome you know no glass so that's basically what what we want to have right now and if I just do a quick IPR of this we'll see see the result it's going to look like a very clean copper looking Lantern so we know what we need basically - we know what kind of maps we need we're going to need a color we'll need a roughness will need a edge color which is going to be specular color basically will need a refractive index or IOR index of refraction will need a roughness will leave extinction coefficient alone and then other than that we're going to need a normal map then we're going to plug in under global and we can also use a bump map in conjunction with that normal map so let's jump back into substance painter and go to file export textures and currently the configure Mackin figuration is set to render man 21 because I already had one I already created a configuration but I deleted it so just for the sake of showing you guys how to do this we'll create a new one so what I'm going to do is come down here and just click that new export preset and then I'll name this render man and then in here I have basically under create I have a gray channel so I can just create a gray texture an RGB texture and RG r + G + B whenever we see this it means we can plug in an individual thing into each individual Channel so I'll show you how to do that with an RGBA but to begin with we just need to create like an RGB Channel and under will just click and drag to fuse into that and then say RGB Channel and we can name this diffuse color I would just there's ways to add expressions to give this a good naming convention so you can see that if we click on any of these other ones but I'm just going to name them something simple and then I can always go in and rename them so diffuse color it will do one for normal now the normal that I found that works the best is the opengl under converted maps so normal opengl will drag that in RGB channel and name that normal we need a specular color so I'll go to specular and plug that into our DB Channel and we'll name this specular and then we we can take this node here this R + G + b + a node and plug in a few different things into one map so i can make that and basically we could do our we can do roughness for our so somewhere I have roughness so I'll just drag that and say great channel G we can do glossiness I don't think we'll need glossiness in render man 21 but if your render has glossiness you can use that we can do ambient occlusion i actually i don't want i don't think i'm going to do glossiness so let's do something that we don't need in this project but we may need we may need at some point like a transmissive layer reflection let's just do reflection just because that may give us an alternative sort of specular look so I'll bring reflection into G and say gray channel and we'll do height that's going to be our bump map so we'll plug that into B so we can we can be for bump and then we need IR so I owe our can come into - a and then I'll just give this that that weird name so we have roughness so we'll say rough Ref bump and IR so that's going to be the name of that so we can have those in order and know which what are those guys go in so other than that anything else you would need you know there's no emissive on this object but if there was I could plug in an emissive ambient occlusion if I wanted to but for the most part this is basically all I need I have you know four different textures and one of them has four different channels in it so after that I can just go to export and then I'll choose my preset that I made so render man and then I'll choose where I want to store those or save those files so I already have a folder here and there is some things in there but let's see just we'll just delete this folder and create a new one just because this was a one that I was just practicing with so we'll do a folder name this name it lantern textures and just select folder and then when we're done with that we can pick you know if we want this P&G to be 8-bit 16-bit so if we wanted this to be in a linear format we could do 16-bit but otherwise 8-bit is fine for what we're doing and then we just hit export alright so when those are done exporting we can jump back into Maya and start connecting these guys up so now there is a so let's let's start by we'll start by bumping our gain up for our color and we'll apply our color so I'll just click this checkerboard now there is a render man texture node that you can use but if you do that your textures won't show up in the Maya viewport it just doesn't support that texture node yet but but it does render and I find that it's if you can get past not seeing the textures and the viewport it's a pretty straightforward node but for the sake of just you know being being easy we'll just use a Maya file node but if you wanted to try it out the the texture node is under render man patterns and then there's a px are somewhere in here there's a px or texture a px or texture actually this one here that's for PT X so you would use this one but we are just going to use the Maya file node I'm going to turn filter type off since we're just rendering a still and we will plug-in lantern textures I have my diffuse color so I'll plug that in I want to make sure my color space is srgb if that way Maya will ungawa correct it because I am using color management so that's connected and then we want to we'll connect our edge color with our specular color so again turn filter type off and then I'll plug in my specular and just for the sake of seeing how this looks just with those two let's do a quick IPR and see what that looks like so just out of the box that's not looking too bad but we can get get it looking a lot nicer so I'll stop the IPR and then we'll jump into the hypershade and connect up our other nodes so we'll bring up the hypershade and let's see we're going to be using copper one I already did this one so as you can tell but we're going to be using this copper one and some reason these guys want to keep popping up so I'll just delete those for now and let's have a look at what we have so far so so far it's pretty straightforward we've only plugged in two nodes we plug in our specular and we plugged in our diffuse color so the next one I want to bring in is we'll bring in our crazy texture that we created so I'll go to 2d textures and create another file node and and we again will turn a filter type off and rough ref bump color or bump IOR mm-hmm plug that in now in this case we do not want it set to srgb because this is just for the most part of data and it's not affecting the color at all so we don't want it to be ungawa corrected we want to see it as it is so what I'm going to do is set that to raw so I'm going to click that node hit three actually three is probably a little overkill we can just look at it like this because these are all our channels so so we have our is going to be our roughness so specular roughness so I can go ahead and plug that into specular roughness G is reflection will go without that for the moment and then IOR is in our alpha channel so that is going to go in to see it's a little tough to find on this thing and I think what we need to do is we want that to go in to refraction index so I think what we need to do is hit 3 to expand that and I think it's going to be somewhere down here so specular IOR that's going to be that's going to be what we're looking for and now I believe what we want to do so let's drag this guy down here since our IOR is a is a vector so it's got three values in this case it's HSV I believe what we want it to do is we could probably try to get away with just plugging in to be and let's see if that changed what that changed exactly so yeah so I think that just changed our value there so that should be that should be fine and then we have our bump which that's going to be connected up a little bit differently because we're going to do it through a normal map so I can expand or collapse this guy again and we'll bring these guys back up here to the top and and we'll apply our normal map so let's check out how it looks with adjust these settings and without our normal map applied to it so far so it's actually looking super shiny so let's see if we can figure out why that is so it would definitely have something to do with our roughness and probably with our index of refraction I'm going to leave that as it is for now and and we'll mess around with it here in a few seconds but first let's go ahead and connect up our normal map now to do that in the the pxr material that's going to be under Global's because we want our normal map to apply to everything it says bump but we can do normal map too we can actually do a normal map and a bump so I'm going to load up a instead of a file node and instead of a 2d bump node which normally we'd use in Maya I'm going to use a go to render man patterns and I'm going to look for px are normal px are normal map and here under file name I'm going to plug in our normal map so source images lantern textures normal and that should work and then we can also apply our bump map or height map to that normal map so to do we can do both together so for that I'm going to click on this bump overlay so I'll click that option and then I'm going to go down to px our bump which should be somewhere near the top px our bump and then with this I can plug-in under input bump I can plug-in that be value so be we'll go right into input bump and I'm going to take the bump scale way down because it's probably out of the box that's probably way too high so that should be connected up up pretty pretty good to how we want it to be connected up so let's probably still going to be a little too shiny but let's do an IPR and see so yeah it is it's still too shiny but that's something we can work on that's going to be probably in our roughness value I also didn't plug in roughness to our diffuse roughness and that may make a change as well so let's do that really quick in the hypershade so we have our weird texture over here so we'll just take that and I have diffuse so you probably going to need to expand that so we actually see diffuse roughness somewhere in here so right there's diffuse roughness so I'm going to take my R value which is roughness and plug that in to diffuse roughness as well and see if that gives us any sort of significant change of a feeling it's probably not but we will see yeah not a real significant change but this is something we can tweak easily and you know you don't necessarily need to use all of these textures all the time so we could probably fix this pretty easily just by disconnecting the roughness from our from our primary specular and just tweaking it anything about doing it this way it's being you know it's it's going to be rough in areas that aren't particularly Lily supposed to be rough like the the the rusty areas so we could try some different things we could try maybe plugging in our plugging in our glossiness or our reflection to that see if that will give us any sort of thing so that's going to be C specular roughness so let's try plugging in the reflection into there and see if that will give us No still looking pretty shiny the other thing that I could do is go into that go into that file node so let's let's plug our roughness back into that one so what I can do here is I could go into this file node and and edit the values the only problem with that is I'd be editing the values for all of these let's try maybe switching our color space to something like scene linear rec see if that will change give us any any sort of change let's rebuild our render or restart our render but for the most part with tweaks you will get a pretty good looking pretty similar to what you would see in substance painter right here in in Maya so I hope this was informative I hope you know hope you guys learned if you have any questions or any videos that you would like me to make in the future please let me know please feel free to comment and subscribe if you like the video thank you

Channel: Glen Gramling

Views: 34,315

Keywords: Substance Painter, Maya, Maya 2017, Autodesk, Renderman, Pixar, 3D, Animation, Texturing, allegorithmic, tutorial, 3d modeling

Id: xkkc7UiTfOk

Length: 22min 50sec (1370 seconds)

Published: Fri Feb 03 2017