Top 8 Substance Painter Tips with Nikie Monteleone

so before we get started I have to sort of admit something to you I you know this is a game conference and I think I might be the only one up here that's not speaking from the game industry so I was a hardcore gamer though at one point and I peeked Christmas morning 1991 Santa brought me that game here and I was super excited about Sonic I think I played it everyday for about a year shortly after I did retire uh-huh with that said I just wanted like all of you know that I do have the same amount of love for the entire like a rhythmic software everything there as all of you do so Who am I really hi my name is Nikki Monteleone I am currently a surfacing artist at DreamWorks Animation television if you if you're on Twitter if you're on Instagram an animation is your jam come follow me I'm on there all the time and I really always talk about animation so a little bit about me I first attended the Maryland Institute College of Art I ended up declaring a fibers major and the definition of that to me is that it was the study of the surfaces of things that go on the body and I wasn't introduced to CG until like my senior year you know I had that stereotypical story sitting around with a bunch of friends watching Toy Story and there's this dinosaur on the screen that has a pattern on him oh my god who put that pattern on the dinosaur that's what I want to do I love surfaces of things but okay yep that's it I can see the side I can see the front I could see the back it's taking light it's on this character that's like super animated and super fun that's it that's what I want to do um any sort of CG integration into my fibers major at that time was sort of discouraged and so I graduated and I I did a bunch of like odd and ends things like our department PA I was a gallery assistant I made my way to prints and patterns I was a senior graphic designer and like some you know super high-end professional New York City like I was in New York City and you know I was still I hadn't had my Reks moment in a while and like I felt super suffocated as a creative artist and I wasn't doing what I really wanted to do so I saved up as much money as I could and I went back to school I took a couple of continuing education classes at SVA shout-out to my instructor Alec Shepard who stayed all the way till the end there were only two of us left and I'm about to embarrass myself one more time here's what I ended up making my very humble beginnings look at that robot go he is he's jumping on a makeup compact which I don't know why but that's what I ended up making I had nine weeks and so I have this thing now do I do with it I freelanced I freelanced I feel and I freelance some more I finally found a company in Connecticut that would take me in as an intern I had the most amazing mentor there J garrison he taught me everything that I know he like made me a true generalist at that studio my husband ended up getting a job in Portland Oregon and so we moved out there and I was able to sneak in somehow at the commercial division of Lika I Lika I was introduced to substance painter and I had my Rex moment at Leica I opened up Sutton's Manor I put you know some whatever creature I was making at the time and oh my god here's this creature that I can see my pattern on this thing there's light going around it I can I can mess with it like on a like I can paint the speck at the same time as I'm painting the diffuse and I don't have to worry about like oh a black and white map and oh I think like 90% of gray is this glassy or whatever it is I'm actually doing it in the viewport and so it was like okay yep this is my program this is what I want that I'm gonna start using substance painter for everything so I've just made personal work a priority because it was fun again and here are three of my personal pieces that I ended up making I think in the last year or so that I'm going to talk about after so here we go [Music] [Applause] thank you so just a quick shout out the last two the the Wizards living room and the greenie genie were both all-female collaborations and I'm super excited about that part yeah yes yes Nita Tarasova is the modeler of the genie ally white as the beautiful illustration Jane Wang model Julia Blackmun's Austin Howl's Moving Castle inspired Wizards living room so check those ladies out there in the industry and they are super talented and I am super humbled to have been able to work with them on those two projects so let's get started what do you need first to start a project you need reference and you need real world reference and yeah you might think oh I know what gold looks like I'm just gonna put a gold thing on here no go find yourself some reference take pictures outside go find you you know Google's free take take as many pictures as you can find as much reference as you can it's gonna be super helpful in the end I'm one of those people who I think I probably have over like ten thousand photos on my phone and you know maybe like one or five or selfies but most of them are fire hydrants and sidewalks and just like grungy stuff and that's actually my second account at I love texture because I love texture and so I mean I just I started this account just so that I could document everything that I see in the real world and yeah even if you're texturing some like ugly sci-fi ogre there's going to be stuff about that asset that's going to need real world reference so yes next substance share I have been using subject share for a really long time and shout out to sorry if I'm butchering your name I really did try to find out Kristen Archie his skin shader I use it all the time it's super easy to use it's all driven by the mesh maps that you already have to bake when you open up a project if there's like some curvatures and some procedural skin pores it's really awesome substance source is a really really awesome reference resource for me and not only because there's all these free materials that you can download but I can send this link to my art director I can send the the substance source link to my producer to my co-workers hey you said you wanted some wood you know on this thing and the design team is too busy maybe you could just put wood into substance source and tell me which type of wood you want but give me a couple of of the things that you are thinking of visual reference over words is always better with creatives anyway myself I don't know about you guys but I would always prefer to have an image over oh just give me wood next you've got your reference you have your model you have maybe some like you v's laid out if you're lucky or the modeler gave you some text low density as it says a pair are my two favorite words after shoes chocolate and cheese a true story the most they are the most important part of my process procedurals rely heavily on tekzilla density if you're going to be painting and pain and yes I know there's try planners but you can't use those all the time and I'm basically doing my job so that painter can help me do my job when it's doing its job that makes sense so what do I mean by Texel density here's the genie and her body was spread over three udimm patches and I want to make sure that from her toe to her knee to her elbow to everything on her body I want when you're looking in the viewport I want every single checkerboard pattern to be exactly the same so if you're gonna put a procedural poor shader on there you don't have to go in and like you know duplicate it put a mask on it kind of match it a little bit that's too much guesswork and it is super easy to get Texel density I prefer Maya's UV toolkit only because I have a copy of Maya and it is free for me to use I know there are plenty of other UV things you know software out there and you can use what you wanna use so anyway in Mayas UV tool kit you have to navigate to the transform tool that were transform tab sorry and all the way down at the bottom where it says Texel density all you have to do is grab all your shelves so basically grabbing all the shells of the body you could get and you had set voila you have text low density on whatever shelves you have selected so just one last example I knew that I wanted to put this bowl leather on all of the books in the wizard's living room so i basically and thank you to the modeler for only making like three or four of those books so that I could transfer that you these but I knew that I wanted to go in and like hand paint maybe I wanted to put some art on one however and I wanted a hand paint the spines of the above the books so nothing is overlapped so all I had to do here once I had my UVs all I had to do was hit get hit set and now I have you v's and then I did also hit the layout button which i think is all the way down at the bottom to pack them in and I could put that bull leather on there and it it was a perfectly fine it looked fine with one layer so now okay we have reference we have our model you have perfect Texel density now let's actually lay out the UVs it is efficient in substance painter to group like materials inside of the same texture sets for a few reasons one it keeps the scene tidy we all have co-workers and they might need to go into your file at some point if you've got skin in one texture set and you have fabric in the other texture set it's going to be super easy for them to go in and like make a little update for you or you know whoever has to make that update so it just it's it's just a clean way of working - it saves on memory to have less textures on a texture set so say you have skin in one you dem patch oh you have skin and another unit pet I'm sorry a texture set same thing and then you have clothes also in those texture sets you're gonna have to either instantiate your layers over or you're gonna have to copy paste them over and it's just a lot of layers for for things that you just don't need so keep them try to keep them all your like materials in the same texture set and lastly for instance on the genie I knew that I had a glassy eyes and I wanted to be able to hit the render button and IRA to see what it looked like you can go in on that texture set and say hey add opacity to this texture set so that I can say you know these eyes have opacity but I don't need to add opacity to the rest of her because I was the only spot on her that needed it so just a couple of other UV layout tips orientation for the leaves the after getting the Texel density out of those leaves I wanted to make sure that the tops of the leaves are all pointing upward why am i doing that that's crazy because the watercolor brush that I knew I wanted to use has a rectangular alpha and so if I have leaves that are oriented like you know 90 degrees are up and down or whatever they are I'm gonna have to keep on rotating that brush while I'm in substance manner it's gonna take me all day to just do the leaves and I don't want to do it all day so all I had to do start from the bottom couple strokes couple strokes couple strokes and I was done I don't know probably 20 minutes or so same thing for the shingles I made sure that the tops of the shingles were at the top and they were just in nice neat little rows so that I could put a fill layer on top I think I either put it on like multiplier overlay I added a mask and I took the gradient linear tool and I literally just stroked across until I was done and again that probably took me like 10 minutes the paper small detail but there are four shells there there are two pieces of paper so I needed a shelf for the top and a shelf for the bottom and then again for the second one a shelf for the top a shelf for the bottom what I did is I took that paper into the UV editor and I unitized it that is gonna take every single face that's there and make it exactly one-to-one same so now that you have all of your faces unitized you're going to cut the edges of the paper invert that and then weld all the inner edges together so now you have these perfect laid out shells but you can go in right you can put a procedural pattern on there and the procedural is not gonna be all messed up because if you were to take those paper that paper into the UV editor and unwrap it as is it's gonna walk crazy so this might be a little crazy and I know it's you know you don't have to do this in a pipeline but for me I like to UV I like to make sure my scene is tidy I like to know where things are so I laid out everything down at the bottom that's all the woods see the shingles there that we were just talking about is on that second patch all the fabrics are on the next row see the rug and the chair backs the next one it was all the metals you can see a big pipe there's probably the one that's on the left all the gears are on that second patch all the organic stuff food and plants was on the next row and all the ceramics and glass was up at the top and what I was just talking about before with the glass those last two patches are the ones that I could go in and say hey I want opacity on these two pieces so they're on their own texture sets and I can go in and I would adjust the opacity I don't need to worry about adjusting opacity for everything else so you have your reference you have your model you have perfect Texel density you have everything laid out now we're gonna open up substance painter and we're going to set up the project so that it is useful for you and it plays nice with your computer so you're gonna go and you're gonna open up the preview options you need to tell substance how much memory to use so by default there it says mm this this this is your local cache directory so all of your thumbnails or alphas like everything that is in the program without you opening up a project so you go and you download like a hundred substances you need somewhere to put that cash and two thousand megabytes it's a lot but I think I probably have mine on like eighty thousand or I don't know I just keep going until everything loads like that the next one you want to do is define your cache directory so this is now you have a project open and you you need somewhere to store your cache so this is straight from the Alegre the website it's recommended to set the cache directory on a solid-state drive to ensure the best performances while working with substance painter so by default I left that there for you so that you could see where it is it's usually like on your C Drive but I've got mine on a solid-state drive so that substance works just a little bit better and lastly I live in Southern California it's like a hundred degrees all the time and when I first moved there my god my computer was crashing like every day and I couldn't understand why it was overheating and I'm a little cheap with the AC so I got myself a temperature engage instead this is MSI Afterburner it's free which is the best part and there's a little icon there a little set up button and you can just go and tell it to work a little harder to make your fans work a little bit harder so that substance Manor will continue to work and your GPU will not overheat so this is a really quick one but I learned maybe the hard way a couple of times to not do this if you've got twenty nine yidams texture sets like I did for the Wizards castle I went in and I was like oh wow I know I I have a pretty okay computer I'm gonna put everything on 4k to start with ah yeah see you guys know so when you say a new project that document resolution is by default on 1024 I put it down to 512 I I'm like I'm just gonna work on one texture set at a time so I think maybe to the like what that's good for so you have one ginormous road and it's twenty nine yidams you can sit and work on one patch and instantiate that patch to every other um tile that you have there keep those tiles on 512 keep your one patch on for 4k and when you're ready to export you can export everything at 4k you don't never even need to go up from 512 unless you really want to see them in the viewport so next we've got our model we have movies we have everything laid out we have Z art I'm sorry we have subs in Spain are open and everything is gonna work for you perfectly right on the first time so I would have talked a little bit about baking normals information so baking tight information from a high res mesh you're gonna export something you know something like from ZBrush substance will bake these for free there's no need to bring in a high density mesh to substance miner so for my chameleon I brought in the 37-thousand face account into substance manor and the chameleon that's on the right hand side that's a screen capture from ZBrush that was 45 million polygons that's not that much these days [Laughter] so here are after bringing in the high res mesh here are all of the maps that I was able to utilize and like you know use some procedurals by using these different things as as masks so super easy couple of quick tips while you're baking over on the Left adding high res mesh you're gonna click on that little they're like a paper icon you're gonna bring in your high res mesh there make sure it says underscore high and then make sure your low res mesh says underscore the low and everything should work if you so with my chameleon it was okay for me to have contact a a Oh on the branch because I wasn't animating anything but say I wanted to have him wave hi to the camera I don't want contact al on the branch so you're gonna go to two separate places you're gonna first go to thickness where it says self occlusion and you're gonna say only same mesh name and then the second place you're gonna go is ambient occlusion and only same mesh name and do not forget you are working on texture set one zero zero one probably by default if you do not hit apply to all and you sit and you send off a bake it is not going to apply to all it's only going to apply to one zero zero one so don't forget to hit apply to all anytime you make a change should you want it to apply to all yea good guys are good alright just checking okay um let's see phil's versus layers I talked to a lot of substance painter users and some are like oh I only use layers on summer like I only use paint layers and my own wage and I use both if there's a time and a place so when is it a good time to use fills and when is it a good time to use layers there's no right or wrong answer I mostly use fill layers but there are definitely awesome times to use paint layers fillers have more procedural options while painting and projection on a layer is is pretty finite but I did just watch an awesome tutorial that just went on the Alegre the Mac website like I don't know a week or two ago if you paint apparently this works I haven't tried it myself but if you paint an alpha and you close the project and you come back to it later and I that I want to use a different alpha you can just go and swap the Alpha with the resources updater which i think is pretty awesome so it's no longer extremely finite but yeah watch out tutorial because it is really cool and if anybody is not aware with the resources updater a lot of things on there's like a couple a couple back a couple of substance painters back a lot of things needed to get updated and you will actually see in parentheses outdated on your shaders and some like HDR some sheäôs there's a couple of things so all you have to do is open up the resource the resource updater it's like a little icon that's on the left hand side by default and hit update all and it updates for you so I'm just gonna run through really quick on the layers for the chameleon this was the base mask and I used the curvature mesh map that was baked out by default I just made it like a brown fill put a mask over it and made another fill and put the curvature in it and this is what I get by default I inverted it blurred it a little bit so that it didn't look like super CG and then I had to go in and do like a little bit of paint clean up with some artifacting that was like leftover inside some of the scales so that's what that mask ends up looking like at the end of the day with a couple it wasn't too bad maybe like 45 minutes worth of work of just cleaning it up bass fills so I like to add what I like to call fix fill layers I've noticed over the you know last couple of years using substance Manor and also having to hit the render button I use Maya with Arnold that if you've got any of your channels like if you turn a channel off and you end up exporting out some of your maps and there's like some weird alphas in there or some transparency in there your render is not going to look good it's gonna look incorrect so just don't at the bottom I like to add a couple of like fix fill layers and sometimes I don't use them but fill layers are not really making my my project any bigger and there is the base paint and that's that's the paint that everybody says I'm crazy for but yeah you didn't take too long and it was symmetrical around the body not on top of the head or the tail but it was fun and it was a personal project so I enjoyed doing it so this is a paint layer and it's just got a HSL filter on it to make it a little bit more saturated because i love the gums was just a smart material that I made from the tongue it's it's just driven by I think just a curvature map there's probably a cloud bump in there and I might have gone in was like a paint layer I usually like to do a white on overlay and then I'm black on overlay and maybe it's only ever on like 15 or 20 percent but it's just like a highlight that makes it look a little bit nicer and I also like the painterly feel of actually painting on it I love procedurals too but I love to also paint and then here's everything the details I added just a little tiny bit of bump which is procedural I overlaid a lime color with one of the generator masks just to give it a little bit of dirt and then there's the final output and while I have this open I'd like to talk to you a little bit about how I made the branch I did not fully make that in substance painter and my plans have been foiled a little bit from this morning and the whole alchemists drop that apparently we are no longer using bitmap to material but um this is uh this is for my legacy users and I probably still use it too so really quick and I'm not gonna go over this for very long because I know we're getting rid of it but all I did was I found this tiled texture online and you're gonna do exactly what it says drop a bitmap here and it is it's just a diffuse color photo that I found so it's gonna be my main input so there it is on a square I mean there's a if you're not using metal rough you can change it to spec glossy you can change here you can put tessellation on just like you can in substance designer you can output your sizes here there's up to 4k my favorite spots though are literally there's a make it tile button how cool is that alright so now it's tiled there's you can play with the normals in here there is a light cancellation slider so if you've got diffuse in there you can take that or I'm sorry if you have like a speck highlight you can take that out and then I do also like to come down and maybe like add some grunge which you know in Alchemist you're gonna be able to do like all of this times a hundred which I'm super excited about but for now here's here's what I've got so say you are super happy with this this is the this is the output that you that you want I have some I have some saved out already just for time sake and I am going to just apply this to everybody's favorite character meet Matt yeah I look gonna be so cute alright so I've got these five that I need I need the roughness I need the normal any of the metallic height and base color those are the five channels by default that are gonna come with your shader metallic ref initiator I'm gonna come see texture texture texture I want it to only be in my meet Matt I don't want to add it to my shelf import I'm gonna go into projection mode and I'm gonna come up and I'm gonna add oh wait no later okay oh there and here are all those places where we're gonna stick these so this one is normal and this looks black but let's use it anyway so we are mathematically correct and ight and the base okay so now we're ready and you'll have to excuse me I am not used to using a mouse I'm just gonna come and project this over top Wow look at that he has he has a bark head gone haha hey that's what I wanted we can pretend so then I mean all this stuff is still saved in here oh you know there's like a seam somewhere I can come in and just like paint out the scene if I want get you know here it is and I'm painting so this is you know this is my Rex moment I'm painting this whole entire thing together I don't have to worry about black and white maps and it's awesome so that is how I did the branch so so like we just said it's a it's gonna generate all of those maps for you from one single image here are the maps that I used and then also just another quick thing to the UVs on the branch I didn't want to have to make them all horizontal I wanted to get as much Texel density out of that branch as I could so one of the pieces of the branch is a horizontal and I'm sorry vertical and a couple of the other ones are horizontal and so that's another reason why I just like to - projection paint that one so last tip skin and SSS I've got a lot of older projects that I really just want to like open up an update and now that substance has his sss settings in it how cool is that you need to be able to tell substance that this is skin and that i need to be able to add SS s to it so there are three very easy steps first you want to update your shader PBR metal rough with alpha test if you go all the way down to the bottom really easy just click enable the next one is under display settings you're gonna activate subsurface scattering sample count by default is on 16 and last tip I'm sorry lest is you want to add a scatter channel under the texture set settings so we're all used to like adding an opacity channel or adding whatever additional channel it's just another channel and it's it's called scattering so under the layers I added one fill layer and I turned everything else off except for scattering so that I could manipulate it by itself because this was a project that I had already had or I probably would have tried to introduce it into something layers and stuff that I had in there so here's the genie this is the skin that I was talking about in the very beginning from Kristen Archie that you can go and you can download this is what it looks like by default so just to run through a couple of the fuse aspects of her here is the base and for the most part I added a couple of hand-painted things but for the most part this is that procedural shader that I downloaded for free what our color brush I went in and added a little bit of darkening to the nose highlights on the cheeks and the chin like the fleshy bits with the dots brush I went in and just added like some hand-painted freckles on her face and then I think I just used like the default brush to add some like little moles to the side of her cheek and the top of her head this is the AO that came with it oh there we go Oh purple veins yeah so like where the Bloods gonna come out like especially like in your eyes and like around your nose like right underneath the the lips I added like a deep purple color to make it sort of look a little red it just gives it a little something when you're hitting that render button so here's a fill layer that's just a oh it's like a little bit of like a pink color on multiply and I went in with a levels adjustment and really hit the contrast so that when I put it on multiply the darker bits were darker and the lighter bits didn't really have an effect on it here's the sss which is green in the shader and i like the way it looks so i kept it that way and lastly here's the base of the lips a little bit of darkening up around the edges to sort of gradate it back into the skin so here is the start you know I was happy with that here's the start of the SSS wait map that I'm gonna paint and eventually I'm going to export this map out and put it in my scatter Channel so started out with just 50% gray I pretty much do that for every single channel that I make so this is some skin patches on overlay 5% that's all you need a tiny little bit we've got like a darker overlay so there's more SSS in the knows there's more SSS coming from the chin on the bridge and especially up on the forehead and here's just some break up of freckles like some really bigger skin poor freckles the base of the lips that I went and painted I just hand painted some strokes really quick up and down and then I put a directional blur on it so that it was like a nice transition from the top of the lips to the bottom of the lips here are all of the channels the final channels at the end of the day diffuse the skin normals roughness and metallic and here's when I ended up exporting out my scatter channel and then bringing that back in and putting it in the scatter over on the right hand side so it's actually hidden now you can see in the layers over on the left hand side and there's the render in the viewport and before I show you the final render just some quick tips you can do this with anything in Maya but I took the diffuse map I fed the out color into a remap HSV and fed that into the SSS color it's a lot more saturated and very red and then also I did utilize that SSS map that I painted so I put the Alpha in the UV cord of a ramp and then I put that ramp in the weight of the shader and so what that's doing oh and real quick on the ramp you do have to get rid of the place to denote for this to work it's basically acting as a levels adjustment so on the left hand side of the ramp you can see it's not all the way black I wanted a little bit more SSS in those areas and I also slid the white closer to the center because I wanted more SSS in the white areas so I really all the ramp is doing is acting as like a levels adjustment on top and giving me you know with the IPR renderer I was able to just kind of go in and adjust it until I really liked what it looked like and there's the final render okay cool uh so yeah I'm done and if there are any questions I'd be willing to talk about it and I can't see anything hello so he's wondering you're a huge fan of Texel density how does overlapping do you ever do any overlapping of you've ease to save on Texel density um I think it really depends on like if you need these two things to be exactly the same you can overlap these UVs and that's fine but since I wanted to hand paint a lot of stuff and like give things like I want her freckles to be here but I don't also want them to be down here I don't usually overlap things that are like organic like that right what is that answer your question yeah so my biggest thing I thought was with the leaves like at all pretty much the same you know it maybe have like five or six variations but like yes to add them all like each individual leaf as its own separate UV yeah no I know it's a little crazy no I totally agree with you that I was being crazy um and unfortunately the way that the they were modeled the leaves were part of a stem and then like the stem was part of a bigger stem and so there wasn't like a leaf that was the same UVs as like another one so it was gonna be a little bit more work on my part for you being to overlap them like that oh thank you yeah I they I'm just wondering how do you specifically work with displacement maps that are from ZBrush I like um I would like briefly with the height maps and try import that as a displacement map inside Maya but I tend to just get like a general like a procedural lock but rather than like specific sculpting stuff how do you combine the two together or do you do that are you asking am I taking my displacement map into painter or cuz I'm taking my displacement map into Arnold straighten Donald from yes straighten the Arnold putting that right in the Arnold and I think anything that is out alpha yeah from your from your Maps is going to be set to raw if you're using 2017 I think like update three with the new color management in Maya so anything LFO is set to raw and anything that's out color is not a displacement map is supposed to be set to raw and then I think like in the what is that is like the second option down sorry it's muscle memory um it's like you have to put it on negative 0.5 have you come find me later I can show you [Laughter] not from substance painter no I'm sure there's math to do that and I know you can export a 32-bit from substance painter but I don't general general generally use the displacements from substance painter okay yeah hi fantastic work thank you um so I had a couple questions if that's okay one was feeding off of what one of the guys was talking about with a foliage and is there a way to get it to where you can paint on one side of the leaf as opposed to the other side of the leaf so that way they look different or is that depending on the like the modeler to have two planes you mean like paint through it yeah the way you have the goobie's all like pointed upward ah did you have it so that way you could paint on the top of the leaf as well as also the bottom oh yeah they're all the top and the bottom were all there separately okay so those are like probably like two planes that were like yes so like here's another and then like here was the UVs gotcha gotcha okay the the question I did actually want to ask is I noticed the texture sets or udimm that you were using what's the best method of I guess creating those is it just creating the units yeah creating udimm tiles just in general yeah like as opposed to like taking it in and doing it by materials well so I used to do it all towards just it's all just packed into just one texture set yeah right right and so I didn't know if there was I'm just recently discovering like the idea of don't worry in general if I want to get the camera like right up on my thumb I need enough Texel density in that UV patch to do that if I have the entire body in one I'm not gonna have enough Texel density to like do it you know a 4k render of the thumb so I knew at the end of the day that I was going to hit the render button on these and I didn't want to do close-ups on them so I went a little crazy with texture sets yeah oh yeah okay and is that just a feature like Maya has built into it as well oh yeah for sure yeah you can do you Tim you Tim patches in there there is like a transform under the transform tab there's just arrows where you can actually like click them over so they're perfectly aligned oh wow - like look 101 one zero zero one two like one zero zero two anyway you know check out my stack them okay fantastic thank you sure hello thanks for giving the talk this was yeah thank you for coming I just had one quick question um so there's one thing I've been working in paying for some time and there's one thing that always kind of gives me trouble is when I'm using procedural smart masks um I wanted to there there are times where I want to be able to mask off a smart mask and I've you know like when I go into poly select and mask by UV or mask by poly you know like you can't do that with a smart smart mask so I was wondering if you found any workarounds to mask off smart it's actually smart masks anytime I'm making a mask on anything I try to I have I have like my fill layer and then I'll put that filler into a group and then I'll put a smart mask on that group and then I'll put that group into another group and then you can put another mask on top of that and maybe add a paint layer and then maybe do it that way so layers okay layers layers is it are you using like the the paint layer and then the fill layer within that one main layer or are they just are you stacking layers just in general I think it really depends because I do instantiate a lot of things so if I've got a fill layer and I have a smart mask on it and I want to instantiate that over it kind of depends on what I'm doing but if you instantiate the group then you can't paint like specific masks on those things cuz they're all linked to something else so if you put your smart mask on just the fill that's inside the group then you should be fine okay yeah you can add a an additional paint layer to your group in all of the texture sets and like paint them individually oh okay yeah awesome thank you so much okay going once going twice alright cool thanks guys [Applause]

Channel: Adobe Substance 3D

Views: 33,262

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

Id: JlJKlyvJp4U

Length: 52min 9sec (3129 seconds)

Published: Tue Apr 16 2019