Tutorial | Substance Painter

[Music] [Music] all right so I'm going to be giving you an overview of substance painter the version I'm going to be using for this demonstration is 2017 but there is a newer version available the major difference is that the UI is been completely rescanned but everything else is basically labeled the same and put in the same place so everything I'm showing you here is going to be applicable to to that version so the first thing you want to do when you let up substance painter in order to start a new project obviously it would be to go to a file new once you do that it's going to bring up this new project dialog where it's going to allow you to select a rendering template basically a template for what it's going to be mimicking in your render over here so you have a unity 5 Unreal Engine 4 dota 2 all these different templates in here by default it's set to Unreal Engine 4 which is what I'm going to be using for this demonstration over here you have the mesh that you're going to be using to to paint on in substance painter and you have a checkbox for create a texture set / UDI M tile you have a normal map format which is either open GL of DirectX we're going to be using DirectX for the purposes of this demonstration whether or not to compute engine space per fragment and your document resolution so document resolution can be anywhere from 128 to 4k you can also bump this up to 8k by modifying a setting in substance painter but we're not going to be doing that for this demonstration and down here you can add other textures to import so if you've already generated a normal map or an LBO or whatever does you want to apply it to your tier model to your mesh and then start working from there you can do that as well so I'm going to go in and I'm going to select a mesh to bring in here this isn't mesh that I've already created it's a fire hydrant that was actually done from a photogrametry capturing solve and then I Rita apologized it so once that select hit okay as you can see it's import of the mesh it's in the 3d viewport here and if you hit f12 or 3 on the keyboard it's going to cycle through the different view modes so f1 shows your 3d viewport next to your UV viewport on the side f2 is just your 3d viewport and then f3 is going to show just to UV alright so if I have these two side-by-side and I want to change the rotation of the image based lighting all I have to do is hold shift and right mouse and then rotate left or right and as you can see it updates in the UV viewport as well so the UV viewport is actually a representation of the 3d viewport just laid out on top of the UV on top of the UVs now one thing to keep in mind and the best way to substance painter we first get started is that it is for the most part it's Photoshop but in 3d and rather than just allowing you to do one texture at a time it allows you to go in and create full materials with brushstrokes and filters and all that good stuff so most of the if you're familiar with Photoshop most of the stuff you use in here is going to be very very familiar all right now one thing that I normally do when I first create a project in substance painter is I go in and I change my environment map so the environment map is basically a civil smart image based lighting and if I go in here and I scrub this up history up and then bring down the blur you can see that this is the environment map that's being used right and as I hold shift and right drag it's going to rotate so it's actually getting all the lighting from that image right so what I normally do just get the most neutral lighting so I make sure that the mesh is going to or that the material is going to look like what I want them to in engine or whatever software I'm going to bring them into I go over here and I change my environment map to a studio - for me that seems to be the most neutral lighting and I usually work with the opacity all the way down another thing that I usually do is when I create a project I set the resolution to 2k because it gives the best trade-off between performance and quality as you start adding more layers and all that it becomes more performance heavy and at 2k you get to see pretty close to what its gonna look like in 4k another thing to keep in mind is that the workflow in substance painter is non-destructive which means you can work in any of these resolutions and then change the resolution later without losing any quality so I'm gonna go through each of these pains real quick and all the menu items and then we'll actually start creating some materials on top of this mesh alright so starting from the top you have your normal file menu up here so you have file which has all of your all of your standard settings that you've used to in any other program a few differences would be import resources export mesh and export textures which are going to get to later after we actually create some materials import resources allow you to import textures like you had a new new document dialog export mesh will do just that it'll export whatever mess you have in here you have edit and has your standard settings there you have a mode weather yoram painting or rendering we'll get into rendering in a little bit rendering is using eye array so it's it's a little bit of a logic to see a pre-rendered version of your scene and then you have view and you can go in and change all the view settings under here you have plugins so it has all the defaults built in and then you can add plugins here and then help has all of your uh channel help stuff now over here I want to get down to the toolbar the main toolbar down here you have you can go to the substance share website you have your paint tool which if you hold click on it will give you two different options and any of these that have a down arrow will give you multiple options when you hold on and so this one is the eraser this one is projection this one is poly fill so this is basically telling you how you're going to be filling your mask which I'll get to in a minute this is a smudge tool clone tool there's your material picker you can actually see it's just like a color sampler but for materials this is symmetry and this gives you multiple options if you enable this it tells you which way do you want a mirror or it allows you to select which way you on a mirror and whether or not just show the symmetry plane this here is your view mode which I showed you F one two and three this is how your camera acts whether it's free rotation or constrained rotation and this is perspective or ortho view which you can control by hitting f5 or f6 that's ortho that's perspective and then this is your rendering view using eye ray this over here is lazy mouse which will literally just make the mouse movements so if you if you click and drag with the mouse rather than just moving with right where your mouse is it's going to have a little trail behind it which allows you to get smoother curves and straighter lines and all that and since we already touched on IRA I'm going to show you that real quick so if I click on this and it launches the eye ray renderer you'll see at the bottom it says warming up so as you can see in here it has all the same controls for movement and all that that you have in the normal 3d viewport so holding alt and left Mouse is going to allow you to rotate around alt in middle Mouse is going to allow you to drag left and right now I'm sorry alt and right mouse is gonna allow you to zoom in and out Shift + left mouse is going to allow you to I'm sorry Shift + right mouse can allow you to rotate the Sybil around as you can see up here - the status for so now is rendering and then once it's done this will complete depending on the complexity of your object and all that good stuff it's usually pretty quick cease it now it says status done that means this is completely rendered it's not doing any more a rendering work and you can modify all of your samples and everything like that that you'd be used to in any kind of like v-ray array type rendering setup as you go down here you have all of your as I said more standard settings for a pre rendering you have your environment map you can change that out separately here than what you have in your and your working working viewport you can adjust the environment exposure environment rotation all that now you can go in and modify the dome itself so that the the way this is renders has a flat surface underneath and then it's got a basically a hemisphere over the top and that's where your image based lighting is coming from and then in here you can go in and change the scale the radius where the ground plane sits normally it's going to snap right below your mesh it should do that by default so it looks like it's sitting it right on the ground you can modify your reflectivity glossiness shadow intensity whether or not is visible from below which means if you go down here you can see that the plane is actually visible when you go below it if I uncheck that you can see it's see-through this allows you to select what shade errs which we'll get to a minute you have different types of shaders for different types of rendering and as well here I'm attractive and not be and refraction which I'll also touch on a little later another thing you can do in your viewer settings for the dome is you can click on a clear color now what this will do is render just a solid color in the background you'll still receive shadows and all that stuff on the ground plane but you can go in and change this rather than showing the environment map um usually I like to use when I'm doing renders I usually use like a medium gray something like this then down in display settings you have controls for your camera so you field-of-view focus distance aperture and then you have post processing so you have your anti-aliasing color correction depth of field tone mapping glare vignette lens Distortion all that and then you can also activate color profile if you like and import your own color profile alright so in order to get out of the the I render you just click on the icon again for a little camera and then you're back in your working environment and also one thing to note in the 3d viewport everything is contextual I'll give you a contextual tooltip so if I hold shift and this is going to pop up it's going to say area is going to show me everything that I can do using the shift modifier right so shift and left is drawing straight lines ctrl shift left draw snapped straight lines etc same thing goes for S which uses which is for the stencil which I'll get into a little bit and as I said everything is contextual for whatever a modifier you're holding so going on to the rest of the panes and palettes in the substance painter UI now normally I would lay this out so my 3d viewport is on my left monitor and then I have my entire tool palettes setup on my right monitor but so I can get everything in one screen on this video I'm just keeping it all as a default layout so you can organize things by dragging and dropping them around so this here is your layers palette so as you can see by default it has just a normal layer and then up here you have your different options for layers so as I hover over each of these you can see what it is so this one allows me to add an effect this one is configuring a mask this one is to edit layer add add fill layer add a smart material add a folder and then delete the selected layer and this works very much like like Photoshop you can show and hide it's a little circle here you can change the blending mode here you can change the opacity of the layer here over here you have your texture set list so this texture set list is basically the material IDs that you setup in Maya or whatever a 3d package you're using so if I have multiple materials attached to this or it's multiple meshes with multiple materials they're all shown here and this little circle here will allow me to shizer hide or show the surfaces of that material applied to it then you can solo or select all if you have multiple setup in the mesh and each of these material IDs or these texture set lists are going to have a separate set of layers right so this hydrant material would have a set of layers and if I had another one for like the bolts that would have a separate layer set so they're completely assigned to your texture set list here all right going down here on the right you have the properties for paint now this is actually a properties palette in general so if I switch to a different tool this is all contextual based on that tool so since right now I have the paintbrush selected these are all the settings for the paint brush here and these are all straightforward I'm not going to go in detail through all of them but it's your brush size flow stroke opacity spacing feathering all that good stuff some things to note in here is that you have alignment so alignment allows you to switch between camera tangent wrap tangent planar or UV and all these affect how you paint on the surface so if I have it set to the default and I go to paint in the UV for example you'll see that the scale of the brush is actually changing based on the 3d geometry you can see moving around it's based on the 3d surface even though I'm in the UV so it's acting the same as it what if is if I run this surface if I change this to UV instead you'll see that it's doing the exact same thing that's because the alignment is set to UV but the size space is actually set to object still so if I go to size space I can change that to either viewport texture or object so I set it to texture you'll see now that the size of the brush does not change it stays consistent based on the 2d size of the UV not the 3d size in space if I change it to a few port it's going to do the same thing but it's gonna be based on the viewport size rather than the the size of the texture I'm going to set these back to default and this here allows you to enable or disable back face culling so basically we're painting on this side of the bra the mesh it won't bleed through to the other side past a certain angle right now it's at 90 degrees I'm here you can select the alpha for your brush if you just click on this it has a bunch of default alphas and you can bring your own in which I will get to in a minute you can modify the seed of your brush you can adjust the hardness here which is the feathering you can also do that in the viewport by holding ctrl and then right clicking and dragging in and out it's going to control the feathering of your brush and if I hold ctrl you can see the context menu pop up for everything else you can do with that on this where you can select a stencil so a stencil which we also get to a little later allows you to actually select an overlay in your scene and then you can paint using that overlay as a mask right so if I go in and paint this right now it's going to pick up the information based on how this is laid out so if you do it over the UV it's going to be in 2d space here if you do it over the 3d mesh it's gonna kind of wrap around based on the shape that you have here and then I can go in and scale that I can move it around once again using I can rotate it and then if you hold shift while rotating this goes for anything if you're rotating objects whatever it is it's going to snap all right and then if I hold s again you have this context menu that shows you what everything does for for the stencil itself so I'm gonna get rid of that stencil for now and then down here you have all of your material settings so these boxes up here allow you to tell substance painter what your layer is affecting so right now this layer is affecting color height roughness metallic and normal and you can actually add more into here which I'll get to in a minute and then your material node sorry material mode is the actual material you're using so you can select that from here or you can select a base color which is a texture so if you've already created an albedo for example you can just bring that in and then start working on top of that or you can just use a uniform color now since this layer is just a regular layer not a fill layer this is not affecting anything this layer allows you to actually go in and paint colors and all that stuff whereas a fill lairs gonna fill everything based on a mask and you can apply a material to that and do a bunch of different things which as I said we'll get into as well I can go in and add a height texture or just use the uniform value zero to black or I'm sorry black to white roughness value zero to one and metallic value to zero one and all of these if I click on this box here is gonna let me to actually import a map for that a texture map so I can go in and you know bring in my own maps and mix and match them however I want to now getting back to the material modes up here what you're telling the thing to the layer to actually effect you can click them to disable them right now color is disabled everything else is enabled or you can enable them by clicking it again now if you want to go in and add new parts of the material say I want to go in and adding missive you go over near texture set settings here and I'll get into more of this in a second but in order to add another one of these like another parameter for material you click on this + next to channels and then it allows you to add any of these in here right so unless I want to go in and add any missive right I can do that now and I just see a missive now shows up here by default it's gonna be disabled if I want to enable I just click on it and then I can go in and have a separate layer just remissive which is normally how I how I use the emissive emissive Channel right I'm gonna get rid of that now so going back and do texture set settings in here you have undo stack where you can actually see the undos for everything that you've done for your texture sets and then texture set here is everything to do with your texture set so your document size which we've already gone over what channels you're using so I've base color height roughness metallic and normal which are the defaults how the normal mixing works whether or not it's it's combining and replacing I'll be an inclusion mixing right now it's set to multiply by default but I don't have an AO imported additional maps which allows me to bake textures which I'll get to in a minute and all these are the maps that you can have project wide per texture set right so these are all the maps for the texture set so a normal map world space and roll map select ID map I'm sorry ID map I'll be on a collision map all that so these can either be imported and just plugged in by clicking on these and selecting one right and I currently don't have anything in here or I can go in here and do baked textures which I'll also get back to in a minute before I do that I'm gonna jump into display settings so display settings are going to allow me to change what I have in the viewport here so my field of view focus distance aperture and whether or not to activate post effects in here and then I can also activate color profiles so these are redundancy from what you saw in the Irate renderer and now if we go into viewer settings this allows me to select my mode for editing so I can go into solo additional map or material so if I go into a solo this is only going to isolate the layer that I have selected additional map is going to be I believe it's the map from the texture set settings here so it's going to show just these maps together because these are all the additional maps I can modify the stencil opacity if I go back to material and then I can select my environment map which already went over this is the smart image based lighting map that's being used on the dome and I can adjust the environment opacity I can adjust the environment exposure which is gonna affect lighting I can adjust the environment rotation same as holding shift and right dragging I can control the environment blur I can enable or disable shadows and the real-time viewport and as you can see they also use a kind of like a pre-rendered I think they still use IRA so they kind of slowly generate and get better and better so as you move the camera around and since they are screen space you're going to change I can adjust the heaviness of the rendering for the shadows so intensive average or light weight I can modify the shadow opacity here I can also select my shader here so the shader is going to allow me to achieve different methods of rendering so by default everything is opaque but let's say I wanted to go in and do a transparent material I would want to go and select this so PBR metal rough with alpha blending and then you have different material selects together you can go in so you can do clay similar to a ZBrush and go and modify all these based on what you're doing by default you're normally either going to use just PBR metallic rough or PBR metallic rough with alpha blending then down here you have your instance names you can go on and change that you have shader parameters which can go in and modify here so AO intensity height force all that good stuff parallax occlusion mapping which you can enable or disable here which will actually give you a virtualized displacement on the surface you can modify the stencil opacity here so the stencil I showed you before you can modify how intense its alpha is when you're actually using it you can check whether or not to hide the stencil when you're painting so as you sew it shows up and then you start playing it disappear so you can see what the actual the mask looks like when you paint it down you can enable/disable wireframe here and modify the wireframe color and modify the wireframe opacity all under the viewer settings here so now going back to texture set settings I'm going to show you how to bake textures so baked textures works it's pretty much the same way that it does in Ex normal I usually prefer to do all my texture baking in substance painter there are a few maps that you can't bake in substance painter so I still use a extra normal for that the main texture that I remember you can't bake down would be vertex colors to texture but you can do pretty much everything else in here so in order to make down your textures you can go click on baked textures and then here you have an option of what textures you want to bake down right you have normal world space normal ID I'll be an inclusion curvature position and thickness and then your output size so I usually always bake at the highest resolution I'm gonna use in game so 4k or whatever project I'm going to use it for and as I said you can go up to 8k as well if you'd like so I'm going to set this to 4k and I'm going to select none so you have the ability to select all or none up here which will automatically checker and check all these I'm going to only do on beyond occlusion and then down here you have the ability to you have applied to a few different area of dilation width which is basically how far to dilate the pixels outside of the UVs just to make sure I'm getting bleeding or any seams down here you have your high poly options you can go in and select which mesh you want to bake from down to your low poly so you usually are always working in your game ready which is or your project ready which is gonna be your low poly mesh and then if you have a high poly mesh like for example this was a photogrametry capture that Rita apologize is a low poly mesh and then the original mesh was I think it was a few million polygons so if I wanted to bake down the normal detail from that to this then I would select that mesh and one thing to keep in mind just with any kind of same with any kind of bake down as it uses a cage matching so the original the high poly mesh and the low poly mesh need to be aligned in the exact same place same scale and all that so you're only getting the surfaced variation from the high poly to the low poly that's how it's going to generate its the maps it's based on the differences in the surface so you can also check this box which will use this mesh and bake it on to itself which is good for getting like on beyond occlusion for example in between these small little crevasses and just adds a little bit of detail to your service if you don't have a high poly mesh for example or if you just want to get that information in between the surfaces if you did want to select a high poly you can just click on this button here and find your mesh now if you want to remove it you just select it in this list and click this this one this - button whether or not to use the cage cage file which you can use a separate cage file most instances you're not going to use that max frontal and rear distance which you can modify this is basically how far it it looks for the bait data in the surface variation whether or not to be relative to the bounding box average normals ignore back-facing match you have always or by mesh name anti-aliasing you can able or disable that here and you have different options and then high poly mesh suffix and low poly mesh suffix and then normal maker parameters all that I don't have that enabled so it's not giving me any things I don't really need it if I go in and select this right here which is gonna allow me to use the low poly mesh as a high poly mesh which means it's going to take this same mesh and bake it on itself and and just get the information in between these areas here for my almond occlusion which is the only thing I'm baking right now and then down here it'll have two options if you have more than one texture set here so if I had two texture sets here would allow me to bake just the textures for the Tector set I have selected or it's going to bake all which will which means is going to go through and do all the material IDs here so since I only have one it gives me this one option and I'm going to click that right now this mesh it shouldn't take very long for it to bake down especially since it's a low mesh as a high mesh okay so as you can see the baking has finished and it is applied the ambient occlusion map that it baked automatically into my additional maps so if i zoom in a little bit you can already kind of see where the the AO is showing up here and then if I disabled the ami on inclusion for a second you so that's with it that's without it so as you can see it was a bake down from a low mesh to a low mesh but it adds a little bit of surface detail especially when you start going in and using filters and generators and things like that a lot of them require ambient occlusion or or some kind of a mask and AO is usually a really good one to use because you can get like you know edge scratches where these little surfaces connect and things like that and you can go in and modify it with levels and and all that to get some really cool surface information going on all right so we're going to get back to actually setting up materials and painting them on the surface and a few different techniques for that but first I'm going to go through the the rest of the tool palettes here so over on the left you have your shelf and once again this is a default layout so you can reorganize these however you like I usually like to keep all my tool palettes on the right my 3d view on the left so over here you have the shelf which contains all the assets for your scene so as you can see you have a project this is the additional method I just rendered so that's all that's being housed in here these are the alphas so you can use these as either stencils or alphas for your brushes these are different kind of grunge's you can also use these for alphas that are used by some of the generators and filters as well I believe you have procedurals so these are used by the materials and smart materials if I remember correctly textures so these are all the you know different normal Maps patterns things like that and most of the stuff you've seen here is actually used by either the materials generators or effects that are already in here unless you've imported them separately hard surfaces so these are little basically tools that you can use kind of like kid bash you can go in and and start creating different surface details with me can import your own as well obviously filters so these are all the filters that you can use on your masks and layers these are the different types of brush presets these are different types of particles so you can actually use a basically a particle simulator inside of here to generate masks so you can have like rain raining down on a surface to kind of get like water drops on your metal and things like that which I'll go into as well tools these are different types of tools that you can use these are the all the the materials your shelf so as you can see these are all default materials and you can apply these by creating a fill layer and then just selecting it here and it'll apply it and then you can go and modify the values which I'm obviously going to touch on in a minute smart materials so these are a little bit more advanced in regular materials and these are actually full layer stacks so if you bring one of these in like say bring an aluminum for example you just drag it in it actually has a full layer stack to generate the type of aluminum that's here um this is a more simplistic one but there are some that are more advanced let's see like I believe this one here so this one has a few more layers in it so it really depends on what type of mature using and then when you bring it in it's going to populate and go and modify all those layers individually smart masks so these are masks that are used in combination with the the generators to create you know like Moss concrete edge rust things like that and you can just drag those in so you'll see if I highlight this now after I dragged it in it's got a generator and it's got an mg mask editor and then it's got all the parameters for that and you can also apply these via generator which I'm going to show you show you in a minute in here you have your environments so once again these are all the smart image based lighting textures that are applied to your dome and then you have your different color profiles which you can also apply to your either your eye ray renderer or down in the display settings that I was showing you before alright so going back into the layers palette I'm actually going to go in and create start creating the base raw material so I'm going to hit delete I always almost almost always removed the default layer because it's not a fill layer and I usually don't use standard layers at all for my material setups so as I mentioned before substance painter is basically Photoshop in 3d and you're creating full materials with every brush stroke or filter rather than just a single a single texture so the first thing I want to do is go in and create a material so to do that I am going to click on the fill layer icon up here which is gonna add a fill there and you can go in and rename it by just double-clicking on it so I'm gonna call this one base now another thing to keep in mind with fill layers is that you can change all the values under here as I said this is a contextual so right now I have the fill layer selected and it doesn't have any real material applied to is just a default base color set up but over here you can modify the projections so whether or not it's UV projection or try planar so try planar will help remove or actually a completely remove UV seams for certain materials it'll actually create warping in between the scenes so you want to kind of use it sparingly most of the time I need to try planar projection but sometimes I have to go and do some manual cleanup to make sure there's no weird morphing going on what type of filtering is set up on that layer so bilinear high-quality sharp or nearest tiling whether or not to repeat or clamp if you have it set to none it's just gonna show once you have your scale your offset and your rotation and then you also have the hardness down here which you can go and change when you have that material like to it and then down here as I said before you have all your your values for these material channels so as I said this has a default material applied to it which is just a base color and some roughness and metallic values so we want to apply material to it I can just click on one over here in my materials palette with the fill layer selected so you can see I just did that and it applied this material to the surface and you can see says it's set to UV projection there's UV seam right here and if I go into side-by-side view of UV in 3d you can see that the material shows up in here I can go in and change that material pretty easily but it's clicking on another one as you can see the 3d viewport is showing everything the roughness the metallic the full PBR rendering there so if I want to get rid of this UV seam I can go over and change UV projection to try planar now as you can see it does a really good job of eliminating the UV seams but you will notice that where it blends in you'll get some weird artifacting like this here or down here so for most cases it's fine but you do want to keep an eye on that and if you have to do any manual cleanup like right here it's not blending very well then you want to go in and do that all right so I'm gonna go back into just the 3d view and let's say I want to only have this material applied to a certain object right so I'm gonna go and select iron actually so let's call this one iron actually not now I'm going to give an overall surface material first I'm going to search for paint so as your search box up here you can change what you're searching for I'm gonna do peeled paint metal here if you hover over any of these it gives you a larger preview of what it looks like and also for the purposes of this demonstration I'm going to change my working resolution to 1k and once again as I mentioned before it's non-destructive so I can go and change that to anything else at any time so this material looks a little bit more like something I would imagine a fire hydrant would have and I'd go in and change all the options in here like color and all that which I'm going to do real quick I'm going to change the paint color I'm going to make it more of like a yellow orange type of a color something a little bit more like that I can go in and change the dirt color I can go in and change all the settings and all these settings are going to be based on the material that's that you have selected so this one has quite a few options most of them are pretty pretty straightforward tripping intensity I can go in and modify all of these as you can see it all updates pretty much in real time and those are all the settings for paint for the specific material and these are all the settings for the for the metal itself which I'm going to modify the roughness of I'm going to make it a little bit more rough so that's a pretty pretty generic base for the for the fire hydrant now let's say I want to go in and make the bolts that are down here at the bottom kind of like a rusted metal I can go in and do that so there are a few ways I can go and do that the first is I can go in and make a white mask for this and then unmask these which means everything will show this material that I have applied except for the bolts or I could just create another layer on top of that and have it override the material underneath but a lot of times unless you go in and change some other settings those values for the normal and all that stuff now the normal map and all the stuff will show through the other material so let's say I go on and add a white mask letting it up by right-clicking and add white mask so as you can see I've done values from mastery of white mask black mask bitmap mask and AD mask with color selection so adding a white mask means that nothing is going to be masked out you can go and remove objects from the mask black mask means nothing will have the material applied or everything will be masked out then go in and add objects into that mask and a bitmap mask is just that you can bring in a black and white mask if you already generated one like in Photoshop or created one substance paint already you can bring that in and apply that to it so I'm going to add a white mask cause I want to keep everything with the material applied to it and then I'm gonna go in and remove these nuts and bolts from that mask so in order to do that I'm gonna select this tool here I could go in and paint on it if I wanted to so over here since I have this brush selected and I have the mask selected so these are two different objects in the layer right side the layer itself which gives me a little layer at the material options and the mass which gives me just the options for that mask so by default the brush is set to black if I click on this little icon here it's going to swap between the right and the left selections if I set this to 2 it's gonna go to the opposite of that 2 right so if I have it complete zero it's going to go to 1 if I click this I can also click on this and add type in a value so say like 0.5 clicking on little pencil icon allows me to do that so when I set this to black and if I go in and paint this as you can see the material is disappearing as I paint it because I'm painting onto the mask but rather than doing that what I want to do is remove the bolt based on the UV so I'm going to click on this icon here which is the apolog on fill now once I do that you'll see it brings up this polygon fill palette over here and it has a few different modes so it has a triangle fill polygon fill mesh fill or UV so I'm gonna click on UV and I'm gonna set this to black which means it's going to based on my selection it's going to mask out the entire UV island for whatever I have selected so if I drag that over this bolt you'll see now the bolt is completely removed from the mask so if I go back into the view here and if I find that bolt which it looks like it is right here you can see it's completely masked out based on the UV island right so I can go and do that for all these bolts since they're all kind of lined up in a row I can do that in the UV viewport as well now the reason it's usually better to do this is you get your edge will not have any color bleed because based on your texture resolution it'll have color bleed if they're you know if they're not close to each other if you just go and paint it normally if you're doing it like see I wanted to get adjusted edges here and I wouldn't painted it the the fade between here we based on the the resolution of the texture so if you want to get a really crisp edge which I do for these then you want to do it based on the UV itself all right so that's all those bolts I believe there are a few more in here which I can just do in the viewport and all these other selections act the same way they just based on what the surface is so this one will literally just do one triangle time and this one will do an entire poly at a time this will do an entire mesh at at a time so you have multiple meshes in here it'll do each of those individually so one thing I forgot is that each of the top piece of these bolts are actually separate UV Islands from the bolt themselves so that's why no these were selected so I'm gonna go back into the 3d viewport just make sure everything is good okay so go back here you can see now all those bolts have been removed from this this material layer right all right so now let's say I want to go in and create a new material layer for just these bolts so I'm going to create another fill layer above this I'm gonna call it bolts I'm going to add a black mask to this because I don't want anything now this material except for the bolts I'm gonna go manually add that in so I'm gonna go and grab another material let's say iron rusty sounds good actually I need to have that layer selected first so remember when you create a mask is going to automatically highlight the mask so you can actually do anything to the layer until you select it okay so now I can do one of two things I can either go back in and select the mask and then have UV and set it to white and then go and select each bolt like this or since I've already unmasked these I can take the mass that I've already created I can right-click on it I can go to copy mask I can right click here and I can actually paste into the mask now I don't want to do this on a black mask right so if I do that into a black mask it's not going to do anything so I want to do is actually want to remove that mask I want to add a white mask to this as well and then paste into that mask right so this is using the exact same mask as what I have below but I want to invert that so if I want to do that I can click on I can have the mask selected and I can click on add effect add levels and then I can click on invert so that's going to invert my mask that I've already created which is a quick way to get what I already deselected back so now you can see these bolts have a different material than the rest of the mesh because I wanted to mask them separately and then I can obviously go in and modify that material setup separately from everything else so this one is using the iron rusty material over here so I can go in and adjust things like height range height level all of that but this one's not really giving me some of the parameters that I want like roughness and all that so I'm going to change this material to something else so let's try let's try a different metal here and let's try see what rust fine looks like right so since neither of these are giving me a roughness value I can actually go in and fix that pretty easily so I like the look of iron rusty more but obviously it's not giving me a roughness value which I do want to change so I'll go in and set that up in a second so now that I have that created I can have this layer selected and I can go in and uncheck rough and I can actually create another layer below that just for roughness so I'm gonna create another fill layer I'm gonna call this one bolts bolts roughness and I want to copy this mask or another way I could do this is actually just duplicate that layer which might be a little easier so I'm gonna right click on this and duplicate the layer I could also just hit control D so this one is bolts now the reason I did is because I don't have to recreate this mask again because you have to paste into the Masen and add levels and all that stuff again if you do it that way so now what I want to do is unselect color height metallic normal and then select rough and then I want to get rid of this material right so I'm just controlling roughness through here and then I want to put this below this layer and then I can go in and modify the roughness now I could have done that you know using a mask as well so I can have a mask on top of a mask if I wanted to do that now in order to do that I would actually create a folder so I'm going to add these bolts into one folder so I'm going to click on add folder here and I call it bolts I'm going to bring both of these layers into bolts and then if I want to since this already has a mask is masking itself to this I can go in and either create another folder with this with the mask on top of it or I can take this mask since it's being used by the both of these layers and copy it and then just apply it to this folder so that way everything underneath it has a mask and then I can put masks on those layers separately from that so I'm gonna add a white mask I'm going to paste into that mask and it's already got the levels and everything applied to it and now I can go and actually remove the masks from the individual layers underneath all right so everything's being is under this folder is being masked by this mask here and then each of these layers can have a separate mask so say for the roughness for example I want to add a bitmap mask so it's kind of break up the roughness a little bit I can go on and do that so I'm just going to find something that looks sort of like a roughness I'm gonna take this so now roughness mask has a or my roughness has a little bit of a mask to it back in here roughness is disabled and I can do the same thing for any of these material channels here's our metallic all that good stuff I can have individual layers for each one if I want to be able to have a little bit more control over them or if the material doesn't give me the options that that I want and I can also go in and modify this mask once again by adding any levels and I can drag this around and kind of control how how that mask affects the the surface and then in here since I've already got that selected I only want roughness available and then I can go on and change that all right now let's say I want to bring in the albedo texture and the normal that I created from the photogrammetry solve this so I did create an albedo by projecting down the solve onto this low poly mesh and then I created the normal by baking down the high over the low mesh so what I want to do is get rid of all these layers that are already created I'm just gonna select all them hit delete and then from a window that I have off screen I'm going to drag in the albedo and the normal I'm gonna drop them into my shelf over here for both of these I'm going to set them to texture and I'm gonna import them to my project now those are imported I can either add the normal map by doing it this way add to my additional maps as you can see it now has a normal information from that normal without it and that's with it or I can create a layer up here that has a normal app in it only contributing to height which I will get to in just a second so what I want to do first though is add in this albedo so I'm going to create a new fill layer I'm gonna set it to just be color I'm gonna click on the base color and I'm going to look for my texture that I imported so I know it's fire hydrant so just type it in click on it and now as you can see it has populated with the albedo that I already created I'm gonna call this albedo now let's say I wanna have more control over my normal map so rather than having it in the additional mass where I can't really do anything to it I'm gonna get rid of that there I'm gonna create a new fill layer I'm gonna call this one normal and we'll leave everything unchecked except for normal and height and actually I'm not going to check Heidi there's gonna leave normal normal checked and in the normal I'm going to look for hydrant just this now as you can see I have that layer available to modify that's just giving me normal information rather than having it down here where I can't really control it so I could go in and mask that let's say I don't want the normal map to show up here or on these little metallic areas I can go in and manually paint that if I like and now let's say I want to sharpen this albedo texture slightly it's obviously set to 1k when I bumped up to 4k it's gonna look much better but let's say I just want to get a little bit of a sharpening just to improve the quality a little bit I can click on the layer itself and go into my add filter generator button and then I can click on add filter with the filter selected I can click on filter over here and look for sharpen just right here now as you can see the default value is very intense but let's say I just want to be very subtle I can drop down to like 0.25 that's without it it's worth it on you can see it cleans up the texture quite a bit it's not too sharp but it doesn't prove the quality of it all right so now that that's set up let's say I want to go in and I want to start cleaning up some areas of this so let's say I want to get rid of some rust that's on here if I have some weird projection errors on the mesh itself from a photogrammetry solve or you know whatever the case might be I want to basically go in and start cleaning that up I'll show you how to have a how to go about doing that so the first thing you want to do is create a new layer and you don't want this to be a filler it has to be a regular layer for this to work so you go up here and create a new layer then for the base color you want to select the same albedo texture that you have for the other layer the one you're going to be using to use the clone stamp tool with and then you want to set its blend mode to pass through so I'm just going to call this layer albedo patch now the albedo patch layer selected you can go up to your clone stamp tool here this little icon to the right of it tells you whether or not or tell subs in spirit whether or not you want to keep the source relative to the to the brush which means if you sample let me go and brush it's always going to stay in the same spot so by default it's on and it's usually what you're going to use most of the time so let's say I want to sample this area and start getting the getting rid of this lettering down here I hold V and click where I want to sample from and that little square I'll shop and if I let go of V and then start painting you'll see that the square moves with the brush and it's actually clone stamping over the surface other reason you still see detailed letters here as I paint it's because normal is enabled the normal map is actually injecting into it so I can go ahead and start cleaning this up a little bit more obviously this is a really rough demonstration of how this works we can go in and make it a lot more accurate and clean up much better depending on what what you're actually doing with it so I can also go up here and it works you know in try planer so you can go in and kind of like brush this out along the edge and you know it does a pretty good job all right so that's how you use the clone stamp tool I'll go back over to my regular paint tool so now I want to go in and start painting on these areas that are metallic to actually make them look like metal and all that which I don't get with the albedo I'm just gonna use an overall roughness value so there are a couple ways I can go about doing that I can actually manually go in to start painting by creating a new layer I can call this one roughness metal and I give it just a black mask and what's it gonna give it a color of red just for visualization purposes as I'm as I'm going in and painting it in and then if I go in here and just start painting white values into the mask I can actually go and just start painting wherever I want my metallic values to be right let's say I want to paint in this whole top piece I'm going to do that real quickly you have to be completely if you don't want to in most use cases you're not gonna notice you know a few pixel differences as it gets closer to the edge all right so now that's done I can go back in here and I can disable color everything except for roughness and metallic right and then I can bump the metallic value all the way up I'm going to modify my roughness a little bit so now that surface is a little shinier and it's got a little more shiny than the rest of the surface and it's got a metallic value applied to it now let's say I didn't want to have to go manually paint in all these values for all the metallic in here another thing I can do is I can take my albedo into Photoshop trying to bring that into here I'm going to create a black background since this already has an alpha now I can either go in and desaturate this we use black and white to desaturate and then kind of select the areas where the rest is since there's a high contrast between the colors of the the rest and the yellow or I can go in and do a selective color and then desaturate that and that's the technique I'm going to use for this so I'm gonna go in and do image adjustment and levels just kind of bring out those those colors a little bit more I love the contrast a little bit I can also go in and you know modify hue and all that to kind of get better isolation on those colors but from just gonna use this as reference then I go into select color range with that layer selected albedo layer I'm gonna go ahead and select like a mid range where I think that color is which is probably somewhere around here now I can go in and modify my fuzziness and it'll show me a preview here of what its selecting so basically what this is gonna do is only select colors in that range I just elect it so as you can see it's getting mostly just the rust values which is what I want so now that I have that I can go in and create a new layer hit D and then X to set the default colors and then swap the background to the front which would be white shift f5 which will fill with that color if it set the foreground control D to D highlight to deselect and then I get rid of my Obito layer so now you can see I have basically a mask of all my rust areas for the most part this is pretty rough but it'll do the job for what I want to do rather than having to go in and do all that manual work then I can just layer flattened then I'm gonna save this as a little mask go ahead and close Photoshop then I can bring that mask into substance painter now on a side note this is I'm going to keep in mind if you ever import assets and then you're not using them and they're kind of like cluttering up your shelf here if they're not being used in the layers or anything like that you can go to file and then clean and then remove any of those assets that you're not using that you imported that aren't default assets aren't able to Nolan laughs against Ram peckin so I'm gonna drag in that mask that I just created from the albedo in Photoshop I'm gonna set this as a alpha I mean in my project hit import now that that's done I can go into this roughness metal and then I can actually get rid of this black mess that I created so I'm going to remove mask then I can add in a bitmap mask and then select the one that I just brought in which is alpha now the reason I wasn't showing before is because I had a filter of only textures and I brought this in as an alpha so happy rid of that so now that I have that mask now you can see that the the mask is actually controlling where where the metallic values show up on the surface and it's a lot more realistic looking and I didn't have to go in and do any manual work really I think Oh back in here and I Nabal color you can see exactly where it's coming from you can see it did a pretty good job of isolating all of that where the rust was so that gives you a pretty basic setup for PPR workflow especially of using a photogrammetry asset and you already have the albedo texture so now that all that's set up let's say I want to go in and add a little bit of grunge in between all these little areas basically where the ambient occlusion is I can go and do that by using the AO as a mask for for that grunge so I'm going to create another layer at the top here another fill layer I'm going to call this one just gonna call it dirt once again I want to set this to red just for visualization purposes and I'm gonna uncheck everything for it except for roughness and color so what I want to do here is I want to add in a bitmap mask and I'm going to use the ambience and a tie all ready created this here now as you can see it is using the Amin occlusion I'm gonna inclusion as a mask but I want to invert it because I want this to show up in the little areas where the a oh is rather than the opposite so I'm going to go up here and add a levels I'm gonna click invert so I've done that you can see that the red is showing up only where the AO is and I can go in and slide this around to kind of control how far it spreads so now what I want to do is go in and change this material that I've applied to it and let's say I want it to be a let's use this iron rusty over here now you can see what that looks like without it and then with an enable I can always go back into my levels and adjust like how far it spreads etc just kind of give it cooler surface information so let's say to do that but then I also want to kind of break this surface up a little bit I can go in and create a folder up here I'm gonna call this dirt as well I'm gonna drag dirt inside of that and I create a black mask on top of that now on top of this black mask I want to apply a generator I'm gonna apply a dirt generator so I'm going to click on this one more time when I click on add generator I'm gonna click on the generator button over here and we'll click ng tert so what this is done is now I have a mask on top of a mask so this mask here is controlling it's basically controlling where the rust shows up based on the AO that I gave it and then with the levels that I applied to it and then this one is actually breaking up that surface using a dirt generator so I select this mg dirt I can go in and modify the settings for that and that to really fine-tune how that dirt shows up on the surface so if I hide that layer stack and then show it you can see the difference I have a pretty decent looking asset so far now say I want to go in and add a distressing to the top that looks like maybe rain poured down on it or something like that I can go in and do that as well so I'm going to create another fill layer I'm just gonna call this one rain damage I'm gonna add a black mask to it I'm gonna go over to my particles in the pallet and my shelf over here and then up at the top I'm going to change my brush to physical paint as you can see it's going to show a preview of what I already have selected so I want to go over to uh let's try rain and then I already have my brush set to white so it's going to add white into the mask so I'm gonna change this color to red just so it's a little bit more apparent select my mask again and then I'm gonna click and drag the longer I hold click down the longer it's going to simulate the particles and as you can see it's as animation time over here sewed it's doing is actually dropping particles into the scene and adding into the mask based on where those particles hit and how they interact with the surface so it gives you a lot of control over like weathering and things like that on your asset now let's say I go in and bump the brush scale up a little bit bumping the brush scale up actually controls how big each particle is right and if I do it as the particles are dropping you'll see that the particles change size as they're simulating never gone to one of the others let's say sandstorm for example I just click on it it'll change it to burn over here and use that one electric circuit you want to use that one so you can see each of these has a very different effect and you can kind of utilize it as you like for your mesh and then you can also go in and obviously add this masked layer into a folder with a different mask so say you only wanted to affect this area you can do that and then if I go in and let's say I put it back to rain and I bump up the scale again and have it rain a little bit nice to drop it down a little more like that and then if I go and change this to any material like let's say lumen I'm wearing this gold aluminum color as you can see that's the material is gonna show through the mask because all you're doing is using those particle systems to generate the mask alright so let's go for one last thing before I show you how to do a texture export and set up so I touched on a stencil earlier and I'm going to show you how to use that real quick so basically a stencil acts as an alpha that is based on it just overlays over your screen you can paint on it just like a stencil in the real world right you just hold the stencil up to the wall then you you know apply the spray paint over it and the shape comes through based on the stencil so it's the same same idea here so in order to use a stencil I'm just going to go in and create a new layer let's call this one paint I'm gonna set the color red once again just for reference so I can see where I'm painting I'm gonna right click at a black mask and then I'm going to bring in a alpha that I've already created so I'm just gonna drag this in into my palette I'm going to tell it that it's an alpha I'm going to select project is what I wanted to import as I'm going to hit import now the Alpha I just brought in is just my C media logo but this can be any black and white texture and then if I go over to a stencil I can select the alpha - Brighton which is this one and now you can see that the screen is overlaid with the stencil now once again I can go in and modify the stencil scale by holding s and right click dragging I can pan it and I can with the middle Mouse and s and then I can rotate with middle Mouse and I'm sorry s and the left Mouse and if I hold shift it's gonna snap the rotation every 90 degrees once again if you hold s or any modifier it'll show you what what you can modify here so now if I go in and start painting on top of this because my brush is set to white and I have the stencil active you'll see the stencil disappears and they start showing what I'm painting if I get rid of the stencil for a second you can see that it painted on the surface based on the stencil based on my camera angle right so if I do it this way right let's say I enabled the stencil again let's say I go here it's gonna be a little more stretched out I go in and paint you can see it's based on the camera angle of where the stencil was at that time so that's a little bit more distorted on this I can also go and do that in the UV viewport same exact weight and the stencil modifiers so the scale rotation and panning all stuff is separate between our UV view and your 3d view which gives you more control so now I can go in here and paint paint the stencil on here and the 3d view and the UV port I had stencil one more time and you can see it painted on here now as you can see is a little more distorted because of the UV map but based on your UV map you can get different results depending on how you how you going to use a stencil now one more thing you can do to control the stencil I'm going to bring back in again is under your viewer settings you can go in and modify the stencil opacity and you can enable or disable hiding the stencil when you paint so by default it's enabled so if I go in paint it it disappears as soon as I start painting and reappears and I let go if I uncheck that it'll just stay there as I'm painting all right so now that that's out of the way I think I've kind of given you a good rundown of just about everything in substance painter that you're gonna use in most production workflows I'm going to show you how to go about setting up a texture export and exporting your texture sets to be used in whatever application you're going to be importing them into so the first thing you want to do is set your document size to the resolution you can export to if you have it set to a low resolution in your document size and go to export a high resolution it's actually an upscale it won't actually be restructuring everything in that resolution so I'm going to set it to 4k because that's the usually the resolution I like to use I like to use the highest resolution I might use in whatever software I'm going to be importing into and then modify it in that software to kind of get the compression settings I might be using an engine that way or in the software that way so let's do one more check on everything everything looks good let's say is the finalized asset I'm happy with it no one export it so I can go over to file export textures and then you'll be greeted with this dialog here so you have an export tab in a configuration tab so I already have my export path selected in order to change out you just click on it and select the folder you want export to this little curly arrow arrow will revert to the default export path which is in the one of the root folders for substance painter and then this is the image format so you can use you want to export too so it has BMP jpg PNG all the pretty much any file format you want to export your textures to you have your bit depth 8 8 or 16 you have your configuration which I'm going to go over in a second you have your dilation which allow you to modify how the pixels are dilated outside of the UV Islands and if you set it to a custom value can modify the pixels here and you can also go in and change the dilation value under each material ID so this is your material ID and this check box tells you whether or not or tells substance painter whether or not to export that material ID so if you have a bunch of them and you only one export one you can just check that one and you also have a select all or select none for that if you want to override padding per material ID you can do that here by checking the box and then changing the value here rather than using the common value and then this check box down here will allow you to export the shader parameters all right so now I'm going to go over setting up a configuration so by default substance painter has a bunch of default configurations for Arnold for unity for CryEngine Unreal Engine all that good stuff so we're gonna create our own just to make sure we get the most optimized export for what we want it's going to click on the configuration tab I'm going to click the plus to add a new preset I'm going to right click and call this whatever I want to for the purposes of this demonstration was going to call it test config and then over here you'll see that you have a list of output map so you can select the channel setup for and then over here you have the list of maps you can put into those channels right so if input maps mesh maps and converted Maps so over here over next to create you have gray which is going to be a grayscale you have RGB which is gonna be RGB combined and you have RGB separated so you can put a map into each of those channels you have RGB combined with a separated and then you have RGB a each separate so the first one we're going to create is going to be an RGB with an A separated then I'm going to create an RGB combined and when I create an RGB a separated so this first one is going to be my albedo trans my translucency so I'm going to click on this dollar sign which will allow me to select a autofill I'm either using the project name mesh me mesh name or texture set so I'm going to call it I'm gonna do the mesh to underscore albedo beat up transform beto translucency I'm gonna do the same thing here mesh this is gonna be my normal and then this last one is going to channel pack my roughness metallic I'll be inclusionary missives I'm gonna do mesh arm AE right roughness metallic I mean occlusion any missive so now I want to populate these these aren't actually populated this doesn't know to bring in my albedo this doesn't open my translucency etc so base color is gonna be my albedo I'm gonna drag that over and select RGB channels my translation C will be my opacity I'm gonna drive this into the alpha and set it to the great channel since it's just a black and white value my RGB for normal will be just that now I don't want to use a normal from the input Maps I actually want to use the normal DirectX the reason I want to do that is because most of the normal information that you've seen the substance painter is actually height information if you don't use that normal DirectX it actually won't convert that height information to your normal and you won't get that information in your in your texture set all right so then I want to do my roughness is going to go into the red channel over here once again it's gonna be greg so it's just black and white my metallic value is going to go into the green my I'm being occlusion go into the blue channel and then my emissive is gonna go into the Alpha all right now that all that uh all of that is set up you can see that everything is color-coded so my base color is this red and it's got the little swatch here my emissive is green and it's got a little swatch here so it's easy to kind of correlate what is inputted where so I'm gonna go back to my export dialog and I'm gonna select the configure that is created here from the drop down as you can see it's going to update based on whatever I have selected so we're going to change this to unity 5 packed or any of these and here you can see that it changes based on what I have selected I'm gonna go back down to the test configure that is created so you'll see what it's going to export and how it's going to be named so that dollar sign mesh as you can see created fire hydrants zero zero one underscore beta trans because the mesh is named fire hydrants zero zero one and add an underscore normal underscore RMA e etc so now let it set up I can just click on export and it will export those textures for me so obviously depending on how many layers you have how intense your material setup is what resolution you're using how many texture sets all that it's going to change what the export time is but it's usually pretty quickly especially for something like this so as you can see it's now done and it just did that in real time as I was talking now those rekts port you can see that it created the three textures for me so I have my fire hydrants user 1 albedo trans my underscore normal and my underscore R ma E and these are all PNG files and they are all channel packed so this one has my roughness metallic I mean occlusion and emissive this is my normal this has my albedo with the translucency packed into the Alpha so this is extremely efficient for anything that you're going to be any workflows that you have because you're consolidating basically seven different textures into three texture files so your file size is smaller the amount of assets that you have to keep track of is less and your performance overheads going to be better because of the way it interprets the data and Oliver all is just much better for workflow alright so that pretty much concludes the overview of her substance painter if you have any questions please just leave them in the comments and I will reply to them as quickly as I can if I'm able to and hope you enjoyed this overview

Channel: C-Media

Views: 37,425

Rating: 4.9047618 out of 5

Keywords: Substance Painter, Texture, Photoshop, Game Development, Game Dev, 3D Asset Creation, Materials, PBR, Tutorial, UV, Texture Baking, Digital Asset Creation

Id: rLI0J77vSa0

Length: 69min 54sec (4194 seconds)

Published: Sun Jun 24 2018