Texturing in Substance Designer and Painter

Taught by Charles Chorein

Course Number:
ENV280
Software Version:
 
Original Run Date:
October 2019 
Duration:
4 hours 35 minutes 
3D
vfx
new
This course, from CG supervisor Charles Chorein, is the second in our series of Substance Designer and Painter courses utilizing our cyber soldier model. By the end of the course you will be able to master the principle of texturing and lookdev with Substance Designer and Painter and be able to set up a lookDev scene in Maya for production.

Chorein is a CG supervisor at Dneg London with 12 years of experience. He has worked on movies such as The Hobbit, Prometheus ,The Hunger Games 2, Harry Potter 7, Pirates of the Caribbean 4. For the last for years he has been working on TV shows and recently finished Dark Crystal for Netflix as well as more series coming out next year.
 
Texturing in Substance Designer and Painter
Watch our overview of the course

Class Listing

Class 1: Substance Designer, Part 1

Preparation of the ground as well as exploring the mindset of procedural texturing. How to make specific details only using nodes.

Class 2: Substance Designer, Part 2

Improving the ground texture with some normal maps, roughness texture, and manipulation of the procedural texture to find the right pattern. Continuing to focus on the mindset behind the procedural texture approach, using small, medium, and large details to structure our texture.

Class 3: Adding details

An extra layer of detail is added for the tear marks and balancing the different components between each other. During the process, multiple normals are mixed between each other to get a better fine asphalt detail.

Class 4: Substance Designer to Maya

The final details are added for the asphalt and all textures are exported for Maya. In Maya, the Substance Plugin for Maya is explored to understand how to connect all the textures for the PBR shader AISurfaceShader in Hypershade.

Class 5: Substance Painter, Part 1

Before jumping in Substance Painter, we are checking our asset and how important is it to prepare properly our asset with the correct UDIM and tilling for each UV set. Also, we will see the difference between OBJ and FBX format in Painter.

Class 6: Substance Painter, Part 2

Having a good understanding of objects in real life is essential, so we analyze how metal works and see how we plant to create the different shader in Painter. To help create a realistic metal shader, Filter on Fill Layer and Mask Builder are used for the generators generators. The texture is baked in Painter to see how useful is it to do that.

Class 7: Details in Painter

With a solid base in Painter for the metal shader, more fill shader is added and improvements such as grunge, scratches, and dirt are done in the Mask Builder generator. To have a more realistic render (as opposed to a procedural look) paint layers are added and different brushes are explored to break up the procedural render.

Class 8: Finalizing the metal shader

To finish the metal shader we will add an extra generator with Metal Edge Wear and Dirt, export all maps, and explore the different presets to make render engine ready in Painter.

Class 9: Substance Painter to Maya

In Maya, we explore how important is it to properly set up the maps based on their properties. We improve all shaders using AIColorCorrect, setup our displacement. and set up our render with AOVs. Finally, we will see how simple it is to make a change in Painter and see the change in Maya mere seconds later.

Class 10: Compositing in Nuke

We will export our camera from Maya and set up a 3D environment in Nuke to reproduce the Maya setup. To obtain better control and do relighting, “light groups” are set up in Maya in different AOVs to rebalance the lighting in Nuke.