The Material Art of The Last of Us | Substance Days at GDC 2023 | Adobe Substance 3D
ฝัง
- เผยแพร่เมื่อ 5 ก.ย. 2024
- This session presented by Jonathan Benainous and Jared Sobotta focuses heavily on the material art and creation for The Last of Us: Part I. Jonathan and Jared will revisit the post-pandemic world of The Last of Us and talk through the recreation for the PlayStation 5. They will discuss the texture art pipeline at Naughty Dog, providing insight on the team’s dynamic for success. Jonathan will shed light on the challenges of man-made, architectural material creation for the Boston Capitol Building as well as the creation of procedural generators with Substance 3D Designer to speed up the team’s process and author a large amount of materials. Jared will focus on natural, organic art and the marriage of Substance 3D Designer and organic sculpting for Tommy’s Dam. Both artists will share their workflows and artistic choices utilizing Adobe Substance 3D Designer to create “The Material Art of The Last of Us Part I”.
Speakers:
▪︎ Jonathan Benainous, Senior Environment Texture Artist, Naughty Dog
▪︎ Jared Sobotta, Principal Environment Texture Artist, Naughty Dog
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Substance Days 2023 at GDC: "THE MATERIAL ART OF THE LAST OF US PART I" | Adobe Substance 3D
• The Material Art of Th...
Amazing amazing amazing maaan!
Such a pleasure being a part of this! We hope everyone enjoys the talk, and takes aways something positive! Cheers!
Thanks for showing us your workflow! Great job with the art sir!
@@openwoundproductions1662 You're very welcome! We're glad you enjoyed it :)
Thank you so much for having us, guys! We both had a great time sharing our insights about the material creation in The Last of Us Part I.
Thank you for watching our presentation, we hope you enjoyed it and learned something new!
You are a huge inspiration for me, I am so grateful I was able to attend this panel! Thank you so much!
Sculpting shapes/heightmaps in Zbrush for use in Designer is really cool.
Thank you very much for this sharing! It's an incredible experience! Can you tell me what annual compensation a specialist of this level can expect?
Man you are a huge inspiration! Thank you so much
Thank you so much for the kind words, guys!
Overwhelmed with possibility, these videos are like bonus doors in a game! thanks for sharing
Thank you, there was very useful information
Great talk
Wow! Just couple days ago I wondered how did they do this scene with Boston common and the Capitol. And here is the video! Thank you!
Amazing talk guys
Been waiting for this one!
Amazing work and share🤍
GG guys!
Amazing skil
Amazing work!
This is the content we need! Thank you for this detailed explanation
We
NIce!
Def gonna use atlas scatter now ;)
@sobjar10 and @JBenainous That is amazing work and thanks for sharing it. but I don't understand the vertex color part that you talked about, How do you blend 6 or 7 different layers of textures using Vertex Color in Maya? I don't understand how you use the 2nd vertex color set. I tried Maya, Blender, and Unreal Engine I could only blend 5 materials with vertex color
Verts have data attach to them. theoretically you can attach extra data to verts like multiple vertex colors. like Red 1, Red 2, Red 3, etc. Their engine is able to interpret that. Unreal can't unfortunately, at least not out of the box. a workaround is to break your vert colors into segments in unreal. for example on the red channel, if the opacity is between 0-0.5 have one material compared to another for the 0.5-1.0 range. Obviously more expensive cuz now the pixel shader needs to run a if check on each pixel tho.
Thank you so much@@talosx3368
Not just that, but what about LODs? Wouldn't less vertices mean the vertex color mask "breaks" if there isn't enough surface for it? Or do you just bake the finished objects into a separate smaller texture?
@@dotti.hegedus From the looks of it, their architectural models are low enough to not need LODs and even if they did, the colors just interpolate to neighboring verts. What you are describing is the difference of going from a 1k polys to 50 polys, which doesn't really happen since reduction is pretty incremental. their vista models are a different story tho.
Can anyone help me with the polypaint map?,I didn't understand that part.
When you're creating materials in zbrush you need to be very cautious of getting your polygroups setup. Familiarize yourself with polygroups first, I would recommend before pushing throught his workflow.
After you have a solid grasp on polygroups what I do with my textures is combine all the subtools that are around the border of the tiling sculpt (If you pay close attention to the presentation, I posted an image that is a render of the final Large river rock sculpt, and a version of the sculpt that has colors around the border. I went through my subtools and combined all the large river stones that are on the border where the texture tiles and then assigned a polygroup) Making sure that where the texture tiles is imperative!
Next I You can apply a polygroup to all of your other subtools (all of the tools that aren't on the tiling border).
I would then make sure all of my subtools are visible, and merge visible, this will create a new zbrush tool. If this was done correctly you can click on that tool that is merged and it will have polygroups assigned.
Next go to the polypaint tab (if you are not familiar, definitely search up some reference for it) then you can click "Polypaint from polygroups" You should now, with colorize turned on have a mesh that has colors.
I like to seperate my baking plane/ground plane so I can easily select it in my id mask
Swap to the "flat color" matcap and voila, you have a id mask of sorts.
Turn off dynamic perspective, turn of shadows under the render tab, switch your canvas to a power of 2 (1024/2048/etc. and then you're good to render out your height/idmask.
@@sobjar10 thanks a lot for the thorough answer. Haven't played the pc or ps5 release yet but it looks amazing.
Wp
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