I've been watching your videos and I must say that you use the best ratio of time and information needed to explain your workflow , plus your work is awesome. Please make a complete video showing the high poly workflow and if you use any baking or not.
Giánnis, Thank you so much. I'm glad that you are finding my explanations useful. I actually don't usually do any low to high level baking because I don't work in games. Is there anything else you would want to see in future videos? Cheers!
Great tutorial! This is the first time someone has demonstrated how to use the procedural stack in Substance Painter to do something practical in Maya. I mean I understood the theory behind all of that procedural stuff, but this was a great demonstration of how it can be used, and why you would use it. Those theater chairs are a great example of a situation where you would want to take the time to make a smart material. This is an excellent example of why a smart material would be preferable in this situation. Up until now, I kept thinking that Substance Painter was a lot of extra work for what you got in return. I just couldn't see the benefit. Now it totally makes sense to me. This is a situation where one would need a texture set for a number of props, that all need to look very similar, but with enough variation that they look like individual objects. Hand painting differences would be very time-consuming. Yet with your Smart Material, it is so obviously easy to make all the necessary worn and aged adjustments needed to make each chair look like they belong to a set yet each one looks unique. Very impressive. I am particularly impressed with how this makes Look Dev adjustments so fast and easy. It is one thing to be able to make changes like these, it is another thing to be able to make the changes a director is asking for right before their eyes instantly. I love it! I'm really keen on seeing your next video. I myself have been wondering about replicating the final look in Maya with Arnold. I've been having trouble getting my Maya renders to look similar to Substance Painter, even with using the same Substance Painter HDR images for lighting. I'm curious to see how you set things up in Maya from here. Great work keep it up, please .
Hey Robert, Thank you so much for the comments! Yeah I really believe that Substance Painter, Designer and other procedural workflows give artists so much power for making compelling environments. I still have so much to learn and I'm going to continue to explore that stuff, I really would like to get more into procedural modeling that drives my procedural texturing. My end goal is to be able to create massive, beautiful environments that are story driven and unique. Still a long way to go, I think the area that I need to improve most on his design. I really need to start using concept art for these, I just don't have the eye yet. I'm much more technically oriented. My maya tutorial will be coming out in a week or so, stay tuned!
Amazing breakdown of the techniques, just the right amount of information to show what you did there. Thank you, Brent. And since we are on the subject of wood here I want to ask something from you, if you observe polished wood (something like a violin) in close up, you will see that the color will change with the angle of view almost like a metallic specular, but it's not. I think it's due to the orientation of wood fibers which changes the usual look of the diffuse component and makes it similar to metallic materials. so I think it can be simulated by orienting the normals based on the fiber patterns but I'm not sure. Do you have any insights into this matter? Thanks again.
Thanks Matin! Hmm, that seems like it could be a complicated shader setup. Something I've not done before for a material like that, However that is something that sounds like a very fun challenge. Let me put it on the list of things to try out. Let me know if you figure something out. Cheers!
Great thank you. How do you get accurate textures when you export the maps to Maya? When I export I don’t get the same look and I spend a lot of time trying to make the texture looks the same as the Substance Painter.
Gregor Hodinj Thank you Gregor. I tried everything in Maya and couldn’t match exactly what comes from SP. I even disabled the color management system in Maya and gave the texture sRGB etc.
@@Tritoon710 The safest way is to transfer your workflow to ACES color management. Try to make custom channels with correct CM in SP before you start a new project and save them as preset. If you stick to this workflow, all other things should be linked to the difference between SPs Iray and your renderer in maya.
Your lessons are terrific. You have great pacing and presentation. Thanks for the effort and sharing your expertise.
I've been watching your videos and I must say that you use the best ratio of time and information needed to explain your workflow , plus your work is awesome.
Please make a complete video showing the high poly workflow and if you use any baking or not.
Giánnis,
Thank you so much. I'm glad that you are finding my explanations useful.
I actually don't usually do any low to high level baking because I don't work in games. Is there anything else you would want to see in future videos?
Cheers!
Great tutorial sir
Impressive! I can basically "feel" the fabric just by looking at it. Hope to see more videos from you! :)
Thanks Maxim! What kind of videos are you interested in seeing?
Great tutorial! This is the first time someone has demonstrated how to use the procedural stack in Substance Painter to do something practical in Maya. I mean I understood the theory behind all of that procedural stuff, but this was a great demonstration of how it can be used, and why you would use it. Those theater chairs are a great example of a situation where you would want to take the time to make a smart material. This is an excellent example of why a smart material would be preferable in this situation. Up until now, I kept thinking that Substance Painter was a lot of extra work for what you got in return. I just couldn't see the benefit. Now it totally makes sense to me. This is a situation where one would need a texture set for a number of props, that all need to look very similar, but with enough variation that they look like individual objects. Hand painting differences would be very time-consuming. Yet with your Smart Material, it is so obviously easy to make all the necessary worn and aged adjustments needed to make each chair look like they belong to a set yet each one looks unique. Very impressive. I am particularly impressed with how this makes Look Dev adjustments so fast and easy. It is one thing to be able to make changes like these, it is another thing to be able to make the changes a director is asking for right before their eyes instantly. I love it! I'm really keen on seeing your next video. I myself have been wondering about replicating the final look in Maya with Arnold. I've been having trouble getting my Maya renders to look similar to Substance Painter, even with using the same Substance Painter HDR images for lighting. I'm curious to see how you set things up in Maya from here. Great work keep it up, please
.
Hey Robert,
Thank you so much for the comments! Yeah I really believe that Substance Painter, Designer and other procedural workflows give artists so much power for making compelling environments. I still have so much to learn and I'm going to continue to explore that stuff, I really would like to get more into procedural modeling that drives my procedural texturing.
My end goal is to be able to create massive, beautiful environments that are story driven and unique. Still a long way to go, I think the area that I need to improve most on his design. I really need to start using concept art for these, I just don't have the eye yet. I'm much more technically oriented.
My maya tutorial will be coming out in a week or so, stay tuned!
this is so beautiful. even better than the real ones!
Awesome breakdown sir. 🤘
Please make a video about baking maps like. Curvature map. 🙏
Will do!
Really awesome
Thank you! Cheers!
Nice Brent so useful ❤️ bro
awesome work here! Keep going!
Found you master ❤️
Amazing breakdown of the techniques, just the right amount of information to show what you did there. Thank you, Brent.
And since we are on the subject of wood here I want to ask something from you, if you observe polished wood (something like a violin) in close up, you will see that the color will change with the angle of view almost like a metallic specular, but it's not. I think it's due to the orientation of wood fibers which changes the usual look of the diffuse component and makes it similar to metallic materials. so I think it can be simulated by orienting the normals based on the fiber patterns but I'm not sure. Do you have any insights into this matter?
Thanks again.
Thanks Matin!
Hmm, that seems like it could be a complicated shader setup. Something I've not done before for a material like that, However that is something that sounds like a very fun challenge. Let me put it on the list of things to try out.
Let me know if you figure something out.
Cheers!
Lmao the moment you said "I'm gonna blur that" the video goes to 480p and it blurs the screen hahaha
Hahah
hey brent do you have a link to the chair model to practice on
I currently do not, but I may release my models at some point
Great thank you.
How do you get accurate textures when you export the maps to Maya? When I export I don’t get the same look and I spend a lot of time trying to make the texture looks the same as the Substance Painter.
Try to keep an eye on color management. SP does sRGB on a color channel by default, and it can be tricky if you don't match it in maya.
Gregor Hodinj Thank you Gregor.
I tried everything in Maya and couldn’t match exactly what comes from SP.
I even disabled the color management system in Maya and gave the texture sRGB etc.
@@Tritoon710 The safest way is to transfer your workflow to ACES color management. Try to make custom channels with correct CM in SP before you start a new project and save them as preset. If you stick to this workflow, all other things should be linked to the difference between SPs Iray and your renderer in maya.
Gregor Hodinj Will try this method, thank you so much. 👍🏻
@@gregorhodinj6844 you mean color space in file attributes right in the texture node?