Substance Designer与Painter纹理贴图大师级训练视频教程第二季

Substance Designer与Painter纹理贴图大师级训练视频教程第二季

本Substance Designer教程是由灵感素材分享站LGZIYUAN.COM整理的Substance Designer与Painter纹理贴图大师级训练视频教程第二季，时长：4小时35分，大小：8.6 GB，MP4高清视频格式，教程使用软件：Substance Designer，Substance Painter，附源文件，作者：Daniel Thiger，共10个章节，语言：英语。LGZIYUAN.COM分享。

Substance Designer是Substance贴图工具产品系列之一，它可以帮助美术师高效地创建并且重复应用贴图。Substance Designer是首款能够混合及应用位图, 矢量图和其他元素的专业贴图工具，使用它能够制作复杂的贴图。用Substance Designer制作的贴图具有许多传统位图不具备的优势。后者相对静止且用线性方式制作，而用Substance Designer制作的贴图更具活力，在制作的每个阶段都可以被高度的自定义。

Substance Painter是目前最优秀的次世代游戏贴图绘制软件，该软件提供了构建3D素材所需的所有工具，包括粒子笔刷，可以模拟自然粒子下落，粒子的轨迹形成纹理。当然还包括了Material Painting材质绘制，可以一次绘出所有的材质，同时几秒内便可加入精巧的细节。同时软件支持Linux，8K导出，色彩管理，UDIM管理和脚本API，使Substance Painter与VFX工作流程相结合比以往更容易。Substance Painter拥有一个独特而全面的工具和内容生态系统，围绕3个主要软件组件展开，包括3D绘画软件，可以用画笔，面具和粒子的纹理，呈现并轻松导出到游戏引擎。材料制作软件：用户可以使用非破坏性的，基于节点的，程序化和可编写脚本的工作流程来编写纹理和材质。图像材料生成工具：能够帮助设计人员提取花木PBR纹理并生成法线贴图。

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.
Course syllabus
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.

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