Now more than ever, we can focus on replicating material properties rather than baking in specific lighting conditions.Īdditionally, linear space rendering means we no longer have to color specular maps the opposite color of our diffuse to get a neutral white highlight, while energy conservation in the microsurface function (rougher surfaces will have broader highlights with a dimmer appearance as the light is dissipated over a larger area) removes the need to manually make rough areas dark and glossy areas bright in the spec map. This means that we no longer have to paint lighting, reflection or shadow content directly into our textures. Today we have dynamic light sources that cast realistic shadows, and image-based lighting that provides accurate ambient diffuse and specular reflections. One of the biggest differences is how advanced the lighting calculations are in modern shaders.
#Marmoset toolbag substance painter how to#
To fully understand how to create or convert content intended for PBR systems, it’s important to look at how shaders have changed. One last thing, is it diffuse or albedo? These two terms mean essentially the same thing, the base color of an object, and are often used interchangeably. Fancy shaders are only half of the equation, you also need logically calibrated art content. I see this misconception rearing its head equally as often as the “Why not PBR?” one mentioned above. PBR is essentially a holistic system of content creation and rendering, which can and often does have variances (generally shader models or texture input types) in actual implementation, depending on what tools or engine you use.Īdditionally, loading any old content into a PBR shader does not guarantee physically accurate results. PBR in the most basic sense is a combination of sophisticated shaders that represent the physics of light and matter, along with art content that is calibrated using plausible values to represent real world materials. I see comments about this regularly on forums, when someone sees an artist creating a specular and gloss map they often ask “Why aren’t you using PBR?”, so lets break down what PBR actually is. There is a lot of confusion in terms of what physically based rendering actually is, and what sort of texture inputs are required in a PBR system.įirst off, using a metalness map is not a requirement of PBR systems, and using a specular map does not mean an asset is “not PBR”.
#Marmoset toolbag substance painter free#
If you have any questions, feel free to reach me on my social media accounts.Before we get started, I want to clear a few things up. Remember to save the Toolbag file to easily reuse this scene for all your future characters! On my ArtStation page, you can find additional pictures and videos. I really hope this guide can help you with your projects. I wanted a character that could function well from different viewpoints, not just the front, and that would allow me to export a nice turnaround. It's quite easy to misjudge poses and proportions when solely relying on the 2D representation. I think the most challenging aspect of creating a character from a 2D concept in three-quarters view is consistently thinking in three dimensions. But I believe it's perfect for training with new tools and personal projects. However, it's much more limited compared to a complete character in the entire production workflow. Of course, in this case, skipping various steps like topology, UV mapping, and textures makes this type of character quick to create (it took around 20 hours in total). I typically create a low-poly version with active Dynamic Subdivision for each piece and only collapse it when it's necessary for micro details.īelow are some of the steps that led me from blockout to the final sculpt:
Always remember to maintain a low-poly model with good topology, as it will make it easier to modify the main shapes. I often switch to a fully black flat color to make sure I'm heading in the right direction. The silhouette is a very important detail for enhancing the overall character. During this step, it was easy to get lost in the details, that's why you should focus only on the volumes and leave the cleaning for later. I started with a rough blockout of the main character elements (head, body, arms, etc.) and since there were bulky props, I also sketched those out to obtain the main shape. The sculpting process is always an enjoyable step, especially with this kind of character. I think this step is crucial because it establishes the correct guidelines necessary to achieve the final result.
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