![]() Even with the instance layer workflow and then finishing with full UDIM support, I had no need to navigate between different 3D paint packages at any stage during Reptile’s production cycle. Layers such as dirt / blood / grime which covered the nails, spikes, and entire body, as well as damage such as bullet and knife wounds, and his brutal fatality, were all created using the updated version of Painter. Those maps were then exported and re-imported into a new file for full UDIM support. With this sequence, we had a very dimly lit blue environment turn into a bright orange fire lit environment so it was important to nail the specular response across both of these lighting conditions.īelow, you can see an example of the custom viewport shader and only the specular shading component visible.Ībout midway through production, we updated Substance 3D Painter to the long-awaited UV tile workflow.īy this stage, Reptile was about 85% complete so the base color was maintained in a file with the instanced workflow. We need to make sure that it doesn’t change drastically between lighting setups, which can happen when refining a look in bespoke environments. “Shader stability” is a term used to describe the final look of the shader itself. ![]() This was super-helpful in tuning the skin’s response to the shot lighting, and greatly reduced the round trip between shader releases to offline rendering whilst adding a very strong level of shader stability in shots. Adding to this, I made a custom GLSL shader that added some debug modes, similar to Arnold’s AOVs when rendering to help judge shading components like specular and sss_albedo response. The lighting department was able to bake down their shot light rigs from Arnold into spherical HDRI environment maps that I could then use inside Painter’s viewport. However, because all our channels are linear, this is not a big issue and the viewport color accuracy is still very good. Rising Sun Pictures is using custom-made acesCG LUTs to manage the ACES color gamut until OCIO v2 is implemented in Painter. The viewport feedback is already excellent in Painter, but I took it a step further to ensure what I was seeing in the viewport was as close as possible to the final rendered asset in shots. A lot of smart masking and custom procedural masks made in Designer helped keep details hugging the scales and medium to large frequency detail.Ĭolor management and viewport feedback in Substance 3D I built it up from flat colors as with traditional painting, and slowly worked in controllable finer details that could be fine-tuned easily later on. The base color folder stack alone was over 60 layers!īelow, you can see a small example of the base layer stack. This really paid off by giving me the ability to rapidly adapt to model changes the downside was that the layer stack was fairly sizeable. Features like scales, scars, and exposed skin being geometrically based, I was able to get a very high level of detail quickly and have that detail continually updated during production without having to redo any work when a new model was handed over. This actually turned out to be hugely beneficial in the end for a few key reasons: as our model department continued to work with digital sculpting software on the sculpt detail, I was able to start work very early on and update the data maps from the latest high-resolution model almost daily. So a large percentage of the skin texture was created procedurally with instanced layers, smart masks and custom-made procedurals within the 3D design software. ![]() ![]() When we started the work on Reptile’s look development, Substance 3D Painter did not yet have the UV tiles (UDIM) workflow. Let’s take a brief look into his creation and how I exclusively used Substance 3D to create the look for a hero feature film creature. But our single most complex asset had to be Reptile.Ī full CG hero character that starts invisible, has a flare knifed into his back, revealing his true form, then gets shot and stabbed several times, to finally have his heart ripped from his chest by Kano! We knew this was going to be a challenging and exciting sequence from day one.Īs the lead artist on the project, it was my responsibility to bring Reptile to life.
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