Really lovely tutorial. And I think I actually understand it now. However one query - So, if I’m just modelling for example an old medieval style house. And lots of it is just low poly cubes with not that high of a poly count, would I get away with just not even doing a high and low poly version ? What is considered the line crossed when it is now a “high poly model” ? It seems in my mind that most of my models so far would not be high enough to justify having both these versions.. what I can see is that if I wanted to add more detail, like if I wanted to get really detailed on some parts of my model and introduce sculpting on some stones or something? If you could - what did you achieve , by creating your high poly version of the shield , over just importing the low poly shield into SP and texturing it? What did you gain? Thankyou again for the nice tutorial
Sir, can you make full workflow video with maya zbrush substance painter and after these get back the final finished model into maya for animation.......please please please
Great tutorial but.. I just spent a lot of time following your previous shield texturing tutorial and want to apply all that work onto the low poly shield. How do I do that? Should I have followed this tutorial first?
There’s a few approaches. For this I just used a cylinder to quickly form the shape, which is why I didn’t show the process. But I’d happily make a video about retopology
@@JoshAntonio i suppose this means high poly first,then re create a low poly . so i don't need to worry abt keep a low res version while creating the high res one..thanks
@@yingbowang3068 Yeah for the most part. You might find keeping a low-res version might help, sometimes starting with something is better than starting with nothing. But often you will need to specifically model the low-res version afterwards to ensure you have the best shape and silhouette
At which point in the workflow do you create the low-poly mesh? And how exactly do you create it roughly speaking? Does it need to align with the world space of the high-poly mesh exactly?
Workflow wise you can either make the low-poly mesh before or after the high-poly mesh. Making it before would make sense if you've blocked out the shapes and are then just building upon it to create the high-poly mesh. Or you could make a low-poly mesh afterwards with the polygon drawing tools or/and primitive shapes. Both are valid workflows. World Space-wise, I believe they have to be the same for the baking to work.
@@JoshAntonio Thank you for the calrification. So to achieve the exact same worldspace, is it just a case of centering the pivots of both models at the same point in the world, or is it more complicated than that?
As long as when you're viewing the models they're overlapping then they're in the same worldspace. You want them to be on top of eachother, and matching perfectly.
Nice, but I try to figure out for a while - how it is possile you added 2 shader (assign material) in Maya, but then suddenly in Substance it has only 1 shader (material slot)???? Can you expand a little bit on this, would helpful a lot as it is really not clear.
Hey so in the video we assign multiple shaders to the high poly asset so we can easily mask. We use this for baking the maps to the low poly. The low poly has just one shader so that’s why only one material slot shows in substance. The multiple shaders are then projected and baked so we can use that to mask out the wood and metal areas easily. I hope this makes a little more sense now.
Hi, Josh ,another silly question( Might same as other ppl). for low Poly, is that waste time to merge every part together, or just stack the parts as long as it looks fine? will doing a ruined building. thanks
how different / same can the shape be between low and high poly? For example if my low poly mesh is a bit more squarish, but my high poly is more roundish due to subdivision, is that still ok for baking? Also, if i have a high poly mesh, how can i change it to low poly if i dont have a low poly one? Would be great to get your opinion on this! Thanks =)
Re: creating a low-poly mesh. You could do more automatic methods like with the reduce modifier. But probably most of the time for best results you'd want to manually create the low-poly version of the asset by hand which is optimised.
@@ulus2109 Not always. Sometimes I will use the unsubdivided mesh (with a few tweaks), but most of the time you'll want to be modelling over it / cleaning up an older more low-poly version of the mesh to fit nicely.
i have some doubts... why you don't allow to compute the tangents when you create a new project in substance, some tutorials i watched pick on that option, another question is what about the hard and soft edges for the normal map in Maya and how to cut and unwrap the UV considering those edges... because i have some issues and artifacts in baking process with complex models and i can't find a normalized workflow that can solve this problem, every tutorial i watch is different referred to this topic... i'm trying to bake correctly a WWII aircraft that i've modeled but i'm mad trying during days different methods of modeling pieces and modifying edges and normals for a correct baking between low and high poly and i can't find the solution.
Hey. So regarding the compute tangents question - Depending on the software or game engine targeted to render the texture, this setting may be disabled or enabled. For Maya I leave this off. For the question about seams. You’re always going to have seams, but it’s about trying to find optimal places to place them, so in parts of the model which isn’t obvious. If you’re struggling baking more complex meshes, you might find doing multiple bakes will work easier and then just combine the maps in photoshop afterwards to get a complete texture tile. Hope this sort of helps...
@@JoshAntonio is a good solution, i thought that using Photoshop for texturing was relegated, i remember when i used snapshots of the UV seams and painting these in PS 10 years ago... but with the substance wigh UDIM systema and the triplanar to mask the border seams at the result texture i didn't know that PS would continues to be useful... the problema of baking piece by piece in marmoset is that they don't support UDIM system... and is so repetitive made UV at 0-1 space piece by piece... another thing is... i have the pri cipal issues at hard edges, i only use one edge with bbtwo support loops but is not so soft i smooth preview Nd with the hp mesh i have artifacts on those placez, maybe you use in your low poly the bevel tool for soft the borders of your pieces?
no idea how you managed to bake without getting any artifacts at all... been trying for hours and still get all kinds of ugly artifacts... nvm i see you also got weird black spots at the edge of the shield...
I think your baking mesh is not perfect . please look at your viking shield object edge .lP object edge visible , because I also faced this problem in every time . So please explain me and Give me a better solution .
MY MIND HAS BEEN BLOWN. Thank you so much!
cant express enough how helpful your videos have been, short and accurate to the point. love your work
Cool that you are making videos again! You are the best maya-content creator in my opinion. Fast and on point
Thx
A great refresher for the Substance Painter class I took a long time ago. Thanks so much!
Glad you found it helpful
Many thanks!!! been using substance for quite some time i had never used color ids! thanks!
Glad I could help!
This was invaluable! Quick and straight to the point! Thank you!
This will be of great use for my final assignment, thank you !
Best of luck!
This is super amazing... Simple and easy to follow thabks for this
Just found your channel, you have such amazing tutorials! This is exactly what I've been looking for so long, thank you so much!
I was looking for this exact video. Very Helpful Thanks
thank you for such a clear explanation!
Glad I could help 🙂
Really lovely tutorial. And I think I actually understand it now. However one query - So, if I’m just modelling for example an old medieval style house. And lots of it is just low poly cubes with not that high of a poly count, would I get away with just not even doing a high and low poly version ? What is considered the line crossed when it is now a “high poly model” ?
It seems in my mind that most of my models so far would not be high enough to justify having both these versions.. what I can see is that if I wanted to add more detail, like if I wanted to get really detailed on some parts of my model and introduce sculpting on some stones or something?
If you could - what did you achieve , by creating your high poly version of the shield , over just importing the low poly shield into SP and texturing it? What did you gain?
Thankyou again for the nice tutorial
amazing video! Thank you for sharing the knowledge :D
Awesome
Thanks
thanks so muchhh
Sir, can you make full workflow video with maya zbrush substance painter and after these get back the final finished model into maya for animation.......please please please
Great tutorial but.. I just spent a lot of time following your previous shield texturing tutorial and want to apply all that work onto the low poly shield. How do I do that? Should I have followed this tutorial first?
YOU'RE MY SAVIOUR
Thanks, but you did not show how you created the Low Poly from the High Poly. Can you kindly show it? Thank you. I love your videos!
There’s a few approaches. For this I just used a cylinder to quickly form the shape, which is why I didn’t show the process. But I’d happily make a video about retopology
@@JoshAntonio thanks, will it be possible to do a video about it in the future on how to go from High to Low Poly irrespective of the design?
Yeah for sure! I’ll add it to the list 🙂
@@JoshAntonio i suppose this means high poly first,then re create a low poly . so i don't need to worry abt keep a low res version while creating the high res one..thanks
@@yingbowang3068 Yeah for the most part. You might find keeping a low-res version might help, sometimes starting with something is better than starting with nothing. But often you will need to specifically model the low-res version afterwards to ensure you have the best shape and silhouette
At which point in the workflow do you create the low-poly mesh? And how exactly do you create it roughly speaking? Does it need to align with the world space of the high-poly mesh exactly?
Workflow wise you can either make the low-poly mesh before or after the high-poly mesh. Making it before would make sense if you've blocked out the shapes and are then just building upon it to create the high-poly mesh. Or you could make a low-poly mesh afterwards with the polygon drawing tools or/and primitive shapes. Both are valid workflows. World Space-wise, I believe they have to be the same for the baking to work.
@@JoshAntonio Thank you for the calrification. So to achieve the exact same worldspace, is it just a case of centering the pivots of both models at the same point in the world, or is it more complicated than that?
As long as when you're viewing the models they're overlapping then they're in the same worldspace. You want them to be on top of eachother, and matching perfectly.
very nice tutorial but i have a problem when i go to maya - arnold it looks so bad
Checkout my 'Substance Painter to Arnold Workflow' video, it may help - ua-cam.com/video/g9f0rPC1ENA/v-deo.html
You're amazing
helpful......
Does high Polly mesh need to unwrapped? If my High Polly mesh is mayas mesh not zbrush .
Nope the high-poly mesh doesn't need to be unwrapped. Just the low-poly.
outro song name?
so why did you use this ID map method of separating materials instead of texture sets?
I just prefer using the ID map as a mask on one texture set as appose to working with separate texture sets in Substance. But both have use cases.
Nice, but I try to figure out for a while - how it is possile you added 2 shader (assign material) in Maya, but then suddenly in Substance it has only 1 shader (material slot)???? Can you expand a little bit on this, would helpful a lot as it is really not clear.
Hey so in the video we assign multiple shaders to the high poly asset so we can easily mask. We use this for baking the maps to the low poly. The low poly has just one shader so that’s why only one material slot shows in substance.
The multiple shaders are then projected and baked so we can use that to mask out the wood and metal areas easily.
I hope this makes a little more sense now.
Very Helpful. Do you need to UV the High Poly Mesh as well?
Nope just the low poly needs to UVd
@@JoshAntonio wait, how does that even make sense, isn't the normal map data from the high poly is just applied on the low poly, right??
Nice, easy and simple. Awesome video. Amazing help
Glad it helped!
Hi, Josh ,another silly question( Might same as other ppl). for low Poly, is that waste time to merge every part together, or just stack the parts as long as it looks fine? will doing a ruined building. thanks
You shouldn’t need to merge everything, just stack parts together as you would. Just ensure you have a good silhouette for the bake
@@JoshAntonio ok, I get it. Thanks for the answer! :D
subbed :)
Legend!
Master, one question, when i import Substance Painter textures to Arnold AiStandard Surface it seems so poor , why it happens?
same problem here!!
@@3DArtist-Indie_Game_Developer use open gl n spainter instead of direct x or invert nomals. i use direct x to unreal, openn gl for maya
Do you unwrapped high poly model also or bake without unwrap?
The high-poly model doesn't need to be unwrapped for the bake to work
@@JoshAntonio Thanks for your response.
@@3dsquare85 no problem :)
Is it necessary to bevel low poly edges?
Nope not at all, I just like doing it for some extra resolution in those areas for highlights etc
So you don't need to create a low poly before the high poly to bake it on Substance Painter? Thanks you :)
You can either make the low-poly mesh before or after the high-poly mesh.
@@JoshAntonio Ooo I see, thanks you so much ☺️
@@JoshAntonio surely it’s 100x easier to kind of save a previous version of the high poly model as the low poly right ?
no entendí nada, como quisiera poder aprender inglés fluido :C
how different / same can the shape be between low and high poly? For example if my low poly mesh is a bit more squarish, but my high poly is more roundish due to subdivision, is that still ok for baking? Also, if i have a high poly mesh, how can i change it to low poly if i dont have a low poly one? Would be great to get your opinion on this! Thanks =)
That's something you'd have to explore with and see. It's really dependent on the object and how close it will be seen etc.
Re: creating a low-poly mesh. You could do more automatic methods like with the reduce modifier. But probably most of the time for best results you'd want to manually create the low-poly version of the asset by hand which is optimised.
Josh Antonio so I should always create high poly first and then model a low poly version over it ?
@@ulus2109 Not always. Sometimes I will use the unsubdivided mesh (with a few tweaks), but most of the time you'll want to be modelling over it / cleaning up an older more low-poly version of the mesh to fit nicely.
Josh Antonio got it thanks. ( need to remember not to apply subdivisions hahah)
hi my friend im using 3Dmax i did the same steps but i used a diffrent object but the standardmaterial wont work idk why
i have some doubts... why you don't allow to compute the tangents when you create a new project in substance, some tutorials i watched pick on that option, another question is what about the hard and soft edges for the normal map in Maya and how to cut and unwrap the UV considering those edges... because i have some issues and artifacts in baking process with complex models and i can't find a normalized workflow that can solve this problem, every tutorial i watch is different referred to this topic... i'm trying to bake correctly a WWII aircraft that i've modeled but i'm mad trying during days different methods of modeling pieces and modifying edges and normals for a correct baking between low and high poly and i can't find the solution.
Hey. So regarding the compute tangents question - Depending on the software or game engine targeted to render the texture, this setting may be disabled or enabled. For Maya I leave this off.
For the question about seams. You’re always going to have seams, but it’s about trying to find optimal places to place them, so in parts of the model which isn’t obvious. If you’re struggling baking more complex meshes, you might find doing multiple bakes will work easier and then just combine the maps in photoshop afterwards to get a complete texture tile. Hope this sort of helps...
@@JoshAntonio is a good solution, i thought that using Photoshop for texturing was relegated, i remember when i used snapshots of the UV seams and painting these in PS 10 years ago... but with the substance wigh UDIM systema and the triplanar to mask the border seams at the result texture i didn't know that PS would continues to be useful... the problema of baking piece by piece in marmoset is that they don't support UDIM system... and is so repetitive made UV at 0-1 space piece by piece... another thing is... i have the pri cipal issues at hard edges, i only use one edge with bbtwo support loops but is not so soft i smooth preview Nd with the hp mesh i have artifacts on those placez, maybe you use in your low poly the bevel tool for soft the borders of your pieces?
Ohh, I thought it was a spaceship.
Blender user not my place loooool
no idea how you managed to bake without getting any artifacts at all... been trying for hours and still get all kinds of ugly artifacts... nvm i see you also got weird black spots at the edge of the shield...
Surface Painter is dead Adobe killed it... Quixel Mixer is the future. Great tutorial on the Maya part.
I think your baking mesh is not perfect . please look at your viking shield object edge .lP object edge visible , because I also faced this problem in every time . So please explain me and Give me a better solution .
High-Poly to Low-Poly Workflow Made Simple...wtf. where?