what's up guys it's brent leblanc back
with another look development guide
today we're ever using substance
designer to make filters for painter for
this desert rock scene let's get started
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for this tutorial i'm going to start a
series that I'm working with TD you Mike
and Jasmine who I worked with previously
they're running a like an education
website so you can check them out here
gonna be working on this set so this set
was modeled by denyen oh yeah
and this concept right here was done by
Noah Bradley and this concept of this
house was done by lip comer Ella so you
guys can check those guys out I'll put a
link in the description alright so this
little desert rock here so I'm gonna
start trying to build an art board for
this
it looks like alright so just kind of
standard rock material so let's go into
Google and start building up this art
board here
all right so this would be like our
clothes
friends some of the medium shapes big
shapes here all right so now I got
substance designer up in here I'm just
gonna load my my rock mesh alright so I
just loaded my rock mesh and I'm just
gonna drag it and this is just little
start set up that I have so I can start
messing with stuff alright so let's look
at this reference again so I think the
first thing I don't want to do is try to
make these big shapes and try to put
these these big shapes into a filter
that I can use in painter not entirely
build it in here just build like signals
and controls that I can use to build the
rest of this stuff from the medium to
the high frequency that way in painter I
can do some unique rocks and stuff like
that
full disclosure my designer skills are
really lacking there's a an array of
people that I should make shout out to
that are really good for this so me I
just usually stumble around in here
so I'm using this clouds and a blur and
levels and I'm using it as the the warp
input for this gradient radial that I
have here
to discover some different ways that I'm
going to get that shape so this creased
signal here seemed like it would be like
a good kind of overall shape breakup for
the medium shapes and then used it in
that warp to kind of change its
direction to get that kind of medium
frequency and it seemed to work pretty
well for that first layer I'm just gonna
run a slow blur through it and kind of
break up that edge and chip it and from
here I'm just kind of floundering around
trying to find different shapes and how
to mix them together to get the signal
and I wanted
all right that's kind of an interesting
kind of interesting shape let's try to
use a slope ler
so the slope blur is gonna add that kind
of irregular choppiness that off rock
often has so I'm just messed about the
intensity and things like that to get
there again just messing around with the
different blend modes and the different
modes and stuff like that always working
on height first everything else comes
afterward where that's just a little bit
kind of got like a the big rocky shapes
I clean this up a little bit if you
click on a note any Adi it kind of nests
it inside of the other node that way you
can be a little more organized you can
always access by hitting the again or
just clicking straight on there and if
you hold alt and left click on a node it
will show up in your 2d view so it's a
good idea to kind of stay keep
everything pretty clean at a frame now
let's work on this kind of
stratification layer right if that so
it's flat
mm-hmm could be an issue and I have to
read lay out the you've ease
but let's see if we can get away with it
cuz I kind of want them going this way
alright this never seen this one
warp angle input
very cool
we used this one before but this looks
pretty interesting
all right so it has a warp angle input
and an intensity input so you could put
different stuff in there so it's like I
use a cloud noise for the intensity of
home
do a flood fill alright so what this
flood fill works is that you need to
have an end because I want to do a
random grayscale for each one of these
things so they can go in and out so we
need to do is take these stripes and
then cut it out with this polygon like
by multiplying it that way that it cuts
out the the stripes from going on
forever we run them through this flood
fill so that it can identify each stripe
individually so that we can run it
through to the flood fill to a random
color so that we can use that to run
different randomizing operations so now
I'm just doing it's taking that flood
fill to random and then just researching
it and then we can run it through our
warp so that we can get some of that
stratification going alright so now
we're gonna take that result put it into
the height to kind of see where it's
going and you can see that it's not
directly going in the right direction
that we want on all the sides so what
I'll do end up doing at the end is I'm
gonna put this into its own control and
then we'll be able to send it over to
painter and then do like a try planer so
that we can get it to go evenly all the
way around the tile now the next thing I
want to do is add some of these these
dots in kind of a higher frequency
detail and maybe add in some of these
cracks and things like that too but
first let's try to get these little dots
here right so I'm gonna make like a tile
sampler
now the reason I don't use the regular
inputs in here is because if you do a
pattern input you can modify this later
in your graph it's just a little easier
to modify and put new inputs in there so
that's just why I do that
so what I'm gonna do here is I'm just
gonna take these different shape inputs
put and put them into the sampler and
then start messing around with the
offsets of them and then just putting it
into the height so I can preview it and
then I'm just messing with the scale
random the position random and just go
in there and like mess around with
different settings to just you know get
the variation in your sampler so one of
the things that I don't want to do is
like get too much into the weeds about
do this do that
hit this setting hit that setting and
just give you like an idea of what I'm
doing here so you can kind of build up
your own workflow but what I did here is
I just took those those medium frequency
dots and I just duplicated them and made
a smaller frequency version just so that
I have two sizes to work with
all right so now that we got that I'm
gonna do a multi switch grayscale it
will do three inputs so we'll do the big
shapes first stratification second in
these little dots last so I think we
need to make one more input for those
racks on this non uniform what is that
new one
Alti directional wore interesting are
that like these new nodes
I haven't even messed up I don't even
know this one's new but I've never used
it so now what I'm gonna do is just use
that directional scratches put it
through this a multi-directional warp
and then use that Gaussian noise to
drive the position offset for it and I'm
just you know trying to get that the
shape of jagged cracks that you would
get into like a rock face or something
all right so one thing I'll do is now
that I'm kind of happy with these four
signals that I've got going
perhaps the dots stratification and kind
of these bigger shapes here what I can
do now is start making a few handles for
each one of these so that I can control
them in painter a little more
intuitively okay so let's make another
frame for this so we remember now I want
to change the scale of these cracks with
a handle and painter so I'm gonna go to
expose change it to new and just name it
whatever you want
double-click on the graph here and it'll
show up my input parameters now I just
want to go in and set my default value
my men value and my max value so I
decided about 16 is probably the most it
ever need so I just left it at that and
then now I'm testing the parameter to
see that it's working right so this is
the slider that I would see and paint
her alright I think we can get some
pretty interesting stuff out of that all
right so that's the first one I'll go
back to our multi switch so I'm just
gonna go through the process of
authoring the rest of the handles so
that we don't have to watch that whole
process it's just the same thing over
and over all right now we're gonna
export our parameters here and we're
gonna make the filter so we can use it
in painter
all right first thing we want to do is
we want to import our filter so to go
over my shelf import resource and then
rock signal filter here and I'm just
gonna do this in current session for now
because I don't know if I'm gonna go and
change it later
there's our filter there alright so I'm
just going to go through the library
here and look for a like base rock that
we could use
all right let's do all of our bakes I
just have it off over here I'm just
gonna bake the worldspace a man
occlusion curvature position thickness
and we're start with 1024 that's fine
you as low as high and I'm just get use
default settings all right so now we got
all of our bakes done most of my menus
are over off screen I'll bring them over
if I need to show you anything all right
so let's take a look at what kind of
color I like I'm going for I will be
something like this actually
bring over our properties here one thing
I want to do is I want to turn on the
new displacement so and I'm going to
turn off a oh let's see
our it's on scale just point zero one
also increases subdivision count I want
you to start try to get that local color
then I'm going to increase the scale
that's a good starting point for the
base so let's make a fill
and they have a heightened color and a
black mask at another fill all right so
I have my rock filter here and I'm going
to just put that into my uniform
grayscale go back to my fill here and
let's just turn off color I'm just gonna
start increasing a height scale get rid
of that seam try planar yeah that's
right so I'm just adding an anchor to
this big shape rock if I ever change the
scale this it'll automatically update in
here at a fill and I'm gonna look for
this rock big shapes
I wasn't negative one levels height
invert that way it's going in and out
but I'm just going out or just going in
all right so now if I change the size of
both change together now what I can do
is add the disp
one trick to get rid of displacement
seems like that is you can add a
generator right here a UV boarder and
then I'll multiply
in inverted
it just takes away if we turn that off
you can see it's pinching
put this into a folder disk
at a black mask a white mask and we'll
do the generator ours
No
so now I'm just gonna try to mask that
edge so that that height doesn't bleed
over and be obvious that there's a scene
there
first I'm going to add a filter to warp
that edge
just an intensity multiplier to you know
basically just gives you a factor of 10
for intensity so it really breaks this
slider it's gonna increase the blur
amount for the source which is basically
when you're in in designer when you're
using like like a noise to warp a shape
that's kind of the same thing it's just
has a noise built-in you can also do a
custom noise here
I do that a little bit I'm going to blur
this
working one thing we gonna do kind of
break up this very Eden in out signal
and just add a fill here others clouds
now we got like a little interesting
shape happening here I want to change
the color so I'll just gonna re
reference my rock filters big shapes
here I'm just gonna add a layer and add
HSL and set the under base color I'm
gonna set the amount or the type to pass
through sided making since this is in a
folder I had to set the folder type to
pass through as well
with a darken at a black mask I had a
fill-in there I'm gonna reference my big
shapes here that I made earlier
I actually tried different strategy here
let me try to lighten it
there was a line here that I don't
really like so I'm gonna actually
reference my curvature or thickness
I'm actually what I'm gonna do is how
this is like daisy chained together I'm
going to add a filter down here and a
fill started off let's call this
curvature that way I can control the
curvature separately actually so I can
see the mask easily
so I just turned off its contribution
because this is just going to be used as
an anchor system I'm gonna grab the
let's try thickness first
because I'm using a try planner I'm
getting that weird edge I'm trying to
multi out that a little bit
right so why didn't use it directly
because I want to re level it also do a
blur alright so now it's actually not
doing anything yet so I want to add a
Anchor Point curvature anchor there at
the bottom of the stack so that I know
now you can see this little weird edge
here because the try planer we got rid
of that where there's the seem a little
bit bill curvature anchor yes before it
gets that edge
better job that way when I'm finishes is
I can use it as a smart material a
little smooth on the edges but it's
better than like some huge egregious
thing and we'll do some other blending
and stuff to get that to work a little
better now I'm gonna work on the
stratification you can see on these
lower areas it's kind of where it's
showing up
fill in here
and just as practice gonna start from
doing all of my different signals at the
bottom here bill that way I can
reference them back at the top all right
so I got my strata anchor let's move
that to the strata area and let's do try
planner so these ones are okay this top
one here's the control CTL all this and
okay so we got better rent and I'm out
of control now we can reference those
however we want and then the scales will
move together which is exactly we want
so let's go here at a black mask if Phil
now we can reference our strata control
or our strata random notes actually use
the strata random first I don't even
know if I use the control we'll see add
this one
as this top layer really shouldn't have
this strata because it's cutting through
like this
let's try world space that'll work
okay we're gonna do - I need to nest my
world space normals inside of the layer
and copy this layer
mask paste
chamber
I have this signal cut out this part
with this strata height
so I want this little sandwich to be all
the strata cut it out like that flipped
it now it's only happening on the side
of the rock hope that makes sense
let me just warp this signal a little
bit
sweet alright so another thing that I
see that's going on here is that it's
kind of cutting in and out so I'm gonna
use these bigger shapes cut out that
part out of fill and I'm just gonna
leave this strata height one clean and
just modify from here now click this
fill and I'm going to reference my rock
big shapes
I'm gonna multiply that
now what I can do is
I'm gonna make an anchor for this
what I can do is use this anchor
color information gradients gonna add a
fill about a random-ass radiant let's do
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you
I also want to warp this strata a little
bit
warp this with a custom noise and I'm
gonna use the rock big shapes as the
driver
custom noise
add little dots its gradients so let me
make make another fill under the
gradient to add linear
like a white sauce
all right so let's start adding in those
little pock marks so I'm just going to
create I'm just going to duplicate this
layer and I think that's the only
control that has is he just on and we
get his recruit and clamp that later
okay so so far we've got strata big
shape so now let's make those pox
let's do height for now at a black mass
bill then we want to anchor Ock control
and I'm just going to break up the
repetitiveness of that
now I'm going to add a
filter in here Jess l-let the layer to
pass through just gonna add an anchor
pock masked bill modify this roughness a
bit
learn a bit
strata as well you know I'm gonna use a
damask cut out some of these Fox
my guess is a lot of these pock marks
happen from like bubbling this is
totally a guess let me just save this
because I haven't saved it the whole
time I've been doing this I'm just gonna
add one more layer on top of roughness
breakup think what I can do ace color
so I'm just what I did here was I just
taking I just made an empty layer and
I'm just referencing the color when I
did when it's normal it's blank I did
pass through its gonna gather all the
color layers and put them into this
layer and I just turned it off
and then I'm just sampling it and then
I'm using it to just kind of read rive
some of my roughness
I'm gonna use that as the the base and
they're gonna run some noises through it
as well
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alright this rock is
a bit I think I need to get some more
intensity in some of those colors
increase that HSL alright one thing I
want to do is just add an overall
roughness breakup
like my spots
just want to get some speck in interest
I want to get a little bit of Sun
bleaching on the top so let's do a fill
I mean a layer add a filter
Saru right now
is massless generator bytes
this by those cavities
you rock big shapes why
this
dark areas are in the cavities I feel
like in those strata areas there needs
to be a bit more roughness spec
but at the top here
like masks bill strata Rand masked
I'm going to try to imply that there's
minerals in there or something
and then I'm gonna add a fill our
gradient flakes
you usually use that same mask to drive
a little HSV shift
I feel like I'm just missing some like
really heads hits look for a good
pattern here
I really want to add some of those that
really high-frequency stuff so let's
revisit that other strata that I had
down here big shape medium frequency
and I still need to use these cracks so
we'll do that next I need these to be
separate or this one
on top
you
we mask
those areas
you
symma cracks
all right for this one we want the last
one
filter in there
I want to warp the
the big shape
I'm going to add a slow blur which now
is in here which is so cool from the
designer now I'm just using that slope
to break up the cracks said they're a
little worried regular
now I don't want this to get too noisy
so I'm gonna take those that crack
signal and try to break it up a little
bit and have a little bit
all right now I want to add dirt and now
that I spent all that time making this
save this to my library so now that I
got this rock I can throw it on to other
objects and it should work out pretty
well using all those procedural
techniques to cut those corners and the
height and all that stuff so now some
cool stuff that we can do with this mud
let's desert quality all right so now
what are we gonna do one of the cool new
features of this new release of 2019 0.1
0.0 is compare masks add masks with
height combination so what it's doing is
it's evaluating this mud and it's
evaluating the desert rock that I made
all the height information it's filling
in the areas of cavity based on these
parameters up here
so I do with intolerance I can change
the tolerance
eat away don't really want it to do that
though I want it to be either on or off
so I want to do greater than so any
areas where this dirt is a greater
distance and height from the cavities it
will push or it will push out in those
areas and add dirt to it one way that I
can manipulate that is right now the
only attribute that I have is hardness
I'm probably one I have a little bit all
right now what I can do is go down to
its height range or its height position
I mean if I start messing with this
I'm pulling it up out of those areas
that it's like filling the cavity of
that rock
then one more stepping to do
use a linear gradient you only to mask
it up to it's it's a kind of anchor
point and I want a 3d
go to that height again and then I'm
gonna
pass through
I don't want it to break the silhouette
of the rock too much
actually instead
take her mask
and put it into a new folder because I
want to mess with the how that mixes a
little bit
and what that line to be a little bit
irregular you know what we could
actually warp that edge by custom noise
and use the big shape alright and now
you can use this buddy your gradient
increase or decrease for that dirt
alright so I'm gonna finish this is my
first rock I'm just gonna go ahead and
do the same process for all the other
ones and then we'll move on to the
ground plane in the next video alright
so that's it for this one please like
comment subscribe hit that Bell for
notifications I look forward to doing
this series with you guys and kind of
exploring different techniques so thanks
for watching
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