Substance Painter与maya纹理与渲染技术工作流程教程

本教程是关于Substance Painter与maya纹理与渲染技术工作流程教程，时长：1小时59分，大小：1.4 GB，MP4高清视频格式，教程使用软件：Substance Painter，Maya，附源文件，作者：Joseph Roberts，共10个章节，语言：英语。

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。

In this class I will be going over the process of texturing and rendering an old school, Leica M2 camera. This class only covers the workflow behind Texturing, Lighting, and Rendering. In the source files for the course you will be provided with the camera model and a Maya scene ready for you to jump in to.
What will I learn in this course?
Over the 2 hour course content we will go over texturing in Substance Painter before bringing our project into Maya where we will light and render the final piece. While following industry defined workflows I will explore and explain how to keep the project as dynamic and customisable as possible so iterations can be made with ease.
The course is broken up into 3 sections:
Going over the basics of substance painter, this course is suited for those who have never opened up the software before, while also handling more advanced concepts. We will go through how to prepare a scene file for optimal use before setting up our main materials.
Next we export our project to Maya where I will be showing you how to set up and light a studio environment to test out our project. We will go through how to optimise some render settings to get the most realistic and efficient lighting. During this step we are able to assess the look of our camera before returning to Substance Painter with creative notes on how to successfully iterate and improve our textures.
In the final few chapters I will cover more advanced techniques in Substance Painter in order to achieve photo-real materials and effects. Armed with a suitable lighting setup in Maya we will make iterations on the project as they do in a professional setting until satisfied with the final result.