Author Topic: Can Substance Painter Project like MARI?  (Read 5028 times)

    Hey guys,

    I had wanted to follow the method Adam Fisher used in creating the skin details here.
    https://texturing.xyz/pages/adam-fisher-making-of-priestess

    Is its possible to replace what he does in MARI with Substance Painter?
    Because he uses MARI>Zbrush>Substance Painter

    Was wondering If I could just do it like
    Substance>Zbrush>Substance
    __________________________

    He says

    "In Mari,

    I started projecting the displacement textures.

    I used the Copy Channel Adjustment Layer to export out each channel individually. This allows for more control over the details in Zbrush. Make sure to flip the exported maps vertically before applying them in Zbrush.


    In Zbrush

    I created a layer for the each of the maps and stored a morph target, before applying the displacement maps.

    To apply the displacement maps, I loaded the maps into the Displacement Map input slot and adjusted the Intensity until I found the result I wanted and hit Apply DispMap. Having each of the displacement maps applied on different layers allowed me to then adjust the intensity of each of the layers to control how they looked together. There were some areas of the skin, where the bumps were a little more intense than I wanted, so I used the morph brush to soften some of the more severe bumps.

    To finalise the model, I created another layer to sculpt in some more details and clean up any areas of the projection that needed it.


    Substance Skin Painting

    I decided that I wanted to do the majority of skin painting in Substance Painter, but first I did a quick projection pass in Mari using the Female Face 20 FullFace #07 maps to get a base to work with. After importing that base projection into Painter I was ready to start painting. I like to work with fill layers and paint in the layer mask because it allows me to easily adjust the color as I go.

    Substance Painter has a powerful procedural system that can help to speed up the painting process by layering a few procedural textures on top on one another. After I’ve painting the base skin tones, I then start adding details like skin blemishes.

    When painting the skin I like to use some custom scatter brushes with various alphas. In Photoshop I extracted a few areas from the Female Face 20 FullFace #07 maps and created some black and white alphas from them. These alphas were then used in the previously mentioned scatter bush to add a subtle realistic looking effect to the skin texture.


You can do projection painting in Painter, but functionality is limited. For example, there is a pretty neat lattice tool in Mari to distort images, which will be very useful when you want to match face textures to your actual face geometry.

There is, unfortunately, no such tool in Painter yet. You can only project images 'as is' onto the geometry. Might be the reason why he uses Mari in the tutorial to get a base to work from.
Last Edit: May 03, 2017, 05:41:45 pm

He's using mari because Painter can't handle the image size of the images he's using from texturexyz. They are around 12K and up. The ability to use extremely high resolution images to create high resolution texture maps is what makes Mari great. It can handle huge amounts of data which is why its popular among film studios who need that level of detail.

I recently did the same straight in Painter.
I worked in 4K, painting always in the same, single, layer (this speeds up the performances).
I exported everything to 8K in the end.
Surely I missed the lattice tool to distort the projected image, as volker was saying above.
Of course if you need extreme close-up, you may want an even bigger resolution, but 8K did the job for me.