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Messages - zeppelin3855

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16
Hi.

I have a problem that I've been struggling with for so long time. It's about tile generating for something like foliage.
As the images are showing, there might be two cases after tiling with the tile generator.

As for pebbles, I think going like the top image looks reasonable. As for foliage, however, I definitely want to have like the bottom one.

Are there any handy ways to achieve this just using the tile generating nodes? Setting the luminance random value to max worked but that was not enough to get the best result.

I really need help for this and thank you very much in advance.

17
@justaviking I think he just wants the pyramids in front of the bricks, but only where the seams are.

This can be done with the tile sampler node.
Plug your pyramid, or moss or whatever in the pattern input.
Make a white mask of where you want to splatter it around. Then plug this mask in the mask map input.
Then in the tile sampler go down to the color tab and increase the mask map threshold.
You can go through the other options in the tile sampler to make it splatter around randomly.

And then blend it with the rest of your image whichever way you want

Hi.

Yes. That's exactly what I want to get!
I didn't realize what tile sampler node does with its own dedicated features before you gave me help. I just considered tile sampler as a tiling utility like other ones(tile generator, tile random, etc.) I'm gonna give it a try and practice until feel happy.

Thank you so much and have a nice day:)
 

18
Maybe (probably) I'm missing something, but isn't that just a simple matter of which is the foreground and which is the background in a blend node?

Hi.
What I want to do is to place the pyramids along with the black line appearing some randomness applied not just to blend above bricks. I should've told this to make things more clear.

19
Hello.

I have a problem with positioning something on specific area. Here I have some photos.

After splatting an sample (Fig.02 just suppose that it's something like moss) and when it's gonna be
blended over only the black area of Fig.01, I have no choices but to get the result like Fig.03 for now.
But that's Not what I want because as you can see, the bricks are cutting the samples.

My goal is to get a result like Fig.04.

Are there any tips or tricks for this?

I often find Substance art works that have this issue solved via Artstation.

Thank you very much in advance.


20
I guess I've solved this problem by myself(I hope I made it).

At that time I posted this thread, I didn't notice that there are two sort of advanced tir-plannar projections in SP.
One thing belongs to the generators and the other thing does to the filters.

If I go for the one that belongs to "the generator" and if it is to work for masks not layers, I SHOULD use the dedicated input slot that located at the bottom of the parameter list. It's labelled "mask" and takes single noise or grunge.

If the generator has empty mask slot and just locates over "Add fill", even though the "Add fill" has a grunge, the generator doesn't seem to work in proper way like the photos above. The mask slot should be filled with something.

I've tested out for this with MeetMat(one of the samples) data and got this conclusion.

21
Hey, no you can't do this: when you import, you duplicate the original texture into the folder you just mentioned, that is referenced by your sbs package.
If you want to share this package with other people, oyu can export the package with dependencies (do a right click on your package in the Explorer view) or you can publish your package as a sbsar (in that case, all the necessary resources awill be embed in your Substance file).

Hi, Mr. Gault.
I fully understood what you said.
Thanks for the kind answer as usual.

22
Hi,

I found that importing bitmaps creates a folder named "package name.resources".

If I miss the folder, the graph also gets into error. In order to avoid that, I'd like to embed all the bitmap resources to the package with no sub folder.

Can I really do that now?

Thanks in advance.

23
Hi,

We have two types of tri-planar projection feature in SP. Old one and advanced one.

I just guess that old way operates basing on low res mesh while advanced way does with textures(worldspace normal and position).

In my experience, old way is also very awesome but when I applied it to the mesh that has hard edges like fig. 01, it didn't work well.
So I added advanced tri-planar projection filter to fix it but I couldn't get better result(fig. 02).

I've seen the result like fig. 02 in Substance Designer too. So I suppose that projection using textures creates artifacts in a specific case.

Sometimes both of them works pretty well but I hardly get the clear point for how I have to utilize with them.

Are there any tips or conditions for better use of tri-planar projection feature? When should I use old one and what's the benefit of advanced one comparing to old one?

Thanks in advance.


24
At last I found the reason why this happens.

It comes from the difference between pixel gradient and vector gradient. The artifact happened on the very narrow triangles and in this case, the normal map's corresponding area doesn't have enough space to compensate the low poly mesh's shading error.

So I think I should choose either separating SG or avoiding extremely thin triangles like that.

(I'm so sorry. I should've posted this thread in discussion section.)

25
Hi,

I have a problem with baking normal. It's about wire bleeding(Can I say it wire bleeding?).

As you see the photos below, some lines which came from low poly have been drawn on normal map.
I've set the 'max frontal distance value' to very low and the low poly has single smoothing group.

I guess setting multiple smoothing group would help for this issue but I really don't want to go that way because multiple smoothing group creates hard edges.

I need advice on this and thank you in advance.

26
Yes, that's right :)

Thanks for letting me know what that is about:)

27
I suppose that I've got things wrong. The transparency doesn't seem to matter.

As shown below, every normal sources under Hard Surfaces doesn't have transparent area outside of it. Only thumbnails show the transparency for better notice for users. Is that right?


28
Hi.
I apology for the beginner's question in advance.

I've been trying to make a normal source for using in SP but couldn't get it. I'm using Substance Designer for that.
I prepared a simple graph for better understanding as shown in Fig01.

We have a lot of normal sources under 'Hard Surfaces' category and they(not all but almost) have transparent area on outside(Fig02).

How do you get exactly as they are? I just suppose that transparent means complete black in SD's grayscale node but in my graph, the outside of overall circle can't be black. Of course I could manage to get the transparent area with some blend nodes but actually it was struggle to me and I guess there should be much easier ways.

Do you have any tips or tricks for that?

ps. I have one more quick question. After editing normal in SP, can I feed the changes to AO and curvature map inside SP directly? I know utilizing custom filter is one of the ways but I'd like to know if there is a dedicated function inside SP.

Thanks in advance.

29
Hi,

The presentation itself may be a bit misleading, because it supposes you can affect the mask layers with custom channels, but that's not possible atm (the blister filter also uses a green key color for further masking).
Also, there is almost no documentation regarding custom channels, which leads to some confusion.
The "age" channel is just a custom channel with a custom name (string) done is SD.

These custom channels have no effect (only on the default in and outputs) on the default shaders in SP, unless you create your own plugin + shader.
If you look at the other presentations, the main purpose of these custom channels is the ability to export masks, stored in these channels, for the use in unreal engine.

Regarding the blister effect itself - it's not that complex. You can achieve this with (exposed) histogram scan and some additional height map blendings.
You can find examples on substance share or here in the forum -> "peeled paint/metal".

So, if you don't need a dedicated pipeline workflow for exporting custom masks for you engine, you don't really need this kind of custom channel filters, a material/ substance is sufficient.

Hi, Deck13

 Thanks for your comment but I'm not sure if I got the point you want to say correctly.

 I've done a simple test along with 'heat channel demo(it shows at the end of the video)', and I've also attached the result as shown below.
 I'm happy with the result even though it's not so perfect as Bradford's heat filter. I did not create my own plugin and shader for that. As you can see from below, I created a simple heat mask in conjunction with heat channel.
 So I think it's ok to conclude that I can affect the mask layers with custom channels without any other specific shader. One more thing I found is that custom channels should be set BEFORE you add custom filters to the layer stack in SP. I don't know why but it's true.

 And I also set the drop down option next to channel name to L8. I'm not sure if it really matters. I just did it like that because Mr. Smith did it so(Actually I'm not familiar with such technical terms. I'm learning little by little).

 I've achieved what you said that it's impossible. Did I get your point correctly?(I probably couldn't for English is not my native language.)

 Speaking of the usage of custom channel in SP, it seems that I still need to work with it no matter how my project policy would be. I mean even though my project doesn't need me to export the custom channels out to the game engine, I think using custom channels looks very handy when it comes to combination with mask generator or brushing.

 What I couldn't get is of the paint blistering filter, especially the way how I organize the nodes for purpose of conjunction with custom channel in SP. Where should I feed the input node to?

 If I miss something important, let me know please.

 Best Regards


30
Does it have to do with FxMap? I suppose so because FxMap works for controlling number and position of sample. But I still don't figure out the way how I control them via single channel in SP even if FxMap might be the key.

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