It brought me new ideas that I would not have considered by tweaking the large spectrum of available options. Working in tandem with two procedural softwares (SpeedTree and Substance Designer) helped me to iterate more to find the best solution for my project.
Substance alchemist masking software#
SpeedTree allowed me to focus on creativity, optimization, and overall coherence while the software managed most of the technical parts of building foliage and mesh placement I simply adjusted these at the end as a final touch. It is used to extract information from photographs, to create 3D models and textures. Photogrammetry is the science of making measurements from images. This project really helped me to discover how much I like creating environments and, more specifically, foliage. Sampler is using photogrammetry to transform images into a mesh with textures. I think I would push the polycount a bit higher in the future to obtain foliage that would be more suitable for the current AAA standards but still maintain a certain number of LODs to keep it optimized. I would also love to explore procedurally grown vines more, as I’m planning on doing in my future middle-east ruin project, which will be the next part of the Aorta Valley’s story. With SpeedTree, my next step would be to create plants and trees using ZBrush bases, like a trunk or a photogrammetry asset, and build much more diversity in both shape and texture. What are you looking forward to creating next?
Substance alchemist masking update#
If I want to change the color inside Substance Designer, I just make the change and click on the re-export button, and it will automatically update in SpeedTree. Then I am able to export it with a specific name to my SpeedTree project.
It’s the same the other way around too: I can transform my normal/alpha maps inside a group of nodes to create the color/roughness/subsurface map of my coral. a legendary substance that was believed to be an essential ingredient for. If I need to change the plant shape on the fly, I can do it in SpeedTree, re-export the normal/alpha with the same name, and it will update inside of Substance Designer. Alchemy has been practiced in Mesopotamia, Ancient Egypt, Persia, India. I can create a specific coral shape in SpeedTree using non-destructive generators, then use the “Export Material” button to transfer the normal and alpha maps of the foliage into Substance Designer as “Linked Resources” with specific names.
I am able to quickly iterate, switching from one software to the other without having to struggle with everything else. SBSAR files are working great inside UE4 and I would happily see them inside Rhino.Speedtree, as a procedural software, fits well in my workflow because I use it in tandem with Substance Designer. I am mentioning this because I wish that Grasshopper one day will be capable to do more in bitmap field. As far as I saw, Grasshopper is superior among all node editors in terms of data readability and possible tidiness. I wanted to change brick pattern and always I run into some or complications with the data flow. Sometimes I tried to modify some bought SBS brick textures.
I was using Substance Designer a bit, but It wasn’t always that pretty. I made a topic on their forum long time ago and talked with someone from the stuff but unfortunately, nothing changed in the newest UE 4.24.Īlso, thanks to Blender supports importing … Is there something unusual about texture mapping data in Rhino? Could it be problematic for outside developers to use it? I’m writing, because after 1 year and 3 big updates of Unreal Engine they still didn’t solve the problem with texture mapping of Rhino objects imported to UE4 through Datasmith. Texture mapping data of Rhino objects in other software Rendering WIP
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