Height: This map can be used as a bump or displacement map.

Most Metal/Roughness shaders will do this remapping under the hood. For metal elements, the colour will be plugged in as specular reflection as metals in reality are all specular reflection.

For non-metal elements, the colour will be plugged in as diffuse reflection. Base color: this contains colour information for both metal and non-metal elements.If you press the C key in Substance, you’ll be able to switch between the texture maps, including: Reviewing the Textures in Substance Painter What I have done is use a combination of metal presets and non-metal presets from which we can generate all the maps we’ll need for our shader. I just merely slapped them onto the model 😉 In fact, I would go further and say – I’ve done around 5% of texturing and used other peoples work from the wonderful team at Substance as these presets were created by them. I’ve baked some Mesh Maps and then I spent a few minutes using a combination of presets to create the following set of textures. …and in Adobe Substance Painter 3D Painter 7.4.0, I’m using a Metal Roughness template, UDIM workflow and I’ve enabled the OpenColorIO Color management profile.

For more details on the setup, check out this doc here:Įxtracting a 32bit Displacement Map from ZBrush In Maya 2022, I have a skull model that has topology and UVs and I’ve applied a 32bit displacement map extracted from ZBrush. Although we’ll be using Substance, Maya/Arnold, you should be able to follow along in any PBR supported application that uses the Metal/Roughness shader model.įor more information on PBR-based shading and rendering, make sure to check out the Substance docs here and Physcially Based Shading at Disney:īefore we begin, let me give you a breakdown of what I have so far. For this walkthrough, we’ll be prepping our texture maps in Substance Painter and then setting up our shader in Maya/Arnold using the Metal/Roughness shader model.

Substance painter to arnold 5