True that comment was a bit over the top I am sorry. But again from my experience outsourcing studios seem a few months or years behind some AAA companies when it comes to workflows. It is going to be a process, but I am sure that with time this will become second nature to anyone in the game industry. Working in a AAA…
PBR does take some getting used to but it is awesome especially how some people can put so much into the Albedo it can still be worth while. Thought the same way about being "replaced" or situations seeming as if that is the goal, but i don't see how anyone can automate creativity as a whole so like others have said you…
@Count Vader Most definitely not. :) Programs like this are meant to be used to give artists a head start in texturing (60-75% of the way there or so) with the remaining 25% of polish being left to the artists to do in more traditional means. The biggest mistake that an artist can make is running an asset through such…
man if only my threads on P&P had this much activity haha ^There are all interesting insights. I'm still trying to wrap my head around pbr/metalness workflow, I've read over the 'pbr in practice' article on the marmoset site but am still confused with regard to what exactly I'm supposed to be doing differently/what to…
I was just going over some presentation of a new material/shader approach from RAD studios, where they were talking about masked/composite materials. With the introduction of UE4, it looks EPIC are tailoring towards a very similar thing. Couple this with the introduction of 3d scanning, and software like dDo, and it seems…
I've found PBR has made me change the way I texture for the better. Instead of working on one texture map at a time to completion like I used to with a diffuse/spec/norm setup, I now work on each map at the same time, trying to nail my base colours for the albedo and then adjusting these for the gloss/metalness before…
Really a lot of the tools, like substance designer or DDo, just automate what you should have been doing already. In an environment setting you would normally find out what looked good for certain surfaces in the engine and then repeat that on every texture in the scene. The tools just save you from having to repeat the…
It's also just that with PBR texturing the maps become much more abstract. We all used to be able to see at a glance if a diffuse or specular texture would work well, but now with PBR that's much harder (I often get this feeling it will look bad, when it doesn't). That's why you need these new, better tools to create…
I believe blur has used standardized materials for years now. When you switch to a "PBR" setup with standardized materials you aren't losing any artistic freedom. It's just a different kind of work. I imagine that we're going to start moving closer to a prop designers and industrial design type workflows in the near future…