Looking cool! I'd say add breakdowns and workflows. I'm not sure if your work is PBR, or what your wireframes look like, or what your UV mapping looks like. Include these in all your projects.
Here's how you get something that starts to look realistic Good model and UVs Textures that follow PBR guidelines Using a render/engine that does realism well Using the lighting correctly Some post processing
Wow, seeing this makes me want to know more about shading in UE4 and PBR in general. That thing about the normal and height map is very interesting. Could you point to some nice resources on UE4 shading?
i just assume c4d uses a specular/glossiness workflow, so you will have to convert your maps from metalness/roughness to that here is some info on that topic http://www.marmoset.co/toolbag/learn/pbr-conversion
Also. If it would make your art look better what's the problem with tweaking stuff? Pbr means it needs to look bland to adhere to real world? You're still making game assets. Trust your instinct.
Our PBR computation is identical, but the viewport system is different between Substance Painter and Substance Designer. The shadow feature is present only with Painter. To get a similar feature in Designer you have to switch to IRay instead of OpenGL.
@Fil85 You can switch the HLSL drop down to Interactive instead of ShaderFX. If you are using Max 2021, you can try the new PBR Material (that I helped implement) and OSL nodes.
It's been awhile, but I remember being impressed working with Arnold. If I recall correctly, the PBR conventions from realtime had a lot of carryover. Definitely worth a look if you have Maya already.
To add my two cents in the mix, as 3dreaper said, using Marmoset Toolbag 2 is a good idea. The program uses the same PBR shader as UE4 so it would look identical compared to inengine.
Took a long detour on this project not sure why... i was working on and off on it but i am trying to finish it this week end while learning UE4 Pbr stuff is hard... Here is my latest shot