Automatically connect substance painter textures
If you use Allegorithmic’s Substance Painter for a more traditional workflow in another 3D applications like Maya, you may find that linking all the textures can easily get out of hand. Reconnecting Substance painter textures can take some time. One 3D model can be made up of many components, and each component, a shader, and each shader has a number of channels and maps. All that can quickly add up. Especially if you need to connect all of the Substance Painter textures into new shaders in Maya.
Thank you for taking the time to report an issue.
What's wrong... Please write below.
Setting and placing textures directly into the file node in Hypershade can be really time consuming. Especially if you have tons of textures to get through. By dragging and dropping the files from the desktop right into the Hypershade window, not only do the files all get loaded up, but Maya will automatically create and associate the files with a file node for each. Much faster.
3ds Max users have some powerful noise shaders/textures, like the Bercon noise, which as far as I know it’s not available for Maya. In this post we are going to explore some 3rd party noise textures, part of the alShaders library, that will give you more flexibility than the standard noise/fractal textures.
Maya XGen textures are driven by PTex, but that doesn't meant that you can't use Photoshop or UV textures. Maya XGen has come a long way, and enjoys updates in workflow between releases. Maya XGen can be driven by image maps and textures. What you may not realize is that Xgen uses Ptex, not UV’s to describe images, behind the scenes.
Ptex is an open source texture system developed by Disney, which does away with UV assignments. Even though Maya XGen runs on Ptex, that doesn’t mean that you can’t use UVs and Photoshop to create or adjust your textures.
This is set of triks how to organase workflow with complex scenes using MtoA. You can reduce amount of shaders in scene and speed up look development with one material and individual textures on each object. With this setup, shapes share same shader but has their own textures.
If you want to put textures on to your polygonal 3D model, then you need to create a UV texture map to make sure the textures line up correctly, otherwise they will appear stretched and blurred. It is fundamentally important because you will use the same map for colour mapping, bump mapping, specular mapping, etc.
I noticed a certain lack of interest for game-related environmental texturing in the 3D community. This tutorial is targeted at medium level users and will present the process of texturing a photorealistic building that has already been modelled. I will focus on the texturing process in particular, even though the modelling and UVs are also important for the final look of the building.
Sometimes all you need is a few lights and a couple of textures to create a Virtual Set inside of Maya. After all, you're characters have to have somewhere to play! This quick tutorial by Stuart Christensen will show you how to easily create a virtual set in Maya that can be used for advertising, video games, film or anything else you can digitally imagine. This tutorial will help guide you through some challenges with achieving transparency in textures and dialing in some parameters for lighting and shadows.
I will try to explain the techniques that I used to create this image. I will focus mainly upon the textures/shaders part.
The following describes how I setup the UV's for my model in order to paint the textures.
For the textures and fur I added two Spherical Mapping nodes to the ball. The UV Layout is shown in this image.