Due to some changes, the entire boat project took around two weeks. The important part with Substance Painter is that due to the ability to work quickly, I had a rough material pass in one day which later went out for approval by the director, Matthijs Van Heijningen. We assigned base materials to all the geometry to decide the look. After approval by Matthijs, we worked on the details of the material, such as dirt, rust, grime, and water. After that, it was really just quick iterations that ended up changing the body color a few times before landing on a final version. The iterations and process would have taken longer in other programs. The boat also had multiple texture udims, around 40 of them.
After all maps were exported using the Arnold Udim preset, it went back to look-dev artists who connected them with the Arnold shaders.
Next, compositing artists got our scenes from the Arnold renderer and made them look nicer! They composited the acting scene, CG environment, and particles.
Was this the first time you used the Substance toolset? If so, what were the challenges you faced and how did you overcome them?
I used Substance Painter and Substance Designer on some other projects, but this asset was one of the more complicated ones. Using the toolset for the Kia project has helped in developing our company workflow. It had 40 texture udims and required high quality, photo-realistic texturing in a short period of time.
One of the main challenges for me was changing the model as I textured; the main scene became really large and heavy for our systems. I decided to split the scene into two sections to speed up the process. When I presented the finished texture of the ship, I could not render all of it together in Iray. The solution was to connect all the texture maps into a look dev scene to render a turntable to present the final look.