Elena Rossi
When using Substance Painter, reflectivity tuning can be adjusted by exporting maps with the VRAY preset and configuring VRAYmtl according to SP guidelines. However, there may be issues with reflectivity, such as rough dielectric parts reflecting more environment colour than expected. To address this, it is recommended to mask the reflectivity to apply only to metals. Additionally, Substance Painter users have suggested that the reflect map and gloss map should be mostly white for optimal results.
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What You'll Learn
Substance Painter to V-Ray workflow
When transferring materials from Substance Painter to V-Ray, it is important to note that the normal and height information will be combined into a normal map. DirectX and OpenGL have different directions for the green channel (Y- / Y+), and V-Ray works with OpenGL (Y+) normal maps. If you are using DirectX (Y-), you will need to flip the green channel using the VRayNormalMap shader's Flip channel options.
To set up the workflow, you can use the VrayMtl template in Substance Painter, which will configure your viewport shader. Under Shader Settings, you can adjust the Vray shader for VrayMtl. The Diffuse/Base Colour map stores the colour information for your material and is loaded into the Diffuse map slot of the V-Ray material. The Substance Opacity map is loaded into the Opacity slot of the V-Ray material.
The V-Ray Material does not have a map slot for Ambient Occlusion maps. To use these, they must be multiplied by the Diffuse map, for example, via a VRayCompTex. Emission maps can be loaded into the Self-Illumination map slot of the V-Ray Material and can also be used with the V-Ray Light material.
When rendering, you should use Diffuse, Normal, Metallic, Roughness, Refraction, Opacity, and Emission as Self-Illumination. The Reflection colour should be set to white to get the proper reflectivity and preservation of energy. Substance Painter does not represent physically-based refraction in the viewport, so the result from V-Ray will look different but more accurate.
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Reflection colour settings
The Reflection colour settings in Substance Painter allow you to adjust the reflectivity of a surface. This is important for achieving the desired visual appearance of materials in your 3D scenes.
To understand reflectivity, we need to consider how light interacts with different materials. When light hits a surface, it can be reflected in various directions, creating highlights and affecting the overall brightness and colour of an object.
In Substance Painter, the Reflection colour setting determines how much light is reflected from a surface. By default, the Reflection colour should be set to white, which ensures proper reflectivity and preservation of energy. With a white Reflection colour, the surface will reflect 100% of the light at a glancing angle.
However, you can modify the Reflection colour to achieve different effects. For example, if you want to reduce the reflectivity of a surface, you can adjust the Reflection colour to a darker shade or even black. This will make the surface appear less shiny and more matte.
Additionally, you can fine-tune the reflectivity by using reflectivity maps. These maps control how reflective a surface is based on the intensity of the colours in the map. For instance, a reflectivity map with mostly white colours will result in a highly reflective surface, while a map with darker colours will produce a less reflective surface.
By adjusting the Reflection colour settings and utilising reflectivity maps, artists can create a wide range of realistic and visually appealing materials in Substance Painter, from shiny metals to rough leather surfaces.
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Substance Opacity maps
When rendering with Substance Opacity maps, it is important to include the following maps: Diffuse, Normal, Metallic, Roughness, Refraction, and Opacity. Depending on the specific requirements of the project, additional maps such as Ambient Occlusion and Emission as Self-Illumination may also be included.
To achieve proper reflectivity and preservation of energy, the Reflection colour should be set to white. If the Reflection colour is not set to white, the glancing angle will never be 100% reflective, which is the desired state.
It is worth noting that the V-Ray Material does not include a dedicated map slot for Ambient Occlusion maps. To utilise Ambient Occlusion maps, they must be multiplied by the Diffuse map using a tool such as VRayCompTex.
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Dielectric reflectivity
The Fresnel equations describe the reflection and transmission of light when it interacts with an interface between different optical media, such as the layers in a dielectric mirror. By manipulating the refractive indices and thicknesses of the layers, the reflectivity of the dielectric mirror can be controlled. For example, in a simple dielectric mirror, high refractive index layers are interleaved with low refractive index layers. The thicknesses of these layers are chosen so that the path-length differences for reflections from the high-index layers are multiples of the wavelength for which the mirror is designed. This constructive interference results in high reflectivity at the designed wavelength.
To reduce the reflectivity of a dielectric mirror, one can employ techniques used in multi-layer anti-reflection coatings. These coatings are designed with dielectric stacks that minimise reflectivity by creating destructive interference. This is achieved by ensuring that the path-length differences for reflections from different layers introduce phase shifts that cause the reflected light waves to cancel each other out rather than reinforce each other.
In the context of Substance Painter, reflectivity can be adjusted by manipulating various settings and maps. While there is no direct mention of dielectric reflectivity, some techniques can help achieve the desired reflectivity effects. For example, ensuring proper colour space settings during export and using the correct normal map format (OpenGL or DirectX) can impact the final reflectivity of the material. Additionally, adjusting the Reflection colour to white can ensure proper reflectivity and preservation of energy.
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Glossiness and roughness
In Substance Painter, you can adjust the roughness and glossiness of a material or texture using several methods. One way is through the Specular Glossiness PBR workflow, where the glossiness texture works similarly to roughness but with inverted black and white values. This means that increasing the glossiness will decrease the roughness, resulting in a smoother and more reflective surface.
Another approach is to utilise the three options for adding roughness variation outlined in a tutorial. The first option is a simple way to add roughness, while the second option allows you to control roughness variation in its own layer. The third and most comprehensive option gives you full control over the roughness variation. Additionally, you can adjust the roughness value in any layer to observe its impact on the fill layer roughness.
It is worth noting that Substance Painter also supports the Metallic Roughness PBR workflow, which is commonly used in UE4 and UE5. In this workflow, each new layer you create will provide you with channels such as Base Colour, Roughness, Metallic, Normal, and Height. You have the flexibility to enable or disable these channels as needed, allowing you to customise the information created on each layer.
When working with height channels in Substance Painter, it is important to understand that the height information you create will become part of a Normal Map texture upon export. This means that any adjustments made to the height channel can indirectly affect the normal map's reflectivity. Therefore, by manipulating the height information and utilising the roughness variation options, you can effectively reduce the normal map reflectivity in Substance Painter.
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