Name: タイムライン1 (Timeline 1)
Uploaded: 2025-05-16T07:48:06.000Z
Duration: 14 min 51 s
Description: VoiceTubeの動画で発音を聞きながら英語表現を覚えよう！学べる英語：

未来進行形

Hey, I'm Jay and in today's video we're gonna be talking about texturing skin in Substance Painter Starting with the model and the normal map we made in the last video in this video We're gonna make the skin textures step one reference All right, cool.

こんにちは、ジェイです。今日のビデオでは、Substance Painterでの肌のテクスチャリングについてお話します。前回のビデオで作ったモデルと法線マップから始めて、このビデオでは肌のテクスチャを作ります。

So what we're gonna do is Here's my screen.

それでどうするかというと、これが私の画面だ。

This is my reference and we're gonna talk a little bit about it But this is kind of a general you can see from a bird's-eye view what's going on in terms of skin tone and details I'm kind of aiming at this area I like the idea of maybe like a mixed ethnicity or one that's a little bit more difficult to pin down a little bit more Subjective.

これは私の参考資料で、これから少し話をするつもりですが、これは一般的なもので、肌の色や細部に関して何が起こっているのか、俯瞰的に見ることができます。私はこの辺りを目指しているのですが、民族が混ざったような、あるいはもう少し主観的で特定するのが難しいようなアイデアが好きです。

Love the freckles here So this might be a nice addition and a fun thing to show and yeah, generally, um, you know a middle skin tone Not too light not too dark.

このそばかすが大好きなんだ。だから、これはいいアクセントになるし、見せるのも楽しいかもしれない。

All right, so that's what we're aiming at here I got some makeup here, but we probably won't be doing any of this in this kind of video today We're gonna be texturing in Substance Painter We're gonna make a base color and then if time permits, maybe we'll make a quick little roughness map too two really important kinds of imagery that are extremely important as reference for base color maps in particular is RBX imaging and cross-polarized Photographs so RBX imaging actually was first tipped off about this by Magdalena or at inner vein on Twitter.

さて、これが私たちの目指すものです。ここに化粧道具がありますが、おそらく今日はこの種のビデオでは何もしないでしょう、特にベースカラーマップの参考として非常に重要なのは、RBXイメージングと交差偏光写真です。RBXイメージングについては、実はマグダレーナかinner veinがTwitterで最初に教えてくれました。

She's another character artist This was a great tip that she gave a long time ago This is used in other industries both of these is actually used in CG a lot But RBX is used in other industries for I think skin purposes, honestly, but look how cool look what's going on here This is even crisper one, but look how cool we've actually separated If you look here this red channel and then this kind of brown color are different.

彼女はもう一人のキャラクター・アーティストで、これは彼女がずっと前に教えてくれた素晴らしいヒントです。 この2つはどちらもCGでよく使われていますが、RBXは他の業界でも、正直なところ、肌の目的で使われています。

These are not the same so this is Different details and you'll see once we're in Substance Painter how this is really useful because we're gonna be layering effects so essentially we have two images here that we can see like separated almost channels of Really crunched and sharpened detail that's beneath the skin.

Substance Painterでエフェクトを重ねるので、これがいかに便利かわかると思う。

We can see her on the left So obviously this is with subsurface scattering all that fancy stuff So this is Sun damage and stuff This is like freckles and sunspots if you didn't if you didn't have anything covering it so you can see here the the mole These things would be freckles, right?

左側に彼女が見えますが、これは明らかに表面下散乱を利用したものです。

And so when we see him you can see here's that mole and here's some very light freckling this light brown stuff So you can actually just see it straight up reason why this is super beneficial is the patterns kind of a noise, right?

彼を見ると、ここにほくろがあり、ここにごく薄いそばかすがあり、薄茶色のものがあるのがわかる。

And this is like the blood so we see the splotchiness.

そしてこれは血のようなもので、斑点が見える。

We see lots of noise We see kind of veiny type shapes maybe great reference and then cross polarized photography texture XYZ actually you sells Packs that you can just purchase that you can use either for you can actually just project textures on which is really common Or what we're doing right now.

ノイズがたくさん見えるし、血管のような形も見えるし、とても参考になる。

We're using it as reference and what cross polarized Photography is is essentially photographs using filters to remove reflected light So it's like not having a spec channel.

クロスポラライズド・フォトグラフィーとは、基本的に反射光を除去するフィルターを使った写真のことで、スペック・チャンネルがないようなものなんだ。

So you're essentially seeing a real-life base color map Which is obviously the best reference right off the top just you know, obviously you came to this video This is painting skin in substance painter.

このビデオでは、Substance Painterで肌をペイントしています。

という疑問を抱くかもしれない。

Why would you paint skin and substance painter?

なぜ皮膚や物質を描くのですか？

You know, you could use Mari you could use all kinds of photogrammetry and different techniques It really depends on your end goal What I'm doing for this demo project is very much what I do in my personal work and even professional work So we're hand making everything.

マリを使うこともできるし、写真測量やさまざまなテクニックを使うこともできる。最終的な目標は人それぞれだけど、今回のデモプロジェクトで僕がやっていることは、個人的な仕事でも、プロフェッショナルな仕事でもやっていることに近い。

我々はそれをキュレーションしているようなものだ。

It's gonna lend itself to somewhat of a style.

多少はスタイルを確立できるだろう。

We're not we're not trying to Replicate photography one-to-one really but also it's a great exercise It's a great tutorial kind of thing or a practice to do if you want to get better at painting Complicated organic things in substance painter this kind of technique is going to help you if you were to make creatures and aliens and things that Don't exist It helps to kind of understand Skin a little bit and making base color maps and how it mixes together and ultimately I think it produces a pretty cool result I don't know what it's gonna look like now We're gonna we're gonna find our way during the process, but I find it generally satisfying to make the maps It's kind of the old-school way.

写真を一対一で再現しようというのではありません。SubstancePainterで複雑な有機的なものを描くのがもっとうまくなりたいなら、チュートリアルのようなもの、あるいは練習のようなものとしても最適です、でも、マップを作るのは概して満足のいくものなんだ。

I guess you might say But again, I feel like it gives you also creatively and artistically It gives you the most control right out of the gate because you are making every element, right?

と言われるかもしれないが、創造的、芸術的な面でもそうだと思う。 すべての要素を自分が作っているのだから。

You're not taking a photograph and repurposing it So there is some pros and cons there, but the methods do produce different results So you just got to ask yourself what your end goal is for your project and then choose what's best So right now we're gonna be painting a base color in substance painter Let's jump in a substance painter now and Talk about how we can set up the scene with our models We made in the previous video and we can get ourselves ready to do texturing Alright, so here we are in substance now what we need to do is we need to load in our model and set up the parameters of the scene and Then get going with starting to set up our scene to do some painting So first things first, we need to go file new then we're going to choose a template PBR metal rough will work fine.

ですから、長所と短所がありますが、方法は異なる結果を生み出します。ですから、プロジェクトの最終的な目標を自問自答し、最適な方法を選択する必要があります。それでは、Substance Painterでベースカラーをペイントしてみましょう、では、Substanceに入ったところで、モデルを読み込んで、シーンのパラメータを設定して、ペイントをするためのシーンのセットアップを始めましょう。

This is in the starter asset So everyone has this super basic and this will be fine.

これはスターターアセットにあるものだから、みんなこの超基本的なものを持っているし、これで大丈夫だろう。

This is like the most basic template we can use next We got to choose our file.

これは最も基本的なテンプレートのようなものだ。

So we're gonna choose our model in our case.

そこで、このケースではモデルを選択することにしよう。

We exported this from Z brush We used HD geometry and when we use HD geometry We exported the normal map at 8k in our case, which got us all the deets And we're gonna bring that in in a second.

Zブラシからエクスポートし、HDジオメトリを使用しました。HDジオメトリを使用する場合、法線マップを8kでエクスポートします。

So it's a little bit of a different workflow Than if you're baking a high to low, but here we are.

だから、ハイからローに焼く場合は、ちょっと違うワークフローになる。

I exported my subdivision level 4 right here in zebra So I actually just isolated the part that I'm gonna do the demo on you can see if we zoom in This is the resolution that we're at.

サブディビジョン・レベル4をこのゼブラでエクスポートし、デモを行う部分を分離しました。

So this is the highest resolution I have without going into HD when I did export it I made sure smooth normals is on it should be on by default and that's really it I just exported it as an FBX and then I can load it into substance painter So here it is right here, and then we just got to choose the document resolution.

FBXとしてエクスポートし、Substance Painterに読み込むことができます。

We'll make it 4k That's as big as it goes right now.

I think and then a little awkward tidbit is for me I think I need to change the normal format to open GL you can change this later.

それから、ちょっと厄介なことなんだけど、GLを開くには通常のフォーマットを変更する必要があると思うんだ。

Don't be too scared of this This is just the green channel in the normal map direction Is it up or is it down and I did a test before and it seems like it was flipped So it depends on your export settings from Z brush if you're bringing a normal map in from any other program You just got to be sure what orientation the green channel is Alright, we'll hit OK.

他のプログラムからノーマルマップを持ち込む場合は、Zブラシからの書き出し設定に依存します。

Alright, I'll just save this right off The top let's just save our scene.

よし、このシーンを保存しよう。

Alright, let's take out the pen start doing some artsy stuff at least starting to prep it what we'll do now is bring in our map and Start to set up the scene to do our painting so we can do a couple things either when we started here In our project configuration we could have loaded the normal map right when we set up the scene or we can just hit plus right now and then add Resources and then we can go to wherever we have our normal map So I'm just gonna click the normal map and choose this and then this is a texture and then I can just keep it in This project don't need you know, you have current session which would end if I close it and then library obviously for everything else Which we don't need so just adding it to this project.

よし、ペンを取り出して、芸術的なことを始めましょう。法線マップをクリックして、これを選択して、これはテクスチャです、現在のセッションは閉じれば終了しますし、ライブラリも必要ありませんから、このプロジェクトに追加するだけです。

I can just drag it over there So now we have our 8k normal map This is all the detail that we sculpted in Z brush and we didn't do any baking It's just right there right because we export it from Z brush So again a little bit of a different workflow because now we're gonna generate some maps from this So I'll come over here to the baking right now Why don't we just start with the curvature map make sure things are working.

8K法線マップができました。これはZブラシでスカルプトしたすべてのディテールで、ベイクは何もしていません。

We can go to 2k for now Well, we can just go to 4k.

とりあえず2Kにすればいい......まあ、4Kにすればいいんだけど。

This shouldn't take too long So in the curvature settings here, you can see it's on generate from mesh Which is really nice and high quality if you're doing that But we're not baking a high to a low the normal workflow or the typical workflow would be in the common settings You'd be adding meshes right here.

曲率の設定では、メッシュから生成がオンになっているのがわかると思います。

You'd like load the high poly You'd have a bunch of meshes here, right and then you would bake high to low using the cages and stuff like that But we're not doing that.

ハイポリをロードして、ここにメッシュの束があって、ケージなどを使ってハイからローにベイクする。

We already have the normal map So we're gonna just derive the detail from the normal map, right?

So I'll show you how that works with the curvature map Okay, so in the curvature settings instead of generate from mesh.

では、曲率マップを使った方法をお見せしましょう。

We'll go to generate from normal map details We'll leave it at 0.5.

ノーマルマップの詳細から生成する。

So this shouldn't be on obviously because brought in our normal map, right?

ということは、これは通常のマップにはないはずだよね？

It's loaded right here So it shouldn't be checked.

We'll hit bake and then here it's gonna do its thing So now it's generating a curvature map from our normal map So if we come in here, we just check the curvature channel.

法線マップから曲率マップが生成されるので、ここで曲率チャンネルをチェックします。

We're just gonna be using it for some chatter Some people overvalue like cavity maps and stuff.

僕らはただおしゃべりに使うだけさ。 キャビティ・マップとか、そういうものを過大評価する人もいる。

We're just getting some details So let's jump back out of here and maybe we can generate some more things.

だから、ここから飛び出して、また何か生み出せるかもしれない。

これらのワールド・ノーマル・マップは使わないかもしれない。

I mean occlusion might not look that good, but that's okay.

つまり、オクルージョンはあまりよく見えないかもしれないけど、それでもいいんだ。

Actually It's cool that it's making this from the normal map It used to always do this But now you can generate ambient occlusion maps and curvature maps from the geo which is better and you might be asking now Why are you doing this?

実際、法線マップからこれを作っているのはクールだ。以前は常にそうしていたが、今はジオからアンビエントオクルージョンマップや曲率マップを生成できる。

Well, it's in case we wanted to use certain Generators we might not be though.

まあ、あるジェネレーターを使いたいときのためにあるんだけどね。

だから、これは役に立たないかもしれない。

It doesn't take that long to bake, you know It's almost done baking now and I'll just save the scene and I'll have these maps So with all these maps, so, you know If you wanted to do a top-down gradient if you want to do certain like dirt and whatever here we go curvature position map Thickness which might help sometimes I use the thickness map when I'm making skin You can see it kind of highlights things nicely on our normal maps, obviously So, there you go.

ベイクにそれほど時間はかかりません。ベイクがほぼ終わったので、シーンを保存すると、これらのマップがあります。

Let us save this scene and then we'll start setting it up to paint Okay, I'm gonna do just some general really quick stuff here This focal length is killing me.

このシーンを保存して、ペイントの設定を始めよう。

So why don't we just do something like this?

だったら、こういうことをすればいいじゃないか。

So first thing we'll just delete this basic thing and we'll start with a fill layer and we'll just call this base color Why not?

まず最初に、この基本的なものを削除して、塗りつぶしレイヤーを作りましょう。

So what we're gonna do is we're gonna have these layers in substance, right?

だから、これからやることは、実質的なレイヤーを作ることなんだ。

We're gonna layer them from top to bottom Or from bottom to top in this case as if we were kind of air brushing or painting up layers of skin and we'll jump Around we'll keep things non-destructive.

上から下へ、あるいはこの場合は下から上へとレイヤーを重ねていき、まるでエアブラシやペイントで肌のレイヤーを塗り重ねるようにする。

That's the beauty of using substance painter rather than some other straightforward things So if it makes sense, we can separate brushstrokes We can always change color and we're just gonna kind of layer detail as it goes So the first thing we're gonna do is we're gonna start relatively warm You know, we want to make that bloody layer.

それがSubstance Painterを使う良さであり、他の簡単なものよりも優れている点だ。

We kind of saw some of the rbx imaging might help us While we make the detail portion of that But we'll start with a very warm color and then we'll layer our detail up on top I think what makes a good base color is a variety of subtle differences subtle differences in shape subtle differences in value Subtle differences in color and then also a mix of soft edges and Sharpness is something that I think Having sharp detail is something.

ディテールの部分を作りながら、RBXのイメージが役に立つかもしれません。でも、まずはとても暖かみのある色から始めて、その上にディテールを重ねていくのです。

I think that does make renders and skin look like nice and Believable contrast really is what we're talking about, right?

そうすることで、レンダリングも肌もきれいに見えるし、ビリーバブル・コントラストは本当に僕たちが話していることなんだ。

Like some things are soft some things are sharp some things are this color some things are that color but the difference in what makes skin skin is That when we're done it look relatively even, you know, you'll have these big general like maybe the the eyes are dark It's those big gradients But as you zoom in there's gonna be differences But they're they're not gonna have a lot of contrast because that would create all this busy noise So it's gonna be subtlety and organic shapes.

あるものはソフトに、あるものはシャープに、あるものはこの色で、あるものはこの色で......でも、肌を肌たらしめているものの違いは、完成したときに比較的均等に見えることなんだ。

We want to add all kinds of imperfections To help it feel believable So let's start making colors if you hold alt and just click that you can just do straight up color So why don't we just do this?

そこで、altを押しながらクリックすると、ストレートな色になります。

Also, since this is the base, you know, you just get a little bit of roughness here Okay so now we can continue adjusting our colors if we want and first what we're trying to do is make a lighter red blood kind of color as our base here and then we're gonna add our first fill layer and that'll be our Darker red color.

まずベースとなる色を明るい赤の血のような色にして、次に最初の塗りつぶしレイヤーを追加します。

And so the first thing we're gonna do is we're gonna try to create this Complicated shapes in our base Colors here that we can layer in on top.

それで、まず最初にやることは、ベースとなるColorsにComplicated shapesを作り、その上にレイヤーを重ねることだ。

So once we make our fill layer We'll create a black mask and in that black mask We can create a fill and then in that fill we can put whatever textures we want So if we go down to our library and we search for noise in our textures We can see all the different options we have So we can pick one and just drag that into the channel on the left and then we can start playing with the parameters So this is where you should just have fun and experiment.

塗りつぶしレイヤーを作ったら、黒いマスクを作り、その黒いマスクの中に塗りつぶしを作り、その塗りつぶしの中に好きなテクスチャを入れることができます。ライブラリに移動して、テクスチャでノイズを検索すると、さまざまなオプションが表示されます。

What we're gonna do is mix several So once we get something that we generally like that's nice and noisy I probably like to start out big and blobby first get some interesting shapes Then we'll get smaller and more refined over time we can then add another fill layer and Look for a different kind of noise and definitely we want to have some kind of contrast in the scale between these two noises so maybe we make smaller noise and Then we can start mixing these together in our mask by changing the blend mode of our next fill layer to screen which just like in Photoshop is layering it up in terms of the light values and Then we can start to play with these things together.

いくつかのノイズをミックスして、一般的に気に入ったノイズが得られたら、まずは大きくボコボコしたものから始めて、面白い形を作り、それから時間をかけてより小さく、より洗練されたものにしていく。そして、次の塗りつぶしレイヤーのブレンドモードをスクリーンに変更することで、マスクの中でこれらを混ぜ合わせることができる。

This is the format I'm gonna be doing over and over again is creating masks on fill layers sometimes creating masks on folders and then Layering up different fills to make these complex masks where as you can see everything is live We can change the colors and roughness.

塗りつぶしレイヤーにマスクを作ったり、フォルダーにマスクを作ったり、さまざまな塗りつぶしを重ねて複雑なマスクを作ったり。

We can change the parameters in our masks We can add remove delete at any time So we want to stay organized because this can get messy and complicated fast We want to take a step-by-step and control it as much as we can before we get ahead of ourselves And we also want to leave ourselves like a few amount of tools to play with We don't want a ton of things where we just get swamped So after we make our base noise here to make the complicated shapes Then we can add a paint layer to our mask and then we can start hand painting stuff in our case I want to add more veins, you know

マスクのパラメータはいつでも変更できるし、追加も削除もできるので、整理整頓を心がけたい。