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Ray Leung
Modeller / Texture Artist
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A.X.L. - Substance Painter

This is our first hero asset textured in Substance Painter at Method Melbourne. We started building this robot dog asset for a feature film project about 18 months ago. The entire asset took roughly 70 days to finish. We had a small budget and tight schedule so I decided to try out Substance Painter after hearing so much about it.
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Painting a hero asset with 30 UDIMs of UVs in Painter wasn't fun considering it didn't have a lot of the new features 18 months ago and we didn't have any tools to support it. But we did see a lot of potential in it that Mari is really lacking, which is why we've been developing our Substance pipeline since. And it seems that it's only going to get better!
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Credits:
Model/Texture done by myself, and Daniel Rath helped out with some blocking geo and articulation test on the rear legs.
Lookdev by Alex Canniccioni.
Rig by Aaron Fickling and Jordan Bartlett.

80% of the texture were done in Substance Painter. The last 20% were painted in Mari for close-up shots that requires better match to reference.

80% of the texture were done in Substance Painter. The last 20% were painted in Mari for close-up shots that requires better match to reference.

The head is where I spent most of the time on. The client was quite specific about matching the small detail on the on-set puppet so I had to paint additional scratch/dust masks in Mari.

The head is where I spent most of the time on. The client was quite specific about matching the small detail on the on-set puppet so I had to paint additional scratch/dust masks in Mari.

I auto-UVed one of its legs for R&D in Painter, and I was impressed by the fact that I could get a decent look that kind of matching the reference within a few hours.

I auto-UVed one of its legs for R&D in Painter, and I was impressed by the fact that I could get a decent look that kind of matching the reference within a few hours.

We had to fill in the blanks underneath the shell. The model ended up having about 1000 pieces of loose parts.

We had to fill in the blanks underneath the shell. The model ended up having about 1000 pieces of loose parts.

Legacy Effects built the on-set puppet based on a 3D concept model. We took the model in and decided to make a few changes to make more room for articulation.

Legacy Effects built the on-set puppet based on a 3D concept model. We took the model in and decided to make a few changes to make more room for articulation.

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