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PBR in the most basic sense is a combination of sophisticated shaders that represent the physics of light and matter, along with art content that is calibrated using plausible values to represent real world materials. I see comments about this regularly on forums, when someone sees an artist creating a specular and gloss map they often ask “Why aren’t you using PBR?”, so lets break down what PBR actually is. There is a lot of confusion in terms of what physically based rendering actually is, and what sort of texture inputs are required in a PBR system.įirst off, using a metalness map is not a requirement of PBR systems, and using a specular map does not mean an asset is “not PBR”. In this case, if I want to make a turntable from the sphere, instead of rotating the mesh, I will use the material’s offset.Before we get started, I want to clear a few things up. Therefore, I cut the UV from the sphere in half, reducing a lot (not all) of the distortion. A common UV from a sphere will bend the top of the material and I have always found this too eye-catching.

I don’t know if it is pretty common or not, but I have a special sphere for rendering. Because of that, I did all my spheres renders in Toolbag 4. Also, I like how Marmoset treats lights and how everything is so easily tweakable. I have done my materials renders on Marmoset Toolbag since the third version and that’s why I am so comfortable with its workflow. Especially the fact that you can send your material so quickly from Designer to Stager with the “send to” option. With that being said, I also appreciate the new member of the Substance family – Substance 3D Stager. I think this is one of the easiest software to learn and now with ray tracing, you can do some marvelous renders. For the rendering, I am still attached to Marmoset Toolbag.