NEWS & EVENTS

Substance Painter Update Introduces Evolving Brushes and Nine More New Features

Advanced R&D Leads to New Tools for Artists, Including Displacement Maps, Tessellation, Layer Blending and More


CLERMONT-FERRAND, France 
– April 23, 2019 – Today, the Substance team unveils the first Substance Painter update of 2019, reconfirming its commitment to artists of all skill levels through a host of new features requested by users. Leveraging Substance’s unmatched R&D, today’s new features will help speed up the creation process by utilizing dynamic painting, material blending, real-time sculpting and more, all without sacrificing quality.

After debuting a prototype at Substance Days at GDC, displacement mapping and tessellation are now both available directly through the Substance Painter realtime viewport and in Iray. With the addition of tessellation and displacement, artists now sculpt their mesh and textures at an infinitesimal level, chiseling art in real-time.

Today’s update also introduces “Dynamic Strokes,” a new way to paint complex materials and environments. With Dynamic Strokes, brushes evolve over time to increase the uniqueness of a 3D asset, using an artist’s own parametric directions to guide it. Rather than painting each individual leaf and branch of an ivy vine, placing a single ivy asset will see the vegetation expand into lush overgrowth. A footprint in the sand can quickly become a trail walking off into the distance, and that’s just the start. Dynamic Strokes can help to create manicured patterns or randomly placed expansion, all within set parameters. Time cues can also be factored in, helping brushes to fade out, change color and morph depending on how long an artist has been painting. The new feature ships with 20 preset assets and artists are encouraged to create their own. Read more…

‘Total Chaos’ Expands with Over 60 New Speakers

Emerging 3D Visualization Conference Returns May 16-18; Google, Zaha Hadid Architects and Porsche Among Presenters

SOFIA, Bulgaria – April 17, 2019 – This May, Total Chaos returns to Bulgaria with over 60 new ways to inspire the creative community. Created as a way to snapshot the current state of computer graphics, Total Chaos has broadened its scope with new speakers and masterclasses, targeting every industry that uses 3D.

Now in its second year, Total Chaos provides a shared space for 3D artists and developers to connect and grow, as they explore how topics like AI, real-time ray tracing, light fields and collaborative VR will continue to change professional workflows. Using the three tracks (Art, Craft, Code), attendees can build schedules based on their interests or industry, as they take in the cutting edge of visualization design. Read more…

Vicon and Sandbox VR team up to Push the Boundaries of Immersive Experiences

Vicon Cameras and Evoke Software Power the New “Amber Sky 2088” Experience for Sandbox VR as the First Step in the New Partnership; 40 New Sites to be Announced Soon

OXFORD, UK – March 14, 2019 – Today, motion capture leader Vicon announces a new collaboration with VR gaming pioneer, Sandbox VR, to bring about the next generation of immersive experience. By utilizing Vicon’s renowned motion capture cameras and its location-based VR (LBVR) software Evoke, the Hong Kong-based Sandbox VR wants to transport up to six people at a time into a future where the fate of humanity lies in the balance, in a new type of VR experience that takes you above the clouds and beyond. Read more…

MPC create an enchanting world for “The Nutcracker and the Four Realms”

When Clara finds herself in a strange and mysterious parallel world that’s home to Land of Snowflakes, Land of Flowers and Land of Sweets, she must brave the ominous Fourth Realm and its ruling tyrant, Mother Ginger, to return harmony to the unstable world. “The Nutcracker and the Four Realms” is inspired by the story we all know and love, but at the same time, it’s an all-new adventure that is compelling, exciting, and full of equal parts action and heart.

Lead by overall VFX Supervisor Max Wood and MPC VFX Supervisor Richard Clegg, MPC’s artists crafted more than 1000 shots for Disney’s “The Nutcracker and the Four Realms.” The scope of the work was wide-ranging, from CG environments including palaces, forests, and rivers, to large-scale FX work and extensive digital character builds and animation. See the Commercial

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