Any Problems w/MARI workflow and UE4?

Hello Unrealists!

Does anyone know if this MARI workflow to create detail for the skin and eyes
Will be able transfer through into UE4 completely without worry?
(Im looking to do cinematics with Sequencer in UE4
and I’ve heard the parts above workflow only works for 3ds max/render farm uses?)

If you do know which parts could be problematic could you point out which lesson/step it would be?

**“Painting a Realistic Skin Texture Using Mari By Henrique Campanha” **

Lesson 02:
Texture Cleaning and Preparation How to prepare textures to be used inside Mari. Cleaning Highlights and producing an albedo­like texture.

Lesson 03:
Bit Depths Technical background behind the concept of bit depths and their importance.

Lesson 04:
Diffuse Map How to create a diffuse color channel from a set of photo references.

Lesson 05:
Shallow SSS map How to create the one of the essential SSS components.

Lesson 06:
Mid SSS map The second element needed to build a good SSS skin shader.

Lesson 07:
Deep SSS map The third SSS component and its colors.

Lesson 08:
Deep Mask Controlling deep map influence.

Lesson 09:
Primary Specular map The main specular map, regions and intensities.

Lesson 10:
Secondary Specular map Enhancing facial features and reflections.

Lesson 11:
Glossy map Tight vs broad reflections.

Lesson 12:
Bump Map Augmenting high frequency details.

Lesson 13:
Displacement textures Preparing Surface Mimic’s* textures to be used inside Mari.

Lesson 14:
Displacement Map Creating a full displacement map based on textures from previous lesson.

Lesson 15:
Eyes Diffuse map Iris and Sclera color map.

Lesson 16:
Eyes Specular map Giving life to the eyes.

Lesson 17:
Eyes Bump map Adding volume to veins and iris.

Right, well coming from someone who’s not spending $127 and watching the actual content to find out what exactly it covers, the most I can do is give a general overview from what you outlined.

So there are some things worth noting right off the bat. You cannot use UDIMs in a game engine, you cannot use high bit depth exported maps so you’re just using 8-bit, you -might- be able to mix various SSS textures using some shader magic but you’re better off just keeping it simple and leaving it to one texture. Specular you can use just fine, just keep in mind it only controls intensity and nothing else. Gloss maps are just roughness maps inverted, so that’s not any trouble. Bump maps are fine, you just convert them to normal maps. Displacement maps are probably going to be worthless, you just won’t get the detail you would want out of it using a game engine for something like skin.

So here’s the bottom line. A lot of it you’re going to need to make judgement calls on what will or won’t be relevant, so unless you’re already experienced making materials and textures for Unreal or game engines in general, it’s probably a better idea to take a more simple lesson actually designed for games first. If you think you have the experience to translate the knowledge successfully, it might be a good lesson to go through.


I got the rest of what you were saying but which lessons are you referring to when you say UDIMS and high bit depth exported maps?

Also the reason I am intent on MARI is because I already have the tutorial.
The skin Im looking to achieve in a game engine has to be on the level of this…

So if you have any recommendations on which programs to use and workflows to achieve it, it would be immensely helpful!

I only mentioned UDIMs because that’s the main reason to use Mari over something like Substance Painter. It’s much more expensive and for your particular purposes when it comes to working specifically in games, there really aren’t many advantages to using it now that Substance Painter isn’t a buggy curiosity at best.

Ok, well correct me if I’m wrong, but the assumption there is that you’re probably using a pirated copy or a school’s license. If you already used Mari professionally, you wouldn’t be asking this question or have a need for a tutorial like this, you would already have your answer.

Mari, optimistically, costs around $2,000 to purchase a commercial license for. That’s not something a hobbyist or small developer just learning how to texture would buy right out the gate, you would have seen that Substance Painter, its main competition in the game space, only costs $150 in comparison for a product that does largely the same thing with what you would be using it for.

Deciding what tool to use based on buying (or pirating) a single tutorial isn’t a good way to come to a conclusion. There are plenty of tutorials out there that cover every art topic you could ask about for every program out there. What you should be asking yourself first and foremost is what -tool- is going to work best for you and your budget, because right now you’re able to get results like you see in things like Uncharted in anything with enough work. You can get a $20 Photoshop license for a single month and do it in that if you’re desperate enough. So I think you might be skipping a few steps in your decision making process here.

Alright, well as I said, you can get those kinds of results with anything. The tool at the end of the day doesn’t change the end result, they all work the exact same way. You can do it in Mudbox, Photoshop, Substance Painter, Mari, whatever. Unless you plan on using a workflow that only Mari can offer such as one that heavily uses UDIMs, you’re spending more money then you have to for the same result.

Now bearing that in mind, Allegorithmic recently made a big deal about Uncharted 4, specifically because Substance Designer and Substance Painter were both used heavily in the development of that game. So the tools are clearly capable of it, seeing as how that’s what did it. But don’t make the mistake of saying ‘ok then I’ll learn that’ right away. Actually do your research into each tool and compare them carefully, see what each has to offer that the others don’t, because they all have their little tricks and benefits that the competition doesn’t offer.

At the end of the day, it’s not the tool that delivers the good results, it’s the artist using it.

Yes, one can spend many hours learning all the fundamentals of each tool before deciding which to use to fit their workflow.

The question at hand is, to be efficient in deciding which to learn on the resources you have at hand.
And the current resource at hand is MARI, Substance, and the MARI tutorial by Henrique.

Now with that said obviously one can achieve a higher end look much faster with MARI if they have the current resources as stated, at hand.

Yes it is a universal fact that one can achieve anything with anything.
Given enough effort and time, one can develop a whole film with just 3ds Max.

However that may not be the quickest most efficient way.

The 2 steps are
1)Learn the fundamentals of the tool
2)Now with those at hand figure out how to create what you want.

As of now I have 2) in reach which for me determines which tool I will do 1) in.

I will continue with my current resources of MARI, as it seems this is the only program with a high quality tutorial out at hand to achieve the look intended, in the msot efficient manner.

Thanks for you time Daniel

Unlike PBR materials, skin shaders are very engine specific. You will want to be look at the documentation for UE4 first and foremost, and using that information along with the tutorial to achieve good results. The skin shader in UE4 is constantly being updated, every release or two there’s some big changes to it. In one of the recent live streams they said they are addressing the blurring issue a lot of people complain about, but in 4.14 (source= The Making of the SIGGRAPH Senua Demo & Aug #ue4jam Kickoff | News | Unreal Engine - YouTube )