Here's another one. Rought model in Modo Sculpted in Zbrush, two iterations. Then brought into WM for some large erosive details. Back in Zbrush to sculpt some more, and define the shape a bit more. Back to WM for final erosion and colors with GeoGlyph. To Painter for final textures. Rendered in Marmoset Toolbag.
The new layer material feature is more or less like splat maps really. You paint a mask for each layer, and decide how visible each material is. To some extent, it's very interesting, but I can't tell whether that'll be better than actually making the splat map in WM (and possibly paint further on those).
I haven't looked into the material layer feature yet, but I really should. The base color map was produced in World Machine, and I added a tiled rocky and dirt texture, which I used some mask generators on and tweaked to my liking. Then I painted on top of it to fix some areas. I used the flow map as a mask on the dirt texture as well.
Great breakdown. Using masks to distribute the textures is a great idea. Unfortunately I have only the standard edition of world machine and this rules Geoglyph out, as far as I know. Substance Painter is on my wishlist for some month now and as it is supported by Cinema 4D now, I will get it in fall.
The setup I got there isn't particularly advanced nor important to know settings. As long as it looks good for the design you're making, you're good to go. In its essence I'm using an advanced perlin together with a layout mask to define where the landscape is generated. Then I use an erosion to get some nice sediment sliding down the mountain, and soften the terrain. The Thermal weather node have a slope selection on it, so it only affects the steepest parts, which you can see in the terrain closest to the camera especially.
The most interesting part, at least I think, is the textures and texture masks in the bright blue area. GeoShape, HeightFrag and RealColor are all part of GeoGlyph, and I have connected them to different parts of the Erosion. The same goes for some of the combiners and their masks. One part is the height map, another part may be the flow map. Combined, they make up for an interesting mask which can be used with the Color converter.
Thanks for the WM details! It definitely helps me get a better idea how other people set things up. I wish there was a better way of seeing what was happing inside the important devices. That's the part I'm trying to learn.
Did this one on Saturday, and took it further with the trees on Sunday.
This one I've given a little more love.. I opened the good old first world machine project I ever did (and posted in another thread), reworked the textures a bit to give it a lush and green look. I've tried to figure out instancing in LightWave, and it's frankly not that hard. The hardest part is making the distribution mask in a way so the trees are distributed in an organic way.
I found a way which is quite fast both in production and opens for a whole lot of iterations. I'll cover how later. 8) I guess I'm not the first one, but I was super happy when I figured out I could do it this way. :D
Hi! Thanks. :) I'm not in here as much as I'd like now due to steady work. And it's been quite some time since I last opened World Machine. I don't remember, but most likely it was colored using different nodes from GeoGlyph.