Actually, I do use a lot of texture-painting for the (very uncomplicated, illustrative) things that I do. However, the textures that I am ordinarily dealing with are “just painted-on.” I can get away with that sort of thing easily … so, I do.
“In the general case, there is no ‘general case.’” Everything depends on factors such as: the topology of the model, the camera angle(s) from which the model will be viewed, the “importance” of this model in the film and in particular shots, how long it will be on-camera, the complexity of the lighting situation, and so on.
Always remember to (try to …) plan your shots first. You might well have several different models, with different levels of detail. Some details (like the Western movie-sets of yore) will never be seen from the back. Therefore, sometimes you must pore over a shot in agonizing detail, while at other times something’s just gonna “swoosh by” and you really only need to be sure that “the part which will be seen is not ‘obviously wrong.’” Texturing, like modeling, is capable of sucking-up just as much time and energy as you care to give to it. :rolleyes: Therefore, choose wisely. Determine what “really matters,” and just how much it “really matters.”
While you’re learning, watch lots and lots of videos. In each of them, someone’s gonna describe a situation and then show you how to deal with it. Maybe that situation applies to your project-de-jour, and maybe it doesn’t. (But: “Maybe next time!”) So, at-least “skim” lots of videos.