Weirdly enough, I used Blender for most of the high poly stuff and Zbrush for the low, using dynamic topology in Blender to sculpt the main forms without having to think about mesh density, and then later I used displacement maps and a simple tiling heightmap to create the majority of the scales. Meanwhile, the hardsurface aspects like the right arm or the lock were created mainly using subdivided surfaces, which made retopologizing those areas fairly simple since I usually only had to turn off some modifiers to get a good base to build my retopologized model from. I also started using Blender 'Un-Subdivide' feature in it's Decimation modifier, which was handy in retaining the intented form while still returning to the lowpoly (useful when I used a smoothing modifier to change the form). I used Zbrush's ZRemesher to create quick quaded meshes from both the crocodile's forms, as well as his plates of armour, which I then brought back into Blender to unwrap and create the retopo'd mesh.
Baking was handled inside Substance Designer, and much like with the hovercar, I used 'By Mesh Name' while baking which kept me from having to create any additional exploded meshes. This feature uses the object names in your scenes and only bakes if they're matching, which definitely helped keep things more organized.
After creating some base materials in Substance Designer, I brought everything over into Substance Painter where I got into the nitty-gritty of material creation, using edge-wear generators, hand painted masks and such to create the final texture. I then exported the textures out using the Sketchfab settings, uploaded the fbx to Sketchfab and tweaked a few of the post processing sliders. I also tried exporting the textures out of Painter to other engines like UE4 and Unity, which is cool because it converts them over to PBR Spec or PBR Metallic automatically.