IntroductionWelcome| 00:04 | Hi! I am Adam Crespi and welcome to
Creating Urban Game Environments in 3ds Max.
| | 00:09 | In this course, we'll look at the
design and construction of a piece of a
| | 00:12 | city for use in a game.
| | 00:14 | I'll start by showing you how to think
about the elements you'll need, looking
| | 00:18 | at the design and evolution of a
city, and marking out the parts to model.
| | 00:23 | We'll take a look at low polygon
modeling techniques, with an emphasis on
| | 00:27 | modular construction and reuse of pieces.
| | 00:30 | We'll also take a look at texturing
techniques, including painting textures by hand.
| | 00:34 | Additionally, we'll look at
techniques for baking, lighting and ambient
| | 00:38 | occlusion, to get realism into the game.
| | 00:41 | Lastly, we'll talk about best
practices for exporting out to Unity.
| | 00:45 | In this course you should have good working
knowledge of 3ds Max, Photoshop, and Unity.
| | 00:51 | Now let's get started
creating an urban game environment.
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| Understanding the design process| 00:00 | This course is designed to start at a
regional level, looking at the overall
| | 00:04 | city and the things that influence it.
| | 00:07 | Then with the evolution of this city in
mind, we'll work our way down to street
| | 00:11 | level and finally to the buildings,
training our eye to look for the details
| | 00:16 | that we need in our game environment.
| | 00:18 | We'll look at low poly elegant
modeling techniques and also techniques for
| | 00:23 | unwrapping objects efficiently.
| | 00:25 | As part of this, we'll look at
ways to create textures from scratch.
| | 00:29 | Finally, we'll get the most out of our
lighting in 3ds Max, learning to bake
| | 00:33 | textures using the Render To Texture
dialog and take it into our game engine.
| | 00:38 | We'll also look at best practices, how
to move things from 3ds Max to the game
| | 00:43 | engine as elegantly and quickly as possible.
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| What you should know before watching this course| 00:00 | This is an intermediate level course.
| | 00:02 | A basic working knowledge of Autodesk 3ds
Max and Adobe Photoshop is a prerequisite.
| | 00:08 | Additionally, I'd recommend a basic
working knowledge of Adobe Illustrator and
| | 00:12 | an interest in architecture.
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| Software requirements| 00:00 | The software you'll need for this
course includes Autodesk 3ds Max.
| | 00:04 | I am using release 2012 with the
latest service pack and hot fixes applied.
| | 00:09 | You'll also need Adobe
Photoshop or a similar paint program.
| | 00:13 | I'm using version CS5. Any CS version will work.
| | 00:18 | Depending on your texturing techniques, you
may wish to use Adobe Illustrator as well.
| | 00:23 | I've used if you're on the
relief panels as an example.
| | 00:26 | As part of working in Photoshop
you'll need the nDo script available
| | 00:31 | from www.cgted.com.
| | 00:34 | This is a free download and
does not require an install.
| | 00:38 | You'll also need the latest version
of Unity available as a free download
| | 00:42 | from www.unity3d.com.
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| Using the exercise files| 00:00 | If you are a premium member of the
lynda.com Online Training Library or if
| | 00:04 | you're watching this tutorial on a
DVD-ROM, you have access to the exercise
| | 00:08 | files used throughout this title.
| | 00:10 | There are two folders
included in the exercise files.
| | 00:14 | The Modeling folder is a 3ds Max project.
| | 00:18 | In 3ds Max, set your project to the Modeling
folder by choosing the Max's icon and Manage.
| | 00:25 | In Manage, Set Project Folder.
| | 00:27 | This Modeling folder is the root project folder.
| | 00:36 | In the Modeling folder the 3ds
Max folders have been trimmed down.
| | 00:41 | The scenes folder has a
separate folder for each chapter.
| | 00:45 | Inside that folder the exercises
are named and in their own subfolders.
| | 00:51 | I've included the start
and end of each exercise.
| | 00:57 | The sceneassets folder
contains an images folder.
| | 01:01 | In the images folder, I've also
included two checker texture files.
| | 01:06 | These are useful tools for unwrapping,
allowing you to see distortion in UV'=s,
| | 01:11 | before creating and applying a proper texture.
| | 01:14 | Subfolders go in each chapter.
| | 01:17 | In each subfolder are the files necessary.
| | 01:20 | These range from Photoshop PSDs to
TIFs and other files used as textures.
| | 01:28 | The Reference folder contains
subfolders for each chapter requiring reference.
| | 01:33 | In each subfolder the reference images
are named for the section of that chapter.
| | 01:38 | These are large images.
| | 01:40 | Opening one up allows you
to zoom in and see detail.
| | 01:44 | If you're a monthly member or annual
number of lynda.com, you don't have
| | 01:48 | access to the exercise files, but you can
follow along from scratch with their own assets.
| | 01:53 | However, I have included free exercise files.
| | 01:56 | These include the glossary of
architectural and 3D terms, as well as the
| | 02:00 | texture-based checker
images for use in unwrapping.
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1. Planning a Low Poly ModelIdentifying key contours and shadows in concept art| 00:00 | Modeling for games is always a balance
of the amount of geometry and the desired
| | 00:04 | look versus what the game
engine and platform can handle.
| | 00:07 | Part of planning for a game is
analyzing the reference photos or concept art.
| | 00:12 | For major elements such as overhangs,
doorways and key shadows, these need to be
| | 00:17 | made in geometry, not in texture.
| | 00:19 | I'm working in Adobe Photoshop to
start here and these are pictures I took
| | 00:23 | running around Seattle. This is in
the Belltown neighborhood and can see a
| | 00:27 | collection of buildings
here between old and new.
| | 00:29 | What I look at first is this modern
building right in front and one of the
| | 00:34 | things we look at for geometry in
the low polygon environment are key
| | 00:38 | shadow lines, such as the concrete frame
against the window, which I've highlighted here.
| | 00:43 | The yellow is where we would have a
texture and the gray outside would be geometry.
| | 00:49 | We also look for recessed entries in
geometry, as we can see in this older
| | 00:53 | building actually
underneath the Seattle Monorail.
| | 00:56 | This recessed entry here, again,
marked out in yellow, is perfect for cover
| | 01:01 | mechanic and a first person shooter.
| | 01:03 | We need to duck behind a
wall in order to not be seen.
| | 01:07 | Additionally, in this building we see
the same deep recessed window openings,
| | 01:11 | where the brick to the side needs to be
geometry, but the window can be handled with texture.
| | 01:16 | Finally, we also want to look for
awnings and in this case this is a more modern
| | 01:21 | building here with an awning out over
the street, as is prevalent in Seattle
| | 01:28 | because of the rain.
| | 01:29 | As we can see here, this awning really
protrudes in front of the building next
| | 01:33 | to it and so clearly needs to be
geometry to show up in silhouette correctly.
| | 01:37 | Now if we jump back to the first image,
we can see awnings on this building
| | 01:42 | as well in blue, but again need to
be very low polygon geometry so the
| | 01:46 | silhouette works correctly.
| | 01:48 | When planning out your game it's very
important to analyze the concept art and
| | 01:53 | reference photos for key geometry and
shadow lines before you begin building.
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| Analyzing concept art for texture| 00:00 | In a city most of the detail we see is
flat or nearly flat and can be painted
| | 00:05 | into the texture of a model, giving the
city a sense of construction and place.
| | 00:10 | This example is another picture in
Seattle and it's really important to get out
| | 00:14 | and take photo reference of the type
of environment you want to model and if
| | 00:18 | you can't get out and take photograph
reference of the place, Google Street
| | 00:22 | View is a fantastic tool to take you to
really nearly any city in the world and
| | 00:27 | see what it's like.
| | 00:28 | In this building these windows are a
great example of a texture opportunity,
| | 00:33 | because they are shallow window openings
without a very deep ledge or without a very deep side.
| | 00:39 | The yellow area here marked
out is where I'd use a texture.
| | 00:43 | Another example, this is trim on a
building, this white archway, and also this
| | 00:48 | sill over the window. Again, we can't
really get to a place to see that in
| | 00:52 | silhouette, but we need to have it.
It's a very important design element here in
| | 00:56 | this building and that's
a great place for texture.
| | 00:59 | And also when we join materials
together, here is white quoins.
| | 01:04 | That's spelled q-u-o-i-n-s, and it's a
harder material at a corner, which also
| | 01:09 | a decorative element.
| | 01:10 | That's a great place for a texture
opportunity, because again, we can't get to
| | 01:14 | the side enough of it to see it in silhouette.
| | 01:16 | What I've done here in 3ds Max is
constructed a simple building with the idea of
| | 01:23 | displaying detail through texture, as we
can see in this realistic shaded view.
| | 01:29 | We have wrought iron balusters on the
ground floor and dentals on the cornice
| | 01:34 | below the brickwork that are all done
with texture, and I'll switch over here
| | 01:38 | by choosing Realistic and Lighting and
Shadows and turning off the Shadows,
| | 01:45 | and also switching over to Shaded Materials
without Maps, so we can see the actual geometry.
| | 01:53 | I'll press F4 to show the wireframe as
well and we can see this is very low
| | 01:57 | polygon work that has an amazing
amount of detail with the text applied.
| | 02:02 | The amazing part is really how much of
an environment's detail can be shown in texture.
| | 02:06 | By carefully examining concept
art and getting out and taking reference
| | 02:10 | photos or using Google Street
View to get to know a place,
| | 02:14 | we can train our eye to the
difference between texture and geometry, and by
| | 02:19 | doing this you can lay the foundation
for building a really elegant low polygon
| | 02:24 | model that appears to be in a certain place.
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| Choosing between modeling and texturing| 00:00 | We've decided what's geometry and
what's texture and the important thing really
| | 00:04 | to learn here is not to over-model.
| | 00:07 | What we see a lot with beginners in
starting out, they discover modeling tools
| | 00:11 | and they want to model the world.
| | 00:12 | And what we want to do is really for a
game put a lot of stuff and texture.
| | 00:18 | And as an example, we can include things
like local dirt and wear, self shadowing
| | 00:23 | pieces on a building such as this
brick trim up here, material intersections.
| | 00:28 | That kind of thing is all done in texture.
| | 00:31 | If we look at this trim, it's very flat.
| | 00:34 | Sticks out by an inch, the shadow is
cast on itself, it doesn't shadow anything
| | 00:38 | adjacent. That's done in texture.
| | 00:40 | The dirt up here is done in texture.
| | 00:42 | These reinforcing plates are done in texture.
| | 00:46 | We jump to another building.
| | 00:47 | This material change between the red
brick and the tan brick done in texture, as
| | 00:51 | is the change in brick direction.
| | 00:53 | The difference between the concrete and
the brick here, that's done in texture,
| | 00:57 | because it doesn't stick out and its
detail we need that really we need to
| | 01:01 | suggest it is good enough
and not slow down game play.
| | 01:05 | And here's another example. This is an
Art Deco building in Seattle where we
| | 01:10 | have layers of trim here and it's very,
very flat. We can see just shadows on
| | 01:14 | itself as well as the detail to this side.
| | 01:18 | That again is done in texture, as
are the block joints and block color
| | 01:22 | variation on the facade.
| | 01:24 | Can't stress this one enough. We really
need to look at our models and say how
| | 01:28 | much can we get away within texture, and
it may seem excessive at first, but the
| | 01:32 | goal here is to have a fast game play.
| | 01:35 | And so rather than trying to model the
world, we really need to say "Of course
| | 01:39 | I can do this in texture.
How little can I get away with modeling?"
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| Understanding the limitations of normal maps| 00:00 | Normal maps are powerful tools for the
game artists, as they change the perceived
| | 00:04 | lighting of a model to appear as if
there's more detail and correct shading.
| | 00:08 | However, there are some limitations to
normal maps, which are very important to note.
| | 00:13 | This building is a prime candidate for
a normal map, in this slightly recessed
| | 00:18 | detail here on the corner.
| | 00:20 | As we've seen previously, the large
opening around the windows is a great
| | 00:25 | place for geometry.
| | 00:27 | In this case I have a simple example
showing limitation of a normal map.
| | 00:31 | On the left side is a window opening
or a recess in the wall executed in
| | 00:36 | geometry and we can see how it shades.
| | 00:38 | On the right side trying to do that
same thing with a normal map, although it
| | 00:41 | lights somewhat
correctly, produces an odd result.
| | 00:46 | And what we need to make sure of is
really understand the difference once we've
| | 00:49 | decided model or texture within a
normal map what we can and can't do.
| | 00:53 | We can't take a sphere
for a head and normal map it.
| | 00:56 | It knows out that this
silhouette is not going to look right.
| | 00:59 | We can rely on normal maps really to
add a tremendous amount of correctly
| | 01:04 | lighting detail in our models.
| | 01:07 | Now I am going to pull up a
model of a building with a normal map
| | 01:10 | providing extra detail.
| | 01:12 | As we can see in the lower floor here,
a normal map is providing recessed and
| | 01:18 | protruding detail on the iron
pilasters, on the windows, and on the doors.
| | 01:24 | We can see a normal map failing here
on the dentals on this freeze, these
| | 01:29 | squares that pop out, because the
shadow-line is not zigzagging correctly.
| | 01:33 | But there will be a lot of extra
geometry so I chose to do it as a normal map
| | 01:37 | hoping I could get away with it.
| | 01:39 | Here's the normal map for the building
where we can see the detail on the
| | 01:44 | fleur-de-lis and the panels, and this
provides what looks like cast-iron detail,
| | 01:49 | and here are those dentals.
| | 01:51 | Even down to the grooves on the brick
in the normal map, so the brick looks
| | 01:56 | recessed and this is the kind
of thing a normal map excels at.
| | 02:00 | The limitations of a normal map
become very clear when they are breached.
| | 02:04 | However, they are an invaluable tool for
the game designer to utilize for adding
| | 02:08 | correctly shading detail to a model.
| | 02:10 | When you're planning a building, once
you've decided geometry and texture, make
| | 02:15 | a note of what is a good
candidate for a normal map.
| | 02:18 | So when you do paint the texture that
detail can be painted correctly in a
| | 02:22 | normal, so it looks like it lights properly.
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| Analyzing concept art for key shadow details| 00:00 | In every design, whether taken from
existing places or concept art drawn from
| | 00:04 | the imagination, there are key details
in the way of building lights speak
| | 00:09 | volumes about its character,
age, materials and construction.
| | 00:12 | Identifying key shadow-lines allows
the designer to imprint the model with a
| | 00:16 | sense of place and time and further
refines the plan of construction of
| | 00:20 | assets for the game.
| | 00:22 | In this example, these large stone
blocks with their very nicely radius trim are
| | 00:29 | a key detail on this building,
as is the engraved table below.
| | 00:34 | On this building the brick corbelling
up above these arches is a key detail.
| | 00:39 | We really need to see it in both
geometry and texture so that the character of
| | 00:43 | this building comes across.
| | 00:46 | On this building, more of an Art
Deco style with long vertical lines.
| | 00:51 | These recessed panels are key details
in this otherwise flat piece of a facade.
| | 00:56 | As is the shadow-line from the corners
up at the top and the spandrel detail
| | 01:01 | or the panels above and below the windows
here. Those are key details we need to see.
| | 01:07 | What I'll do in planning out a
building like this for construction is draw on
| | 01:12 | the photo in Photoshop in blue and
green, blue for mesh lines and green for
| | 01:17 | geometry, so that when I go to model in
3ds Max I can cleanly see what I need to do.
| | 01:23 | I'll start out with a new layer and
first work in blue for major mesh lines and
| | 01:30 | I'll draw mesh lines to
start up here at the cornice.
| | 01:34 | And what these will tell me on this
building is that I need to extrude these
| | 01:39 | polygons out so I get
that shadow-line correctly.
| | 01:42 | I'll also put blue mesh lines to start
around these windows, and I am holding
| | 01:50 | Shift to constrain that line to
straight, getting it as close as I can.
| | 01:54 | These mesh lines will later be extruded in.
| | 01:59 | Referencing the earlier chapters on the
division between geometry and texture,
| | 02:03 | we can see I've marked
this piece out as geometry.
| | 02:06 | Now for texture work, I'll switch over
to green, so it's easily recognizable.
| | 02:11 | Major mesh lines for texture include
these recessed panels, and why I am putting
| | 02:19 | these in here, both steps, is so
that as part of the texture in the self
| | 02:24 | shadowing trim, I know that I need to
come back and draw in or render in a
| | 02:29 | shadow line and I'll add
some here on the panels as well.
| | 02:34 | What I'd encourage you to do then is
with your reference imagery, whether it's
| | 02:38 | drawn reference or from photos as
shown here, draw the mesh lines right on.
| | 02:43 | That way when you come back to this
building, one of many, you can cleanly model
| | 02:47 | and texture to get the character of
the building across and that's really the
| | 02:52 | important thing, that the buildings
have a character as being from a certain
| | 02:56 | time, place, and
construction in the evolved city.
| | 02:59 | The next step is to identify these
details as either geometry or texture, so
| | 03:04 | they can be economically constructed
for the game, imparting a sense of place
| | 03:07 | without sapping rendering power.
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| Identifying shadow details as generated or painted| 00:00 | In many buildings, we can actually
paint the shadows right into the texture.
| | 00:05 | In some of them what we actually need
to do is model a high resolution model
| | 00:09 | in 3ds Max and render To texture with those
shadows on possibly complex curves' ornate detail.
| | 00:17 | And use that detail on a lower res model.
| | 00:20 | This building, this modern one in the
foreground here, is an example of where
| | 00:24 | we can paint shadows.
| | 00:26 | The detail right here on the windows
and also the shading on this bevel is a
| | 00:31 | great place to paint detail in. It's very easy.
| | 00:35 | And this building, which I've marked
out with both texture lines in blue and
| | 00:39 | mesh lines in green, this building has
ornate detail up here in the cornice.
| | 00:44 | While we could possibly paint it, this
is much easier to model, replicate, and
| | 00:50 | render in 3ds Max in high res for
use as a texture with complete lighting.
| | 00:55 | What we want to do as part of our
planning is mark out areas like this in
| | 01:01 | another easy-to-recognize color.
| | 01:03 | I'll go on a new layer and I am going to use
purple with a polygonal lasso in the general area.
| | 01:12 | And very roughly lasso around this
ornate trim and fill it in purple and I'll
| | 01:18 | slide the opacity on this
layer back to about 40%.
| | 01:22 | This will let me know as part of my
plan that I need to budget time to model
| | 01:26 | and render this piece.
| | 01:29 | Trim like these panels below we can
probably do as a drawing, because the
| | 01:33 | shadows are very, very small and this
shape is easy enough to draw with the Pen tool.
| | 01:38 | This is another example of trim that we
can probably paint the shadows pretty nicely.
| | 01:45 | As we can see in the dentals here,
there's a general darkness around and on the
| | 01:49 | flutes it's a nice even shading. We
can do this with a gradient in Photoshop
| | 01:53 | very quickly, versus having
to model and render this piece.
| | 01:57 | What I'll do is I'll mark
out areas like this in pink.
| | 02:01 | So that when I look at my plan, which
is actually my reference photo with the
| | 02:05 | overlaid lines of my building, I
can see that this is an area I need to
| | 02:11 | texture with shadows.
| | 02:14 | The theme from this chapter is that we
need to plan out what we're doing so that
| | 02:19 | each building is a recognizable system
of steps, versus a one =-off in a design,
| | 02:25 | because we need to build a city with.
| | 02:27 | In this chapter we learned how to
plan the development of building elements
| | 02:31 | for game environments.
| | 02:32 | We identified key details that signify
a structure's age and materials and most
| | 02:36 | importantly, whether to
construct those as texture or geometry.
| | 02:40 | This is vital for the game designer, as
the environment should be as simple as
| | 02:43 | possible, while maintaining the quality
of the design and the visual continuity
| | 02:48 | of the story being told.
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2. Planning the Modeling of Cities for GamesPlanning the visible overlaid history in a city| 00:00 | In any city we can see various
phases of growth and decline and
| | 00:05 | construction materials.
| | 00:06 | This is evident in any picture in a
city that's been there long enough.
| | 00:11 | Example of this is in Seattle, and again,
I want to encourage you to get out and
| | 00:15 | shoot photographs and to use Google
Street View to go see the kind of city
| | 00:19 | that you're modeling.
| | 00:21 | In this particular view we have
evolution and revolution evident.
| | 00:26 | An evolution is a gradual change.
| | 00:28 | In this case of building materials
and methods. We have load-bearing
| | 00:32 | construction here to the left of the one
-way sign, and in this larger building
| | 00:37 | as well, with the brick skin and stone below.
| | 00:40 | A revolution then is a dynamic or
sweeping change that takes hold in a design.
| | 00:47 | We can see in the background here
with these steel frame buildings.
| | 00:51 | This is a tall skyscraper where the
skin doesn't support the building, as
| | 00:56 | opposed to the brick here in front.
| | 00:58 | This is a revolution. This took hold
truly after the Chicago fire actually, when
| | 01:03 | people began to build in iron and then
later steel, and buildings got taller,
| | 01:07 | slimmer, and had more windows.
| | 01:10 | A revolt then by definition is a failure.
| | 01:13 | We don't hear about a successful revolt. We
hear about a revolution. Revolts are put down.
| | 01:19 | But in design a revolt is often
one of our most cherished pieces.
| | 01:25 | It becomes the icon that makes a city
recognizable, in this case this is a
| | 01:29 | Seattle Space Needle.
| | 01:30 | Why is it a failure in design?
Because the style of Googie, with this modern
| | 01:35 | space architecture, didn't catch hold everywhere.
| | 01:40 | Most buildings were still
constructed in other design styles.
| | 01:43 | However, the Space Needle is much
beloved. It is an icon of Seattle.
| | 01:48 | In design of a city what we need
to pay attention to actually is the
| | 01:52 | evolved mundane background.
| | 01:55 | As we can see in this other view
there is a clear evolution, both of design
| | 02:00 | style and construction methods.
| | 02:02 | On the right, older brick, load-
bearing buildings. As we progress here is
| | 02:07 | a concrete parking garage with a
new cladding, steel or concrete frame
| | 02:12 | office buildings, concrete frame warehouse,
etcetera, and the overlay of transportation.
| | 02:19 | We have roads and later were added
electric lines for buses, possibly replacing
| | 02:25 | trolleys or something similar, that
at any given point in the city, we can
| | 02:28 | visibly see this evolution.
| | 02:31 | And the point here is that the city should
not hatch as one piece. It will look unnatural.
| | 02:36 | If you think about cities in movies
such as Cloud City or Coruscant or the
| | 02:41 | cities from the Fifth Element, they
are plausible in these megalopolis.
| | 02:45 | These megalopoli? This uber city. But
they look odd, because they're all of
| | 02:50 | the same stuff, and they don't
appear to have evolved to become what we
| | 02:55 | recognize as a city.
| | 02:56 | This framework will allow you as a
designer to evolve any city and with the
| | 03:01 | evolution, invent the icons of a
singular place that make the city unique.
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| Planning a "wedding cake" building: Base, middle, and top| 00:00 | Buildings aren't hatched as whole
creatures nor are they sculpted from a
| | 00:03 | large block of clay.
| | 00:05 | Acknowledging the assembled nature of
structures I'll demonstrate the planning
| | 00:09 | of the wedding cake building in this movie.
| | 00:11 | These buildings are often the city
fabric against which hero structures can
| | 00:15 | shine and are well-suited to a
modular construction design as well as design
| | 00:20 | variation using a common kit of parts.
| | 00:23 | In this first example this
is a wedding cake building.
| | 00:26 | We'll see it from the side.
| | 00:30 | As we can see we have retail floors and
these floors are often larger or taller
| | 00:39 | than the next floors because they have
possibly restaurants or other things in
| | 00:43 | them and they need more space for
mechanical work up above and want taller
| | 00:48 | windows to better
show off what's going on inside.
| | 00:52 | Above the retail we see retentive
floors which are often offices or residential
| | 00:58 | or warehouse or similar.
| | 01:00 | What I'm drawing in here is roughly
where the floors are. What we see in
| | 01:04 | buildings like this is the floor to
floor height, the distance from one finished
| | 01:08 | floor to the next, is smaller than the
retail. Where the retail might be 14 feet
| | 01:14 | up to the second floor,
| | 01:15 | these might be 10 or 12 Florida floor.
| | 01:19 | Finally on the top of our wedding cake
building we see a cornice element and
| | 01:24 | often as we can see here these
cornice elements overlap the top floor.
| | 01:29 | Rather than just being one piece on
top of the building, the cornice and
| | 01:33 | frieze and entablature and other
parts of the building actually go one,
| | 01:38 | possibly even two stories tall.
| | 01:39 | So that when we look at them as a
proportion relative to the base and the middle
| | 01:45 | is a match, versus being too thin or too tall.
| | 01:48 | What this kind of building is very
suited for is a modular construction and
| | 01:51 | also the forming of a kit of parts that
we can take these pieces and reuse them
| | 01:57 | to make other buildings.
| | 02:00 | This is an example of a common kit of
parts from previous building being used to
| | 02:05 | make what appears to be another new
building with the retail below and the same
| | 02:09 | elements, the frieze and the cornice
and the windows, reused in a different
| | 02:14 | spacing and it looks like another building.
| | 02:17 | The thing to keep in mind is that you as
the city designer need to make a lot of city.
| | 02:21 | You need an enormous amount of simply
buildings to fill the space even on just a few blocks.
| | 02:28 | The more we can reuse and make modular
our construction, the more successful the
| | 02:32 | building of our city fabric will be.
| | 02:35 | In this movie we identified key
elements of stacking structures belonging
| | 02:39 | to rapid design and replication of the vital
background of the city, the every building.
| | 02:44 | This framework will enable you as
the city designer to plan for the vast amount of city.
| | Collapse this transcript |
| Planning a modern building: Base and shaft| 00:00 | The modern skyscraper differs
dramatically from the wedding cake of the past city fabric,
| | 00:04 | driven by a hero complex on
the part of the architect and enabled by
| | 00:08 | revolutions and construction technique
material, it truly reach to the sky.
| | 00:13 | In doing so they often deny the human
scale and detail of their predecessors, and
| | 00:18 | consequently require a
different design approach.
| | 00:21 | In this movie I'll demonstrate
planning techniques for the modern skyscraper
| | 00:25 | with an emphasis on modular textures.
| | 00:27 | In this first example we have a
skyscraper and I went out and I took photo
| | 00:31 | reference of it and I had to make this
example out of five photos because this
| | 00:36 | building was so tall in
order to see the top of it.
| | 00:39 | And this is really typical of skyscraper design.
| | 00:41 | They're called skyscrapers;
they reach up to the sky.
| | 00:45 | So tall we often have
to bend back to see them.
| | 00:48 | As part of this what we see is that we
can't see the whole building all at once.
| | 00:53 | We can see the base or we can see the
middle or we can see the top, but it's
| | 00:57 | very difficult to see it all, and it's
so high up, especially way up here at the
| | 01:02 | top that it's very difficult to
make out more than large details.
| | 01:08 | With this lends itself to very nicely,
is low polygon geometry and elegant use
| | 01:13 | of textures to make it look
like a complex skyscraper.
| | 01:17 | Additionally ina modern building we
see streamlined construction, that in this
| | 01:23 | example and in this one and again in
this one, they lack a lot of the ornate
| | 01:29 | construction in previous pieces and
they also often lack a cornice or a cap.
| | 01:34 | The building simply goes up and
ends on top of the last floor.
| | 01:38 | What we do see is some kind of base here,
often different characters. It may need to
| | 01:43 | relate to adjacent buildings over the
street life, and above that above this
| | 01:47 | podium, which I'll highlight here,
| | 01:53 | we see the shaft of the building, and this
is essentially one large repeating texture.
| | 01:59 | Now this one happens to have right
here in the middle an interim step,
| | 02:04 | these extra windows.
| | 02:06 | But above that tis cladding, the
curtain wall, the wall that hangs from the
| | 02:10 | floors, repeats endlessly.
| | 02:13 | We can take this building and stretch it
up another 20 floors with the same material.
| | 02:17 | And this is really different from older
buildings or a load-bearing masonry or
| | 02:22 | city fabric of the past that we saw previously.
| | 02:25 | One of the last things we'll see in our
skyscrapers that makes it different from
| | 02:30 | our previous buildings is a
larger footprint on the base or podium.
| | 02:34 | And this has to do with a setback,
where the building has to be back from the
| | 02:39 | sidewalk a certain distance so it
doesn't completely shadow over its neighbors.
| | 02:43 | So we don't get canyons for streets.
| | 02:46 | So we want to plan for in this type of
construction is a modular or repeating
| | 02:51 | texture from floor to floor to floor,
with a different condition down here at
| | 02:57 | the base, possibly even
reused from another building.
| | Collapse this transcript |
| Designing the zoning: Planning the visible uses of buildings| 00:00 | The city is rarely a single-
purpose collection of buildings.
| | 00:03 | More often, given the evolution of the
city, different activities are plainly
| | 00:07 | visible in different areas, from offices,
to warehouse, to retail, to abandon and ruin.
| | 00:12 | In this movie, we'll examine the
techniques for the planning and design
| | 00:15 | of zoning in the city.
| | 00:17 | As part of this I'll demonstrate quick
techniques for constructing a white box
| | 00:21 | kit of parts of buildings for laying out a city.
| | 00:24 | In this photo we can see that there are
different ages, sizes, and purposes of
| | 00:29 | buildings evident in just a few city blocks.
| | 00:32 | What we start with here on the
right side are older buildings.
| | 00:38 | And these are delineated here by taller
retail floors, as we saw before in our
| | 00:43 | wedding cake buildings,
| | 00:45 | shorter floor to floor heights above
from second up to the roof, and often a
| | 00:50 | cornice or a parapet.
| | 00:52 | And this extends above the roof and as a way
to add a little extra height to an elevation.
| | 00:57 | Beyond this, we can see a larger block
of a building, and this may be either a
| | 01:01 | warehouse or in this case a department store.
| | 01:03 | And this is typified by a larger
overall mass, possibly to get a taller roof
| | 01:09 | structure to accommodate mechanical
and electrical components, and greater
| | 01:13 | floor to floor height.
| | 01:15 | Beyond this in the background
we have tall office buildings.
| | 01:19 | These often have a greater floor to
floor height, 12 to 14 feet, a much
| | 01:23 | more uniform facade.
| | 01:25 | Different geometry on the roof than in
our standard cornices and the podium we
| | 01:30 | discussed previously.
| | 01:32 | In 3ds Max, I've put together a
couple examples of white box elements of
| | 01:37 | buildings and the trick here is we're
making massing models, not final models.
| | 01:43 | On the left side here these three
are historic building-sized. This is a
| | 01:48 | five-story historic building with the
lower floor being 14 feet tall and 12 feet
| | 01:54 | from floor to floor with a 4 foot parapet.
| | 01:56 | The others follow suit roughly about
the same size, give or take a few feet, with
| | 02:02 | mesh lines showing me
the floor to floor heights.
| | 02:06 | These next ones are mid and high-
rise modern structures on podiums.
| | 02:11 | Again using the mesh lines as part of
a box to show floor heights for massing
| | 02:16 | and for rough ideas of texture sizing.
| | 02:19 | To make one of these I'll
start by creating a box. I'll hold
| | 02:23 | Ctrl+Right-Click and choose Box.
| | 02:27 | Clicking and dragging out a box.
| | 02:30 | I'll put in the Length, Width, and
Height either on the Parameters in the
| | 02:34 | Creation tab or on the Modifier panel.
| | 02:36 | For a historic building I'm
going to make this Length 60 feet.
| | 02:40 | Notice that Max converts for us between
feet and generic units, which are set to inches.
| | 02:45 | I'll make the Width 100 feet back to the
alley of this building, and a Height of
| | 02:51 | 60 feet giving me either 6 floors
at 10 feet from floor to floor for
| | 02:57 | residential or 5 floors at 12 feet for office.
| | 03:01 | I'll put the Height Segments at 5.
| | 03:03 | Now I need to make the base a
little taller and add a parapet.
| | 03:07 | I'll right-click and choose
Convert To: > Editable Poly.
| | 03:12 | Holding Alt and the middle mouse I'll
spin over to see the top of the building
| | 03:16 | and check Polygons in the Selection menu.
| | 03:19 | I'll pick the top polygon.
| | 03:20 | Notice I've pressed F2 to turn off
displaying the shaded selected polygons.
| | 03:26 | Now I'll right-click and
choose the dialog next to Extrude.
| | 03:31 | In this dialog these are generic units.
| | 03:33 | I'll put in 4 feet for my Parapet
and check to accept the transformation.
| | 03:40 | Then over on the Selection menu I'll
grow the selection 1, 2, 3, 4, 5 times to
| | 03:48 | catch all the floors except the bottom.
| | 03:51 | On the Transform Type-In, access by pressing
F12 or on the right-click menu next to Move.
| | 03:58 | I'll move these floors up 48
inches or 4 feet, giving me that taller
| | 04:04 | retail bottom floor.
| | 04:06 | Finally, I'll right-click and choose
Top-level and my white box of a historic
| | 04:12 | building is ready to use.
| | 04:17 | For a modern podium and shaft
building, the process is similar.
| | 04:21 | I'll start out with the base of a box,
pressing Ctrl+Right-Clicking to access
| | 04:25 | the Box on the Creation menu.
| | 04:28 | First I'll add a podium in, creating
the box and clicking on the Modifier tab
| | 04:34 | and then entering a Length, Width, and Height.
| | 04:36 | I'll make this one slightly larger, 120
feet on a side, and I'll give this one a
| | 04:42 | Height of 20 feet for much larger first
story, putting the Height Segments at 1
| | 04:48 | so this is somewhat oversized of a podium.
| | 04:51 | Now I'll add the shaft on.
| | 04:53 | I can take this box and
clone it, or create a new one.
| | 04:57 | I'll take the first option and press
Ctrl+V to clone this box as a copy.
| | 05:04 | I'll make the Length 80 feet, the
Width 80 feet so this will be a square, and
| | 05:09 | for a Height I'm going to make it 30
stories tall at 12 feet floor to floor
| | 05:14 | giving me a height of 3600 inches.
| | 05:19 | Now in the Height Segments I'll put in 30.
| | 05:22 | I'm not as worried about extruding the
top polygon for a cap, as this will be up
| | 05:26 | at the top of the building
and I can put it in later.
| | 05:28 | Really what concerns me here
is the massing of the building.
| | 05:31 | Does it have the right scale and the
right number of floors I'm looking for?
| | 05:35 | Finally, I'll use the Align tool,
| | 05:38 | clicking on Align with the shaft
selected and then selecting the podium, and in
| | 05:43 | the Align tool first I'll align the
Minimum of the Current Object with the
| | 05:47 | Maximum of the target, placing them one
on top of the other and pressing Apply.
| | 05:52 | Then I'll align them X and Y Position,
Center to Center, and pressing OK, so
| | 05:59 | that the shaft is centered on the podium.
| | 06:02 | To complete this I'll right-
click and choose Convert To: >
| | 06:06 | Editable Poly, and right-click and
choose Attach and select the podium.
| | 06:12 | Making sure I right-click to stop attaching
lest I attach another building to this one.
| | 06:17 | We moved in this chapter from the
analysis and planning of a city to the design
| | 06:21 | of the overall layout and
placement of building volumes.
| | 06:24 | Careful construction of a white box
city is absolutely essential as it
| | 06:28 | establishes clear relationships of time, place,
and function that are evident in the city.
| | 06:33 | Planning the variance in a white box
city cements the evolution of place
| | 06:37 | and will let you design a city
that grew into being, instead of being
| | 06:41 | hatched overnight complete.
| | Collapse this transcript |
| Laying out city blocks| 00:00 | Building on the zoning of the previous
movie, this movie will demonstrate the
| | 00:03 | planning of a city grid.
| | 00:05 | In any city there is a perceptible
hierarchy of the streets with major,
| | 00:09 | secondary, minor, and often tertiary arteries.
| | 00:12 | In this movie, I'll show how to
quickly use the snap tools and white box
| | 00:16 | elements to lay out a street grid for a city.
| | 00:19 | What I'll begin with here in 3ds Max is
a plane, and what I want to think of are
| | 00:24 | major and minor streets for this example.
| | 00:28 | To start I'm going to lay out a major
street that goes along a 400x200 foot block,
| | 00:33 | and I'm going to make this
major street three lanes in each direction,
| | 00:37 | plus a center safety lane, giving me a
total of seven lanes at my Width of 9 feet,
| | 00:42 | or a Width of 63 feet
and a Length of 400 feet.
| | 00:50 | What I'll do for white box elements
and design in this is change the Width
| | 00:55 | Segments of the street to
match the number of lanes.
| | 00:58 | Putting my Width Segments at 7, giving
me seven lanes visibly across in the mesh
| | 01:03 | lines even when the object is not selected.
| | 01:06 | That way as I lay out this white box I
can see clearly do I have the traffic
| | 01:10 | arteries the right size in the right direction?
| | 01:12 | I'll continue working on this
and show the completed version.
| | 01:18 | Now I've built my kit of parts for my
streets, major and minor streets, 400 and
| | 01:23 | 200 foot lengths and intersections for
each of the three conditions, major-major,
| | 01:27 | major-minor, and minor-minor.
| | 01:31 | Now with my Angle Snap on and 2.5
degree Snap on and set to use Vertices, I can
| | 01:40 | lay out my irregular grid of streets.
| | 01:42 | In a city what we want to have is
not necessarily a square grid, but an
| | 01:49 | irregular rectangular grid of streets,
major and minor, that don't quite all
| | 01:56 | match up in instance or direction.
| | 01:58 | I'll continue working on this
and show the completed version.
| | 02:04 | Now we see what I've worked on.
| | 02:06 | I've built my grid of streets or
at least a chunk of a city here.
| | 02:09 | We have a rhythm between major and
minor streets. On one direction every
| | 02:13 | third street is a major.
| | 02:15 | In another direction again every
third is a major and the blocks are
| | 02:19 | rectangular, allowing me to place an
alley down in the middle if needed.
| | 02:23 | I can extend this on infinitely if I
need adding major/minor streets, maybe
| | 02:28 | even large boulevards and other arteries in.
| | 02:30 | This will feel like a city where
there is a variance in both street width and size.
| | Collapse this transcript |
| Planning modular textures and geometry: Streets and sidewalks| 00:00 | Once a street grid has been
constructed we can further refine our
| | 00:03 | transportation routes in the city.
| | 00:05 | This movie will demonstrate the
construction refinement of sidewalks, more
| | 00:09 | streets, corners, and intersections,
| | 00:11 | with a strong emphasis on modularity.
After all we have miles of texture to deal with.
| | 00:17 | I've got my basic street layout from
the previous movie here, showing major and
| | 00:21 | minor streets and intersections.
| | 00:22 | Now what I'll do is make modular white
box elements for use in corners, straight
| | 00:29 | pieces of sidewalk, and driveways.
| | 00:32 | For a corner I'll use a cylinder to
start with, and again this is really a
| | 00:37 | placement icon rather than an exact model.
| | 00:41 | I'll make a cylinder and in this
case give it a Radius of 8 feet, fairly
| | 00:45 | common for city sidewalks.
| | 00:48 | Then I'll make the Height, 8 inches,
curb height, 1 Cap Segment, and 6 Sides.
| | 00:55 | Looks kind of chunky at
the moment. It's a hexagon.
| | 00:58 | What I'll do is turn on Slice On and
Slice From 90 degrees to 0, which gives
| | 01:03 | me a quarter circle.
| | 01:06 | This is missing its ramps and doesn't
have enough geometry along it, but is a
| | 01:10 | reasonable white box element to let
me place pieces to make my city blocks.
| | 01:17 | Then I'll hold Ctrl+Right-Click and choose Box.
| | 01:22 | This box will be a sidewalk element.
| | 01:24 | A Length of 96 so it
matches the width of my corner.
| | 01:28 | A Width of 100 feet, because I'm not
going to use it exactly like that, I'm
| | 01:34 | going to stretch it as needed,
and a Height finally of 8 inches.
| | 01:37 | Again, I'll want to optimize this and
map it correctly, but this is a white box
| | 01:42 | element for placement. Then I
usually want to do a separate element for
| | 01:45 | driveway. I'll make another box.
| | 01:49 | In this case, my Length will be 96, my
Width will be 240 or 20 feet, and a Height of 8.
| | 01:58 | I could model the driveway at the
moment, but really what I prefer to do is
| | 02:02 | simply let it be a different color,
as we can see in the Object Color here,
| | 02:05 | so that when I clone it I can recognize
the driveway elements from the straight
| | 02:10 | sidewalks, as they may have
different textures such as red curbs.
| | 02:14 | We'll get into texture on the streets in
later movies, but I at least want to plan
| | 02:18 | for mapping on all of my elements.
| | 02:20 | The neat part to this approach is that
I've taken my street elements and cloned
| | 02:25 | them as instances. Notice the
Make Unique button is available.
| | 02:28 | So later I can come in and right-click
on the spinner for Width Segments and
| | 02:32 | reduce it to 1, giving me optimal geometry.
| | 02:35 | Then I can apply UVW Map
modifier to this. That's a square.
| | 02:44 | The street width becomes the length of
the map, and there is my square mapping.
| | 02:49 | Now I've made up a texture here.
I'll show how to make in a later movie.
| | 02:53 | I'll press M for Materials, and in
the Diffuse slot I'll add a Bitmap.
| | 03:01 | And here is my street texture.
| | 03:04 | This is a tiling texture with three lanes
and a center safety lane, just like we planned.
| | 03:10 | I'll apply it to this module, show it
in the view, and there is my street.
| | 03:16 | I can apply this to all of my major
streets and they will all map the same.
| | 03:22 | Finally, I can take this mapping,
right-click on it and copy it, select a
| | 03:28 | minor street and paste that mapping on, then
assign this material, reducing the Width Segments.
| | 03:36 | Assign this material to my minor
streets and they have lane lines as well, using
| | 03:42 | the same texture thereby
optimizing memory in game.
| | 03:45 | I can do this with my
intersections which I'll show in a later movie.
| | 03:49 | In this movie, we've made the lead from
regional within a city to truly local,
| | 03:53 | demonstrating how to design at the street level.
| | 03:55 | As part of this we've also cemented
the module and nature of our design,
| | 03:58 | literally embedding it in the streets.
| | Collapse this transcript |
| Texturing intersections| 00:00 | In the previous movies, we've laid out
a white box of our streets in a grid and
| | 00:05 | started to apply textures to the streets.
| | 00:07 | In this movie, we'll texture the
intersections as specific objects, making them
| | 00:11 | fit nicely on to the corners and pave
the way to add other street elements in.
| | 00:17 | As we can see in the view, I have an
intersection object still in purple,
| | 00:21 | surrounded by textured
streets with mapping applied.
| | 00:25 | I've copied and pasted the map
modifier from street to street.
| | 00:28 | However, I have a problem.
| | 00:31 | At the corner, where I've inserted on
this intersection my white box elements
| | 00:35 | for corners and ramps, along with white box
elements for part of the sidewalk, I need pavement.
| | 00:41 | What I'll do is transition carefully
here from a white box in design to an
| | 00:46 | actual model and what this means is
reducing the poly count, optimizing geometry
| | 00:51 | wherever possible, and also making sure
that I'm closing up my game environment,
| | 00:56 | that polygons hit at either
surfaces or edges exactly.
| | 01:01 | For the intersection, I am going to
increase the size by 8 feet in each
| | 01:05 | direction, going from 63x63 feet up to
79x79 and also I'll reduce the Length and
| | 01:14 | Width segments to 1 and 1.
| | 01:16 | We can see the slides under my streets.
| | 01:18 | So I need to reduce my streets here by 16
feet again, 8 feet for each corner on each side.
| | 01:25 | Dropping down under the UVW Map modifier,
changing the Length from 400 feet to
| | 01:30 | 384 feet, on the small streets on the
side, my short streets, I'll drop down
| | 01:37 | under the UVW Map and in the Plane,
change from 200 feet to 184 feet.
| | 01:43 | Now the edge lines of my streets
meet cleanly at my intersection, which flows
| | 01:48 | cleanly under the corners.
| | 01:49 | Lastly, with the Intersection selected
I'll press M for Materials and in the
| | 01:54 | Material Editor, I'll assign a
material for the intersection.
| | 01:59 | I've created a texture as an example
of an intersection with crosswalks.
| | 02:03 | I'll put it in the Diffuse Materials
slot, choosing a Bitmap, and picking the
| | 02:08 | intersectionC for color.
| | 02:10 | I'll go up to the parent and show the
shaded material in the view and there
| | 02:16 | is my intersection with crosswalks,
with extra asphalt at the corners to
| | 02:20 | accommodate round corners of various
sizes and providing a cap or end for my
| | 02:26 | lines on my street.
| | 02:29 | In a render, we can see cleanly that I
have a street with worn intersection and
| | 02:34 | crosswalk lines and even dirt right
over it, ready for construction of ramps,
| | 02:38 | corner ramps, driveways
and other street elements.
| | 02:44 | In this movie, we saw a very clear
example of a transition from a white box for
| | 02:48 | planning within 3ds Max, to an actual
model, making very sure that we reduce
| | 02:54 | polygon count wherever possible and
optimize the use of textures through careful
| | 02:58 | and elegant mapping, planning for closed
environments that are bounded, where all
| | 03:03 | the polygons meet and there aren't open edges.
| | 03:06 | In the next movie, we'll add on the
sidewalks and ramps and driveways to finish
| | 03:11 | out our streetscape.
| | Collapse this transcript |
| Modeling modular curbs, gutters, and ramps| 00:00 | Once the modular design of streets and
sidewalks is done, we are ready to start
| | 00:04 | building our kit of parts
to add detail to the city.
| | 00:06 | This video will show techniques for
building driveways, curbs, and ramps, so
| | 00:10 | that they can be placed as needed.
| | 00:13 | We'll explore polygon modeling
techniques for optimizing geometry while
| | 00:16 | achieving the look of the most common
place, the very sidewalk under our feet.
| | 00:20 | In this model, I've finished replacing
my proxy or placeholder streets with my
| | 00:25 | actual streets, complete with mapping and
texture, and the intersections sized to
| | 00:30 | include the radius corner.
| | 00:32 | Now I am going to make part of my
kit of parts for driveways and ramps.
| | 00:36 | I have placeholders in of just boxes
color coded that let me know that I need to
| | 00:41 | put a driveway object there.
| | 00:43 | What I'll do is I'll take this driveway
and press Ctrl+V to clone as a copy and
| | 00:48 | I'll move this clone off
to the side temporarily.
| | 00:52 | Because it's still a parametric box, I
can put the Width Segments at 3, then
| | 00:58 | convert this to an editable poly.
| | 00:59 | This is why we need to replace this
object rather than just adjusting or
| | 01:04 | remodeling in place is that we end up
with fundamentally different geometry.
| | 01:08 | First, I'll press 2 for edge and pick
the two center edges and press Loop on
| | 01:14 | the Selection menu.
| | 01:16 | Then press R for scale and
scale these out on the x-axis.
| | 01:22 | Now I'll take the front center edge,
press W for move and F12 for the Transform
| | 01:27 | Type-In, and move this down -7 inches,
giving me a one-inch lip of the driveway.
| | 01:34 | Finally, I'll optimize this, removing
any back and bottom polygons so that they
| | 01:40 | don't add to the poly count in the game.
| | 01:42 | I'll continue working on this
and show the completed version.
| | 01:46 | The driveway component is optimized
and ready for smoothing correctly.
| | 01:51 | I'll pick the Element button and select
the whole element and scroll down to the
| | 01:55 | Polygon Smoothing Groups menu.
| | 01:57 | In Smoothing Groups, I'll clear all.
| | 02:00 | That way I have hard
edges all the way across here.
| | 02:04 | Lastly, I'm going to take these top-
middle vertices and weld them on to the
| | 02:08 | corners to give me triangles here on the ramps
instead of possibly all mesh lines across.
| | 02:15 | I'll press 1 for vertex and then right-
click and choose Target Weld and Target
| | 02:20 | Weld from middle to corner.
| | 02:23 | So this shows up cleanly, I'll press F3 to
switch to a wireframe and click and drag--
| | 02:28 | notice the dragline-- across.
| | 02:37 | I'll press F3 again and F4 to turn off
a wireframe on shaded or edged faces.
| | 02:43 | So I can see my object cleanly.
| | 02:45 | I have crisp corners at the ramps and a
crisp edge along the bottom of the driveway.
| | 02:50 | This object is ready for
texture and placement in my model.
| | 02:54 | I'll rename this to driveway001 to
differentiate it from the proxies.
| | 03:02 | Sometimes we also need a small
straight ramp in the middle of the sidewalk.
| | 03:06 | I'll take my driveway object, clone it
by pressing Ctrl+V, renaming the object
| | 03:12 | to ramp001, and moving it over and then
simply grabbing one side of the vertices
| | 03:19 | and pressing F12 for the Transform
Type-In and moving them back by 8 feet.
| | 03:26 | This gives me a small ramp I can
add in the middle of my sidewalk.
| | 03:31 | Now I can take these objects, F4 for
edged faces again, and replace my driveway
| | 03:37 | white box models and further complete my street.
| | 03:44 | Now with the actual driveway complete,
I'll replace my placeholder object,
| | 03:49 | selecting and deleting or using the Align tool.
| | 03:52 | I'll pick the driveway and then
press a line and select the placeholder.
| | 03:57 | And for these, I'll align on the x, y,
and z position, center to center, as it
| | 04:02 | both came in the same size object.
| | 04:04 | Pressing OK to accept the alignment
and finally selecting the placeholder a
| | 04:08 | proxy object and deleting.
| | 04:11 | I can do the same with the ramp.
| | 04:12 | I'll continue working on this
and show the completed version.
| | 04:17 | As you can see, my ramp is a little bit
bigger than the original proxy, as I need
| | 04:21 | to adjust the sidewalks to fit.
| | 04:23 | I'll select my sidewalk proxy objects,
press 1 for vertex, and using my 3D
| | 04:29 | Snap in this case on just the x-axis in red,
snap these vertices onto the edge of that ramp.
| | 04:37 | Later, I'll come back and replace this
sidewalk proxy with a proper sidewalk
| | 04:43 | that's textured and has fewer polys.
| | 04:46 | Constructing street and sidewalk
elements is an exercise in careful placement of
| | 04:49 | minimal polygons, beyond the
simple placement of mesh lines.
| | 04:53 | We as designers are charged with
constructing conditions and transitions that we
| | 04:58 | navigate regularly, that the sidewalk
under our feet we have to think about, even
| | 05:03 | though in walking around the
city we may not notice it.
| | Collapse this transcript |
| Modeling modular street elements| 00:00 | This video continues with the
construction of the kit of street and sidewalk
| | 00:03 | elements started in the previous one.
| | 00:05 | I'll be focusing on construction
techniques for sidewalks, building the linear
| | 00:09 | elements that bridge
between the corners and driveways.
| | 00:12 | This video will particularly emphasize
clean modeling practices, including
| | 00:16 | attention to smoothing groups and optimizing
polygon count while maintaining the correct look.
| | 00:21 | We'll pick up in the model where
we left off in the previous video.
| | 00:25 | We have detailed ramps in place, proxy
objects for sidewalks and corners, and
| | 00:29 | detailed textured streets.
| | 00:31 | What I'll do is start to replace my
proxy sidewalks, here's one, two, and three,
| | 00:37 | with one sidewalk element in multiple pieces.
| | 00:42 | I'll take two of the parts and delete them.
| | 00:45 | Then I'll take the existing element for a
sidewalk and make sure it's not an instance.
| | 00:49 | Notice that the Make
unique button is grayed out.
| | 00:52 | For this sidewalk I really just need to
optimize the poly count to check the smoothing.
| | 00:57 | I'll switch to polygon and spin around the
backside to delete back and bottom faces.
| | 01:11 | With the back and bottom gone, this
is a two-polygon sidewalk element.
| | 01:17 | Now I'm ready to clone so that it can
be part of one object, having one texture
| | 01:22 | spanning cleanly between the driveways.
| | 01:24 | I'll switch to element and select the
whole element, which is really the whole object.
| | 01:29 | Press Spacebar for selection lock and
move only on the red x-axis, making sure
| | 01:34 | my 3D snap is enabled, holding Shift
and cloning this element to snap to the
| | 01:40 | edge of the existing ramp.
| | 01:41 | I'd like to clone this as an
element instead of a new object.
| | 01:47 | Now I'll press 1 for Vertex, release
this selection lock by pressing the
| | 01:51 | Spacebar, and grab the vertices here at the end.
| | 01:54 | Press Spacebar again for selection lock
and snap these back onto the driveway.
| | 02:00 | I'll repeat the process one more time.
| | 02:02 | I'll continue working on this
and show the completed version.
| | 02:08 | Now I have my elements of one object
cloned cleanly down the block from corner
| | 02:13 | to corner and between the ramps.
| | 02:16 | Lastly, I'll pick all of the
elements again and scroll down to the
| | 02:20 | Polygon Smoothing Groups.
| | 02:23 | In Polygon Smoothing Groups, I'll clear
all the smoothing. This will prevent any
| | 02:27 | accidental roundness from distorting my curbs.
| | 02:31 | Finally, I'll right-click and pick Top-level.
| | 02:35 | This object is complete and ready
for cloning or further adjusting.
| | 02:39 | What I'll do to finish out this block
is clone the driveways and ramps as I need,
| | 02:44 | stretch the sidewalks between,
and attach the objects together to get one
| | 02:49 | complete sidewalk for the entire block, which
will share one texture we'll see in the next video.
| | 02:55 | Construction of street and sidewalk
elements is an exercise in careful placement
| | 02:59 | of minimal number of polygons.
| | 03:01 | Beyond the simple placement of mesh
lines, we as designers are charged with
| | 03:05 | constructing conditions and transitions
that we navigate regularly in our world,
| | 03:10 | making the mundane world
appear correct and well, mundane.
| | Collapse this transcript |
| Modeling corners with ramps| 00:00 | In this video, I'll continue taking
my proxy objects and replacing them
| | 00:04 | with actual geometry.
| | 00:07 | For this, I'll focus on these round
corners, adding ramps in and adjusting the
| | 00:11 | smoothing groups and
optimizing the polygon count.
| | 00:13 | First, I'll take an existing proxy
object in our model and hold Shift and clone
| | 00:18 | it off into a blank space and then copy.
| | 00:21 | Then to make things easier to see, I'll
right-click and choose Hide Unselected.
| | 00:27 | Then press Z for zoom extents.
| | 00:29 | Since this is still a parametric
cylinder, it can be easily adjusted to give me
| | 00:33 | an optical mesh flow.
| | 00:34 | I'll make the Sides 12 and the Cap Segments 2.
| | 00:40 | This will give me a division along
this for shorter ramp runs and a flat
| | 00:45 | space in the sidewalk.
| | 00:47 | Next, I'll convert this object to an editable
poly and optimize the back and bottom faces.
| | 00:54 | A quick way to do this is to press 1
for vertex and pick the back bottom face.
| | 00:59 | Then hold Ctrl and click on the
Polygon button to select any polygons
| | 01:05 | adjacent to that vertex.
| | 01:07 | Then I'll delete them.
| | 01:10 | I'll pick one and hold
Ctrl to add to the selection.
| | 01:21 | Now I'm ready to model the ramps.
| | 01:22 | I'll press 2 for edge and select the
third and fourth edges in from the corner,
| | 01:29 | holding Ctrl again to add to the selection.
| | 01:32 | Pressing F12 for the Transform Type-In
and moving these edges down -7 inches on
| | 01:37 | the Z giving me my ramps.
| | 01:41 | I'll optimize the polygon count further
by selecting the middle edge on the ramp
| | 01:47 | and choosing a Loop
selection off the Selection rollout.
| | 01:51 | I'll scroll down to the Edit Edges
menu and hold Ctrl and click on Remove to
| | 01:56 | perform a clean remove, removing
the vertices as well as the edges.
| | 02:01 | Now we need to adjust the
smoothing groups in this object.
| | 02:04 | As a possibility, you can also remove
other edges to eliminate tries if you need.
| | 02:10 | For this, I'll just hit Remove
because I want the vertices still there.
| | 02:15 | I'll right-click and choose Element,
select the whole element, and scroll down to
| | 02:19 | the Polygon Smoothing Groups.
| | 02:25 | In the Smoothing Groups,
I'll clear all the smoothing.
| | 02:28 | Then I'll come back to polygon and pick
the polys around the edge of the curb.
| | 02:37 | Scrolling down to the Smoothing Groups
again, I can clear their smoothing if
| | 02:42 | needed and apply one consistent
smoothing group so they look round.
| | 02:46 | Then I'll choose the polygons to the
sides of the ramps and put them in their
| | 02:50 | own smoothing group, so
they're smooth but not with a curb.
| | 02:55 | Finally, I may need to
redirect the triangulation.
| | 02:58 | You can just see a little bit of a dark
line across this ramp, which means the
| | 03:02 | edge is in the wrong direction.
| | 03:05 | I'll right-click and choose Edit
Triangulation and also press F3 to switch to a
| | 03:10 | wireframe so I can see the dragline clearly.
| | 03:13 | Clicking and dragging from corner to
corner edits the triangulation inside the
| | 03:17 | polygon, which will
produce the correct smoothing.
| | 03:20 | I'll do this in all of the side ramp polys.
| | 03:30 | Switching back over to shaded or
realistic view with Edged Faces by pressing F3
| | 03:36 | again shows me the correct smoothing.
| | 03:38 | I'll turn off the Edged Faces by
pressing F4 and check my model.
| | 03:43 | The model looks right.
| | 03:44 | I have the shine on the curbs where it
should be round and my ramps have clean
| | 03:48 | facets where they should be angular.
| | 03:51 | My sidewalk is flat and my object is
optimized on polygons and ready for texture.
| | 03:56 | I'll right-click and choose Top-level
and name this object Corner01 and then I
| | 04:05 | can replace my proxy objects and my
model with it and apply a texture.
| | 04:09 | I've made my ramp and I'm ready
to place it in the opening here.
| | 04:14 | I've removed the proxy object.
| | 04:15 | I'll go in a top view and snap this in place.
| | 04:19 | I'd like to use my 2.5D snap for things
like this, so it doesn't jump up accidentally.
| | 04:27 | Spacebar for selection lock lets me put
my mouse where I need and I'll snap it
| | 04:31 | right into the corner. But I
can see I have an issue here.
| | 04:35 | Probably because this was started as
a cylinder and then converted to an
| | 04:38 | editable poly, my width is off
slightly and I have a small triangular gap.
| | 04:43 | This, however, is easy to fix.
| | 04:45 | What I'll do is add a
symmetry modifier on to this object.
| | 04:49 | As we can see, the symmetry
modifier mirrors the object with a mirror
| | 04:58 | plane shown in orange.
| | 05:00 | I'll right-click and choose Mirror and
then press E for rotate, making sure my
| | 05:04 | angle snap is on by hitting A if it's
not already, and I'll rotate the mirror
| | 05:09 | plane by 45 degrees, giving me a clean
mirror of now the gap on both sides.
| | 05:15 | In the symmetry parameters, I'll check
Flip and my object is fixed, matching
| | 05:19 | cleanly from sidewalk to sidewalk.
| | 05:22 | I'll right-click and convert this
object back to an editable poly, deleting
| | 05:26 | the symmetry modifier.
| | 05:27 | Pressing 2 for edge shows me that
the new edge where symmetry did a slice
| | 05:32 | and weld is selected.
| | 05:34 | I'll go down to the Edit Edges rollout.
| | 05:39 | In the Edit Edges rollout, I'll hold
Ctrl and click Remove again to perform a
| | 05:43 | clean remove, thereby taking out the
vertices as well and my object is ready.
| | 05:49 | I'll right-click and press Top-level
to return back to the whole object and
| | 05:54 | proceed with texturing.
| | Collapse this transcript |
| Unwrapping sidewalk elements| 00:00 | With all of the objects of our
sidewalk modeled, we are ready to start to lay
| | 00:04 | out a texture sheet.
| | 00:06 | The idea with the texture sheet then
is we are going to have multiple UVs of
| | 00:09 | multiple objects stacked over each
other, sharing one texture to economize on
| | 00:13 | texture size and UV usage.
| | 00:16 | For a sidewalk like this, really what
we care about is that we have a grid
| | 00:20 | pattern in the sidewalk that's
interrupted by new pores of concrete for things
| | 00:24 | like driveways and curbs and ramps.
| | 00:26 | So as long as we get most of the
sidewalk texture right, occasionally it can
| | 00:30 | crash into a driveway and visually we
are okay with that. We see that in the city.
| | 00:35 | For the ramps, I will texture
one and then clone it later.
| | 00:38 | So as you can see in the model, I have
some of my ramps in place and some gaps
| | 00:43 | where I'll put in others.
| | 00:44 | In the sidewalk, I will right-click and
choose Isolate Selection to show this cleanly.
| | 00:49 | The sidewalk is one object that's been
all attached together and collapsed to an
| | 00:54 | editable poly. All the smoothing groups
are cleared off and it's just a series
| | 00:58 | of blocks basically.
| | 01:00 | To lay out the texture on this object,
I will add an Unwrap UVW Modifier
| | 01:05 | available in the Modifier List.
| | 01:12 | In the Unwrap UVW Modifier, I will
open the UV Editor to better space out the
| | 01:16 | UVs where I'd like them.
| | 01:20 | When the UV Editor pops up, we may want
to make it a little bit easier to see.
| | 01:23 | I will make this a little smaller
so everything shows on screen.
| | 01:26 | I will also turn off the
CheckerPattern and zoom out so I can see my objects
| | 01:32 | here outlined in green.
| | 01:36 | What I like to do when unwrapping is
work side-by-side in the Editor on one side
| | 01:41 | and the viewport on the other.
| | 01:42 | I will right click and choose Face in
the editor, select all the faces of the
| | 01:47 | objects, and under Mapping,
choose Flatten Mapping.
| | 01:53 | I'll make the Flatten Mapping just the
default. A Face Angel Threshold of 45
| | 01:56 | will explode the curbs and sidewalks cleanly.
| | 02:01 | When I press OK, I get this. All the
curb elements are the same size and
| | 02:06 | proportion as are the sidewalks and
now I can stack their UV shells very
| | 02:11 | cleanly, so that they use up one small
slide of my texture space, reserving the
| | 02:16 | rest of it for other things.
| | 02:19 | I'll pick these shells and
move them over the others.
| | 02:23 | Getting fairly close, I will use the
Align UVs tool to be able to get these
| | 02:28 | in the right place.
| | 02:31 | All of my sidewalk
elements are stacked cleanly here.
| | 02:34 | What I will do is right-click and
choose Vertex and select all of one side of
| | 02:39 | the vertices and on the UV tools,
right up at the top of the Quick Transform,
| | 02:44 | is the Align Vertical.
| | 02:46 | I will align them vertical and then
choose the other side, just dragging
| | 02:50 | window all the way down.
| | 02:52 | aligning vertical keeps all their UVs together.
| | 02:55 | Notice I have staggered the edges in
here so that a grid pattern on the sidewalk
| | 02:59 | elements isn't always in the
same starting place on the same UV.
| | 03:03 | That way if I have things on that
sidewalk, like different concrete, gum, dirt,
| | 03:08 | whatever's on there, it shows up
in a different place on each piece.
| | 03:13 | Now we'll do the same thing with
my curb elements, which right now are
| | 03:16 | scattered all over.
| | 03:17 | I will align them as well as I can and
then use the Align Vertical tool to get
| | 03:21 | them all lapping over.
| | 03:27 | Now I've got all the elements of the
curbs aligned together as well, using the
| | 03:32 | Align Vertical tool.
| | 03:34 | Note that if you need, you can fly out this
tool and choose different ways of aligning.
| | 03:38 | Right now I am aligned to the center.
| | 03:40 | I have also used down here at the bottom
the Select By Element UV Toggle, which
| | 03:44 | is very handy in moving things around,
allowing you to select one vertex or one
| | 03:48 | edge and select the whole UV element.
| | 03:52 | Now I'll take this whole selection and
move it over fairly close to my sidewalk
| | 03:56 | and if I need, I can move some stuff in.
| | 03:59 | This is an elegant use of this texture
space, where I can do one sidewalk texture
| | 04:03 | all the way down at a fairly low res
and it will look like a sidewalk, saving
| | 04:08 | the texture space for other elements in here.
| | 04:15 | The next step would be to unwrap the
driveways and corners the same way so that
| | 04:21 | we can align them over those
existing shells and they will share textures,
| | 04:24 | reserving that texture space as one
texture sheet from basically all of our
| | 04:29 | sidewalk and streetscape, allowing us
more room if we need for plazas, steps,
| | 04:35 | wider sidewalks, even things like
different paving around or under cafes.
| | 04:39 | What we have seen here is that if we
plan carefully, we can really economize on
| | 04:46 | our texture space, lapping
over UVs to a tremendous degree
| | 04:50 | so they all share one texture in a
way that will seem, well, seamless and
| | 04:54 | non-repeating to the viewer of the game.
But of course, they look like sidewalks
| | 04:59 | with the right dirt and grunge on them,
but if we happen to see the same dirt on
| | 05:02 | another side of the block,
nobody is going to notice.
| | 05:06 | That's the art in forming
these kinds of repetitive elements.
| | Collapse this transcript |
|
|
3. Modular Construction of an Urban EnvironmentLaying out rectangles and planning how to clone geometry and texture| 00:00 | In this chapter we'll descend from
making streets to buildings, looking at
| | 00:04 | techniques to make modular buildings
that are easily cloned and form a kit of
| | 00:08 | parts we can use to make other
buildings that share elements and textures.
| | 00:12 | We'll start on this building, a
typical city fabric building showing older
| | 00:16 | construction, stone below, brick above, and
a one story cornice and frieze at the top.
| | 00:22 | What I've done is to start to sketch
out major mesh lines on the building, to
| | 00:26 | give me an idea of how to lay out the modules.
| | 00:28 | You can see that these pair of windows
and sill clone all the way up the facade.
| | 00:33 | Therefore if we needed, we could
actually stretch this building taller or
| | 00:36 | shorter and make another structure for a city.
| | 00:39 | In 3ds Max we had a street
layout from the previous chapters.
| | 00:44 | In this case, I have turned off the
blocks and sidewalks except for one block
| | 00:48 | and left the streets on. We're
ready to add a building into this space.
| | 00:53 | What I'll do is in a Front view start to
layout rectangles. On the Creation menu
| | 00:59 | under Shapes there is a Rectangle
object and the neat thing, why do I like
| | 01:03 | rectangles here, is that rather than
just using a ruler I can put in an exact
| | 01:08 | length and width in feet or in inches.
| | 01:11 | What I'll do is I'll
check against the reference.
| | 01:14 | In the reference I'll gauge the floor
to floor height as well as the width
| | 01:17 | between major features, such as these
vertical pilasters on the building.
| | 01:21 | In this building I could count bricks
and a standard brick being 8"x3"x4" would
| | 01:28 | give me an accurate measure. It's like
the building has a ruler built-in, but
| | 01:32 | I'm going to gauge it roughly based on
the windows, that these are probably 5
| | 01:35 | feet tall, giving me give or
take 10 feet from floor to floor.
| | 01:40 | The floor running right through the
middle of this brick spandrel.
| | 01:44 | The spandrel is the piece of wall above
and below windows here, concealing the
| | 01:49 | floor and other structure.
| | 01:50 | I'll also make this module the width
of these pilasters, going if this is 10
| | 01:55 | feet tall, roughly 10 feet wide with a
2 foot wide brick protrusion, giving me
| | 02:00 | 10 foot, 2 foot, 10 foot, 2 foot.
| | 02:03 | Notice that I've rounded off my dimensions.
| | 02:05 | The actual dimensions of the building,
if you could get out there with a tape
| | 02:08 | measure, may vary slightly.
| | 02:09 | Things do vary when they're built. That's fine.
| | 02:12 | For our purposes and construction
making it even will be much easier.
| | 02:16 | Back here in 3ds Max then I'll make
the length of my rectangle 10 feet.
| | 02:21 | Remember we can add in 10 feet and
it'll convert inches for us and I'll put the
| | 02:26 | Width in of 10 feet as well.
| | 02:31 | Now I'll make other rectangles that
stand in for the window opening, not
| | 02:36 | necessarily both windows, but really
where do the window sit and am I getting
| | 02:40 | the proportion right of
wall to window on the side?
| | 02:43 | Referencing back to the photos if
this is 10 feet from floor to floor, this
| | 02:47 | window is 5. If this window is 5 tall
it's probably three wide as a good guess
| | 02:53 | or maybe two and a half feet.
| | 02:55 | We can always resize it. Given that
this is two and a half, we have two and a
| | 02:59 | half, 8 inches or one brick, two
and a half, giving us 5 foot 8 inches
| | 03:05 | centered in that rectangle. Back in Max then,
| | 03:09 | we can either make a new rectangle as
I've done and put the dimensions in, or we can
| | 03:15 | take the existing rectangle and
clone it by pressing Ctrl+V as a copy.
| | 03:21 | Then in the parameters for this
rectangle I'll put in my length, 5 foot 6, to
| | 03:28 | accommodate the sill, and a Width of
5 foot 8, which gives me the windows.
| | 03:34 | Because objects think their center is in
the center by default, this rectangle is
| | 03:38 | now centered on the existing one and
there's my module. And I can use this to
| | 03:42 | gauge the size and say,
does this work if I clone it?
| | 03:48 | To clone objects then I'll select both,
press Spacebar for Selection Lock,
| | 03:53 | make sure my Snap is on, 2.5 works
fine, and that the snap is configured on
| | 03:57 | vertices. I'll on go on the y-axis
only, hold Shift, and click and drag from
| | 04:03 | the top to the bottom.
| | 04:05 | This pulls up to Clone Options dialog and
I'll put the Number of Copies at 6 to start.
| | 04:13 | What I have then is a reasonable idea
of how these windows will stack up and
| | 04:17 | what I'll do is look at the proportion
of wall to window opening and gauge it
| | 04:22 | against my reference.
| | 04:23 | Am I getting enough windows in here
versus the amount of wall I need? And it
| | 04:28 | looks like I could be a little bit
taller on the windows and getting maybe too
| | 04:31 | much wall above and below.
| | 04:34 | When I cloned I cloned as an instance.
| | 04:38 | We can see the Make Unique
button is available here.
| | 04:41 | That means if I change one they all change.
| | 04:43 | I'm going to make my windows a little
taller, 6 feet, and again I'll gauge the
| | 04:48 | proportion of wall between
windows to window opening.
| | 04:52 | This looks better. The
windows are little taller.
| | 04:54 | Now I'm ready to build the mesh that
actually fits inside this template.
| | Collapse this transcript |
| Using layers to organize construction elements and actual models| 00:00 | In this movie I'm going to
show some layer management.
| | 00:03 | It's important to keep things organized
when you're making a project or making a
| | 00:07 | building or making a game, as you can
have literally thousands of assets, and if
| | 00:12 | we have extra stuff coming across
from export into the game editor or game
| | 00:16 | engine again it's more geometry and
possibly issues with objects that the editor
| | 00:21 | or the engine don't like.
| | 00:23 | What I'll show here is the layer manager.
| | 00:25 | Note that I've taken the previous
exercises single row of buildings and cloned
| | 00:29 | it out to approximate the spacing of
the original building and added in some
| | 00:33 | slim rectangle to stand for the brick pilasters.
| | 00:36 | Essentially, I have tried to map
out this short side of the building
| | 00:40 | figuring that this same arrangement
will repeat on the long side once I've
| | 00:43 | got the elements together.
| | 00:45 | In 3ds Max we can access the layer
manager either by a button or under Tools.
| | 00:50 | For layers everything starts
out on the default layer 0.
| | 00:54 | If we open up that layer we can
actually see all those shape objects on it
| | 00:58 | with various switches here for Rendering and
Color and Frozen and Radiosity and so forth.
| | 01:03 | The check denotes that this is where
objects will be created on this layer.
| | 01:08 | What I'll typically do is organize my
layers, select my objects if I've made
| | 01:13 | them already, and clicking on the Create New
Layer (Containing Selected Objects) button.
| | 01:17 | Alternately, I can make a layer and set it
as active and objects will be created on that.
| | 01:23 | For this I'm going to name
this layer Construction objects.
| | 01:28 | That way things that will be
placeholders, layout tools, measuring tools,
| | 01:33 | shape objects I'm going to delete,
maybe center point objects for referencing
| | 01:37 | things, will all go on this layer so
I can always hide it or delete it so it
| | 01:41 | doesn't get exported.
| | 01:44 | Next I'll make a new layer and
I'll name this new layer Building or
| | 01:51 | building elements or actual objects
or something that denotes that they are
| | 01:55 | the real construction.
| | 02:00 | Notice that by clicking on the
square you can switch the active layer.
| | 02:04 | Now when I start to make a mesh it
will show up on the Building layer and my
| | 02:08 | construction objects here can be
hidden or frozen, so they can't be
| | 02:12 | accidentally touched or move.
| | 02:13 | What I find as a best practice is lot
of times I have to save me from myself,
| | 02:18 | that I need to actively hide, freeze,
and manage objects so don't move a reference
| | 02:23 | and end up with a model that's slightly off.
| | 02:26 | Now I'm ready to build my actual
model in here, which will show up on
| | 02:30 | the Building layer.
| | 02:31 | I'll close the Layer Manager and in
the Snap Constraints accessed by Shift
| | 02:36 | and right-click, I'll Snap to Frozen Objects,
so I can snap to my layer which is frozen.
| | 02:41 | Switching to a front view I'm ready
to create my first plane of a wall.
| | 02:50 | This object as we can see in the
Layer Manager is on the Building layer.
| | 02:56 | It's really important to organize.
We can't stress that one enough.
| | 03:00 | The big deal is that we're not just
making one building, we're possibly making
| | 03:04 | dozens or even hundreds, and we're not
just making one street. We're making city
| | 03:08 | blocks worth and that we may have
thousands of objects in a game, and if we
| | 03:13 | can't find them or if they come in
with off names or they coming with extra
| | 03:16 | objects, it's going either slow down our
game or make the export more difficult.
| | 03:21 | And we'll have enough issues trying to
bring things across in the way we want,
| | 03:24 | so we don't need to
complicate our lives further.
| | 03:27 | So remember to name your objects, name your
layers, and organize your objects by layers.
| | 03:32 | That way you can find things easily
in your scene when you're dealing in
| | 03:35 | thousands of assets.
| | 03:37 | So remember to name your objects, name
your layers, even color code objects and
| | 03:42 | organize them by class such as shapes,
so you can find things easily in a scene.
| | 03:46 | Remember we're dealing with possibly
thousands of assets and organization is key.
| | Collapse this transcript |
| Extruding edges to form major shadow lines| 00:00 | Now that I have drawn out the shapes
for construction, I can actually start
| | 00:03 | to model my building.
| | 00:05 | I will check and make sure I have got the
geometry in the right place prior to modeling.
| | 00:09 | As we can see in the photo, I have
drawn the floor to floor lines on this, but
| | 00:12 | that may not be the optimal place for texture.
| | 00:15 | Part of modeling is
considering how to texture the building.
| | 00:18 | What I will do is actually plan the
texture division at the bottom or top of the
| | 00:23 | window, to the bottom or top of the next window.
| | 00:26 | That way instead of a text to break in
the middle of a field of brick, I can
| | 00:29 | have it at a place where I am likely to
see less brick adjacent to brick, such
| | 00:33 | as the top of the window, where
there is a window surface and a possibly
| | 00:36 | different material, or underneath
the sill. With white sills that will be
| | 00:40 | handled in texture, I
have a clean line to break.
| | 00:43 | So I'll make my geometry go from the bottom
of the window to the bottom of the window.
| | 00:49 | Why/ Because right here down on the
retail level these windows sit down on that
| | 00:54 | table, and up at the top these
windows, their tops, sit up at the freeze, so
| | 01:00 | that's a good breakpoint.
| | 01:03 | In 3ds Max I have a plane.
| | 01:05 | Notice it has 4 and 4 Width and
Length Segments, the default for creation.
| | 01:08 | I will turn on the Edged Faces by pressing F4.
| | 01:12 | What I want to do is use the Length and
Width Segments to give me the geometry
| | 01:16 | to be able to make my window
and the division between easily.
| | 01:18 | I will set the Length Segments to 2
and the Width Segments to 5, then I
| | 01:22 | will make sure I move this plane,
pressing W for move and hitting spacebar
| | 01:27 | for the selection lock.
| | 01:29 | Up to the bottom of the next window,
snapping to the frozen objects. Now I can
| | 01:34 | use these shapes to line up the top,
bottom and sides of my window cleanly.
| | 01:38 | I will right-click and
convert this to an Editable Poly.
| | 01:42 | Then switching to Vertex by pressing 1,
I will move the vertices to line up
| | 01:47 | to those gray lines.
| | 01:50 | I've moved the mesh lines to
line up with the window opening.
| | 01:53 | I can then switch to Polygon and
select the 2 Polys that will form the window
| | 01:57 | openings and delete them.
| | 01:59 | Now I need to size the brick
between correctly, which I'd measured as 8
| | 02:03 | inches or one brick wide.
| | 02:05 | To do this, I'll switch over to
Edge and select one of those edges.
| | 02:09 | With the spacebar on for selection
lock, I will constrain the motion on the
| | 02:12 | x-axis and snap this
edge onto to the other edge.
| | 02:16 | Then pressing F12 for the
Transform Type-In, I'll move it back on the
| | 02:20 | Offset:Screen X by negative 8.
| | 02:23 | Now I can take both of
these edges and center them.
| | 02:27 | Turning off the selection lock, I
will select the opposite edge and press
| | 02:31 | selection lock again.
| | 02:33 | I'll snap this edge onto an existing window
opening and then move it back by negative 30.
| | 02:39 | This small piece of brick, or what will
be brick, is now centered between two
| | 02:42 | long window openings.
| | 02:44 | Now I am ready to cleanup the
mesh and make it into quads.
| | 02:48 | I have right here a polygon at the corner.
| | 02:51 | I can target weld these vertices up to
the corner here and eliminate one more poly.
| | 02:56 | Every poly counts when you are
dealing in low polygon work for a game.
| | 03:00 | I'll switch over to Vertex, release the
selection lock, and right-click and pick Target Weld.
| | 03:07 | To see it easier, I will
press F3 to switch to a wireframe.
| | 03:10 | And I will target weld
the vertices onto the corner.
| | 03:15 | With the vertices target welded,
I can eliminate one more polygon.
| | 03:18 | I will take these two center vertices
and target weld them over to one side.
| | 03:26 | Lastly I'll press 2 to switch to edge
and pick that center edge in the middle
| | 03:31 | of this large triangle, and on
the Edit Edges rollout press Remove.
| | 03:37 | Now I have an all quad model.
| | 03:39 | All the polygons are four sided
and it is optimized as it can be.
| | 03:44 | The last step in this is to Extrude the Edges.
| | 03:48 | I'll orbit around and pick
these side edges as well as the tops.
| | 03:55 | Right-clicking and choosing the
dialogue next to Extrude, I will extrude back
| | 04:00 | with a base Width of 0 and Height of negative 6.
| | 04:06 | This is a rough gauge by looking at
the side of the wall next to the window.
| | 04:10 | We can always adjust it if it
looks too deep later in a shadow line.
| | 04:13 | I will hit the checkbox to OK
or accept that transformation.
| | 04:21 | Now in a shaded view, I have got my
module ready, where I have clean edges above
| | 04:26 | and below ready for texture, and a
clean break right under the window sill.
| | 04:31 | One last step would be to
bridge these openings closed.
| | 04:35 | I will select these bottom edges next to the
windows and under Edit Edges choose Bridge.
| | 04:44 | With the edges bridged closed, my module is
complete and ready for texture and windows.
| | 04:49 | Now I can clone this and be assured
that I will have as minimal break in
| | 04:52 | texture as possible.
| | 04:55 | Now that I bridged the bottoms, I can
also bridge across the windows, either
| | 04:59 | capping a border or bridging edges.
| | 05:01 | I'll select a border, hold Control
to select the other, and under Edit Borders choose Cap.
| | 05:12 | Now I'm ready to clone this and
continue making the building elements in the next movie.
| | Collapse this transcript |
| Testing the module for correct floor-to-floor heights| 00:00 | The next step in producing a model is
to check and make sure that the floor to
| | 00:04 | floor height matches,
| | 00:05 | to do a test clone of this. That way
you can adjust the mesh before unwrapping.
| | 00:10 | It's important to get the mesh right
before putting an Unwrap UVW Modifier on.
| | 00:14 | If you change those vertices in the
model, the unwrap will be invalid.
| | 00:18 | We will check this by
using the Clone Option dialog.
| | 00:21 | I'll switch into a front view and
take the module I had previously.
| | 00:28 | Press spacebar for selection lock and
make sure my axes constraints are on Y.
| | 00:33 | I'll register the snap here on the
bottom right or left, hold Shift, and drag up
| | 00:38 | until the module clones to the top.
| | 00:41 | In the Clone Options, I will make
the Number of Copies 6, as an Instance.
| | 00:48 | Stepping back to view the
construction shows me a clone nicely, that the
| | 00:52 | bottoms and tops match and all
the windows line up with the shape.
| | 00:55 | If I switch to a wireframe by pressing
F3, I can see cleanly that my mesh lines
| | 01:00 | overlay the gray shape lines and that
from top to bottom has a 10 foot repeat.
| | 01:06 | We know it's 10 foot,
because this Plane was 10 by 10.
| | 01:09 | At the top and bottom, because of the 10
foot repeat, we see that we have no gaps.
| | 01:14 | Now we can delete the clones.
| | 01:16 | This is merely a check to make sure
that this module will work correctly
| | 01:19 | before we texture it.
| | 01:23 | In this movie, we have looked at the
interim step of cloning and checking.
| | 01:27 | It's important to do this to make sure
that the mesh works before unwrapping.
| | 01:31 | That way if there is any issues
that need fixing, minor gaps, etcetera,
| | 01:34 | they can be taken care of and the
unwrap will be done once, instead of going
| | 01:39 | back and repeating work.
| | Collapse this transcript |
| Trimming down the module and cloning| 00:00 | Once you have got a module ready to
clone, it's important to check over it to
| | 00:04 | see if there's any last geometry
you can eliminate prior to texturing.
| | 00:08 | We know we are going to clone a module
so that the text to repeat seamlessly.
| | 00:12 | However, we know we are also cloning modules.
| | 00:15 | Therefore, if we can eliminate one
or two polygons on one module, that may
| | 00:20 | translate into 50 or 100 polygons
saved over a whole model of a building.
| | 00:25 | That means you really need to take a careful
eye to optimizing a mesh prior to cloning.
| | 00:31 | I had taken my module and done a
test clone, seeing it was aligned with my
| | 00:34 | construction shapes.
| | 00:36 | Now I'm going to pick a module and
carefully look at over and see if there is
| | 00:40 | anywhere in here I can
eliminate a polygon or two.
| | 00:44 | The first place I will look at
is down here on the windowsill.
| | 00:47 | If I look in the photos, this
windowsill is actually a continuous piece, which
| | 00:52 | means the top of the
windowsill gets a continuous color.
| | 00:55 | For modeling, that means I can go to
polygon by pressing 4 and instead of using
| | 01:01 | 2 Polygons to span, I can bridge from
outside edge to outside edge and I can do
| | 01:07 | this on the top as well.
| | 01:08 | What we're seeing here is the
difference between design and the actual
| | 01:14 | construction again, that I've designed
it, bridging across edge to edge to make
| | 01:20 | sure the openings work, but in the
actual construction I am going to let a
| | 01:23 | polygon span all the way across.
| | 01:25 | I will switch to Edge, pick the top edge
hold Ctrl and pick its opposite, and
| | 01:32 | under Edit Edges choose Bridge.
| | 01:36 | Down in the bottom I will repeat
this step, picking a bottom corner edge,
| | 01:40 | holding Control and picking its
opposite, and choosing Bridge under Edit Edges.
| | 01:46 | On this module now, I have two fewer polygons.
| | 01:49 | As these are stacked seven high and
three across the narrow side of the
| | 01:53 | building, this is a decent
savings and every polygon counts.
| | 01:58 | For this building, the savings on the
narrow side alone is 42 polygons, just by
| | 02:03 | this simple optimization.
| | 02:05 | Now I am ready to check the clone of
this again, if I need, using either
| | 02:09 | the Array or the Snap.
| | 02:11 | I'll show the Array tools, a
possibility in cloning, just to make sure that the
| | 02:14 | design works overall one more time.
| | 02:19 | If I have one module like this, to
clone this using the Array dialogue
| | 02:25 | I'll choose Tools > Array.
| | 02:31 | In the Array dialogue, we can do 1, 2
or 3D arrays, specifying a number and
| | 02:36 | a distance for each.
| | 02:37 | The first move I will do
is on the X-axis, 144 units.
| | 02:42 | This accommodates the width of the
module plus the two foot spacing between.
| | 02:47 | On the 1D Count I will put in 3,
for 3 modules across the bottom.
| | 02:51 | The 2D Array, going on the Z-axis
will give me the height of the building.
| | 02:56 | On the Z, I'll put a height of 120.
| | 02:59 | That was the height of my plane
and also the floor to floor height.
| | 03:02 | On the 2D Count, I will put in 6.
| | 03:04 | I will check Preview and see if this works.
| | 03:08 | It looks like I need one extra on the 2D
Count to bring it out to the right height.
| | 03:13 | This is good and here's my building facade.
| | 03:16 | Cloning as an Instance, in case I need to
make further changes and see how they look.
| | 03:23 | Now in my facade, I have a clean clone
from floor to floor, right below the
| | 03:28 | windows to right below the windows.
| | 03:30 | Turning off the edged faces by
pressing F4 and possibly hiding a Construction
| | 03:35 | layer allows me to see clearly.
| | 03:37 | In the Layer palette, I'll check
Hide on the Construction Objects.
| | 03:43 | Now I can look at my building and see if there
are any gaps or anything else I need to adjust.
| | 03:49 | It looks good.
| | 03:50 | It's important to remember when
you're modeling to check every step of the way,
| | 03:54 | rather than getting knee deep in a
module and figuring out that, whoops you
| | 03:58 | missed a couple of pieces or couple of
inches. It's better to do it, test it,
| | 04:03 | check it, prior to texturing.
| | 04:05 | Once for into texturing, moving
meshes around is a very big deal.
| | Collapse this transcript |
| Stretching the vertical elements to minimize geometry| 00:00 | Now that we've cloned our module
vertically to produce some of the building
| | 00:04 | facade, we need to add the vertical
elements that go between the modules.
| | 00:08 | Tall brick pilasters that
give us an extra shadow line.
| | 00:11 | We will do these as continuous elements.
| | 00:14 | We don't want to waste geometry by
cloning the same block over and over.
| | 00:18 | I will start out by making a box,
making sure that my Snap is on in 3D.
| | 00:25 | I'll zoom in down at the base where
one of the vertical elements sits and
| | 00:29 | create a box snapping clearly between
the vertices and up to, well, somewhere.
| | 00:34 | It doesn't really matter where at the moment.
| | 00:36 | This gives me the box at the right width
and now I can stretch the height as I need.
| | 00:40 | I will go to the Modifier panel and
change the length of this box to 4.
| | 00:47 | Well, it's small. I will optimize this.
| | 00:49 | I will right-click.
| | 00:51 | Choose Convert to Editable Poly and
delete the back, bottom, and top faces,
| | 00:57 | selecting polygons and pressing Delete.
| | 01:06 | Now I have clean geometry.
| | 01:08 | I will press 1 and switch to Vertex
and then select the top vertices and in the
| | 01:13 | front view, stretch them up to the top.
| | 01:19 | I'll zoom out to view the whole building,
press W for Move, and grab the y-axis
| | 01:24 | and pull these up, matching it
evenly with the top of my modules.
| | 01:28 | I will also check in the Top view,
pressing T for Top view and maybe F3 for
| | 01:35 | Wireframe instead of Shaded, making
sure that my brick is snapped to the
| | 01:39 | front of the module.
| | 01:41 | Again I'll move on the y-axis, snapping on
one of the vertices and pulling it forward.
| | 01:46 | Now I'm ready to map this.
| | 01:50 | We can see I have got one vertical
brick element, which optimizes the amount
| | 01:54 | of geometry I have.
| | 01:56 | For mapping these, we're going to map at a 45.
| | 02:00 | The idea is that we can push the mapping
through from two sides by rotating the
| | 02:04 | mapping gizmo, thereby getting
the text to flow around the object.
| | 02:08 | It's a great technique for things like
this where we need to see that continuity.
| | 02:15 | When we are working with texture at 45, we
need to scale down the mapping and here's why.
| | 02:20 | As an example, I'll make a plane.
| | 02:23 | Onto this plane I'll put some on
unwrapped checkers I have generated.
| | 02:26 | I will press M for Materials and in
the new material, in the Diffuse Color, I
| | 02:31 | will add in a Bitmap.
| | 02:34 | In the Bitmap, I'll go browse to my
images directory under sceneassets and
| | 02:39 | choose one of my texture-based files.
| | 02:41 | These are included with
these exercises for you to use.
| | 02:44 | I will choose texture-based 512x512.
| | 02:48 | This is a series of rainbow
checkers with letters and numbers in them.
| | 02:52 | This will let me see if this map is
distorted and also let me see where it
| | 02:56 | repeats from red to green and blue to orange.
| | 02:58 | I will press Open and
assign that material to my plane.
| | 03:08 | I'll make sure in my Material
Editor that this map is showing.
| | 03:14 | When I apply UVW Map Modifier to this
object, I'll map the texture on square.
| | 03:21 | Let's say this texture is 200x200.
| | 03:26 | Right now the mapping gizmo is straight
on the plane, giving me square squares.
| | 03:31 | When I right-click, choose Gizmo and rotate
this Gizmo 45 degrees, those scores will stretch.
| | 03:41 | This introduces distortion in the texture.
| | 03:43 | We can tell as the letters and
squares are stretched horizontally.
| | 03:46 | What we need to do then is multiply the
width on this by half of the square root
| | 03:54 | of 2, which will scale
these back to the right size.
| | 03:58 | Based on that multiplication, I will
put the width in my UVW Map at 141.42.
| | 04:06 | Because I have scaled down the width
but rotated the mapping, I've compensated
| | 04:10 | and the width is essentially back to 1.
| | 04:12 | My squares are square again and my
letters and numbers are not distorted.
| | 04:20 | Now I'll switch over to my vertical element.
| | 04:22 | I will right-click and choose Top Level
to get out of the mapping on that plane.
| | 04:29 | For this, I'll assign a brick I've got
made already as part of a texture sheet.
| | 04:33 | I will press M for my Material Editor
and in a new material, on the Diffuse Color,
| | 04:39 | I will choose a bitmap.
| | 04:43 | In the sceneassets, I'll choose my texture.
| | 04:46 | I will make sure the texture shows in
the view and I'll make sure I know how big
| | 04:55 | this texture should be.
| | 04:56 | One way to do this, especially in a unit
surface like bricks, is to count bricks.
| | 05:02 | This one comes out at 16 feet square,
figuring that a brick is 3 inches tall
| | 05:07 | and multiplying out.
| | 05:12 | I'll apply a UVW Map Modifier to this
object and I'll put a Length in 192.
| | 05:20 | If I put a Width of 192 in, that'll be a square.
| | 05:23 | I need to get that aligned correctly first.
| | 05:26 | In the UVW Map, I will scroll down
and try alignment one on X or Y until it
| | 05:32 | flips in the right direction.
| | 05:40 | With the material assigned to the object and
mapped on the Y alignment, I can see my brick.
| | 05:45 | Now I need to compensate using that
scale factor to get the width right, after I
| | 05:50 | rotate this mapping at a 45.
| | 05:52 | Using the formula, the Width
for this comes out to 135.7.
| | 05:58 | I will add that into my Width.
| | 06:02 | Then right-click and choose Gizmo.
| | 06:05 | Now I can rotate that Mapping Gizmo by 45.
| | 06:07 | I will zoom in on my
object to see if this worked.
| | 06:15 | It looks like the bricks
are wrapping cleanly around.
| | 06:18 | I can right-click and press Move if I
need to move this backwards and forwards.
| | 06:23 | I will hit S to turn off my Snap as well.
| | 06:25 | I will pull this in and we can see the
texture cleanly sliding on the building.
| | 06:30 | I will get the bricks just in the right
place, mapping around that vertical element.
| | 06:37 | It's almost there, except I have a white space.
| | 06:40 | One thing with mapping, especially when
using a texture sheet, is we may need to
| | 06:44 | move the map side-to-side to work right.
| | 06:46 | I will pull this over on the x-axis,
until I get the continuous section of brick
| | 06:51 | to wrap around the object.
| | 06:53 | I'll check on both sides.
| | 06:54 | It looks like my brick is good and my
vertical element is mapped with the brick
| | 06:58 | flowing cleanly around.
| | 07:00 | It's also optimized.
| | 07:02 | I have stretched this element the
whole height of the building, using the
| | 07:05 | minimal amount of geometry to
make the maximum shadow impact.
| | Collapse this transcript |
| Unwrapping the elements for correct proportion| 00:00 | For games, we want to maximize the use
of one texture on as many objects as we can,
| | 00:05 | thereby referencing the texture
again instead of reloading or opening a
| | 00:10 | new texture, which uses more memory in the
game and may cause a slowdown in frame rate.
| | 00:14 | For this building, as I have the same
brick on vertical elements and the modules
| | 00:18 | made in previous lessons, I
want to use one texture sheet.
| | 00:22 | That way I get continuity in color
and can adjust brick accordingly to map
| | 00:26 | between different objects.
| | 00:29 | The first thing I will do is assign
the material to these objects, the same
| | 00:32 | material I used on the verticals.
| | 00:34 | I will put it on one so we can see it clearly.
| | 00:41 | We can see that the original UVs
have been distorted by the modeling
| | 00:44 | process, this is fine.
| | 00:46 | What we want to do is under the
Modifier List, add an Unwrap UVW Modifier on.
| | 00:56 | With the Unwrap Modifier on, we will
go into the UV Editor, flatten the faces,
| | 01:01 | and then align them on the brick where we need.
| | 01:09 | With the Editor open, it's
difficult to see what's going on.
| | 01:12 | The first thing we'll do is under the
CheckerPattern drop-down pick the
| | 01:16 | texture we're actually using to display.
| | 01:20 | There is our texture sheet
laying on to the polygons.
| | 01:21 | Now, we'll take these polygons,
right-click and select Face or Vertex.
| | 01:29 | Select all the polygons and
under Mapping, choose Flatten.
| | 01:34 | We'll flatten them at the default.
| | 01:36 | 45 on the Face Angle
Threshold and the Spacing .002.
| | 01:41 | All of our intersections in
the mesh are at 90 degrees.
| | 01:44 | So flattening like this is a great way
to break objects apart and maintain the
| | 01:48 | proportion of one element to the others.
| | 01:52 | In the Mapping, first in the
Quick Transform I will rotate these 90
| | 01:55 | degrees around their pivot.
| | 01:59 | Now, I have got the
brick in the right direction.
| | 02:01 | I may need to force a redraw by
scrubbing slightly in the view here to get
| | 02:05 | the brick to lay on.
| | 02:06 | I will press the
Spacebar for the Selection Lock.
| | 02:13 | With the Selection Lock engaged, now I
can move these elements around nicely.
| | 02:17 | I will scale them and move them.
| | 02:20 | The important thing here in scale is
to watch the brick from the vertical
| | 02:23 | element to the courses of the brick
around the windows, scaling all the elements
| | 02:28 | together make sure that the brick spans cleanly.
| | 02:31 | As I scale them up and down, we can see
the brick size changing on the object.
| | 02:35 | What I will do is scale them in and switch
to Move and move the elements down to match.
| | 02:43 | One of the things to
watch out for is continuity.
| | 02:46 | We made sure that in this module this
element would line up cleanly at the
| | 02:50 | bottom of the windows
where there is a mortar joint.
| | 02:52 | In scaling, I am going to get as
close as I can. If needed, I can even move
| | 02:56 | vertices ever so slightly to align so
that I go from mortar joint to the bottom
| | 03:01 | of a brick and the texture appears
to be seamless on the next module.
| | 03:05 | I will also watch out for the
connection between the vertical element and
| | 03:10 | the module. Do the bricks line up
as well as possible or as close as
| | 03:14 | somebody can see reasonably see?
| | 03:16 | It looks like my brick
needs to be just a touch bigger.
| | 03:19 | I will scale this out.
| | 03:21 | Notice that the background color
of my texture module here is the
| | 03:25 | background color of the brick.
| | 03:26 | So if I need to spill over slightly, as I
am going to do, I will get a clean line-up.
| | 03:31 | I will hold these UVs off the edges
of the editor, zooming in to check and
| | 03:35 | lining up as well as I can.
| | 03:37 | I can always come back and adjust the
mapping on one or the other, but I think I
| | 03:41 | am in pretty decent shape.
| | 03:42 | So we can see a little adjustment is
all it takes to put it in the right place.
| | 03:48 | That maybe a little extra scale.
| | 03:49 | I am going to get these as close as possible.
| | 03:52 | The other thing I have as my ally in
this is this will be possibly several
| | 03:56 | stories up and have shadow
lines obscuring that transition.
| | 04:00 | I will press Spacebar to unlock the selection.
| | 04:07 | Now, I can take the other texture
elements, such as the side of the window here,
| | 04:11 | pull them over next to the mesh or even
inside the window and get them aligned,
| | 04:16 | so that the brick flows
cleanly around that opening.
| | 04:21 | In the interest of time, I will take
the texture elements and align them and
| | 04:24 | show what it looks like when I am done.
| | 04:26 | As we can see both in the viewport and
in the UV Editor, I have taken the sides
| | 04:31 | and cleanly aligned them on top of each
other, these green rectangles with their
| | 04:35 | vertices highlighted. Actually four,
all four vertical sides here lapping over,
| | 04:41 | sharing the same UV space
to economize on textures.
| | 04:44 | There is simply not enough brick here
to be able to see that it's really the
| | 04:47 | same brick from vertical to vertical.
| | 04:50 | The windows in the final won't be
bricked in; they will have their own texture.
| | 04:54 | Those I can stack as well, make smaller, and
place inside the openings here in the brick.
| | 04:59 | I will select them, move them down
and stack them on each other, place them
| | 05:09 | inside the opening, and scale them down.
| | 05:16 | One of the things I am doing is
taking advantage of different materials to
| | 05:21 | affect different sizes of UV elements.
| | 05:24 | These windows are slightly smaller
because they are painted wood adjacent to
| | 05:27 | brick, therefore I can scale the
element down without a loss of continuity, as
| | 05:32 | we can see here in the view
of larger and smaller bricks.
| | 05:35 | Once these window elements have their
window texture, it will look fine.
| | 05:39 | The same goes for the sill.
| | 05:40 | We can just see it down here in brick.
| | 05:42 | I will rotate down to be able to tell.
| | 05:44 | This will disappear, this will be in
white stone, and I will probably put a
| | 05:48 | matching white up above on the header.
| | 05:52 | I've still got extra texture space
left over in the other window opening.
| | 05:56 | I can either stack other elements in or
use it for something else, like corners
| | 06:00 | and stone elements in the future.
| | 06:02 | I will close my editor, right-click
and pick Top-Level, and assign the same
| | 06:10 | material to the other objects to
check for continuity, at least one or two,
| | 06:14 | holding Ctrl to add to the selection,
pressing M for Material, and assigning that
| | 06:19 | material onto those.
| | 06:22 | What I am looking for in the unwrap as
I press F4 and turn off Edged Faces is
| | 06:26 | any gap in continuity.
| | 06:27 | I have a small one right here at the
top where I need to scale these elements
| | 06:31 | ever so slightly to fix it.
| | 06:33 | In the interest of time, I will scale
and fix the texture elements and show the
| | 06:37 | result when I am done.
| | 06:38 | I've fixed that minor issue in the
editor by moving the vertices ever so
| | 06:42 | slightly to make sure that the brick
lines up from top to bottom of the module.
| | 06:45 | Right here in these bricks is where
the sill will go and texture, further
| | 06:50 | reinforcing the illusion. We're only
leaving a few bricks adjacent to each
| | 06:54 | other, covering anymore minor issues.
| | 06:58 | In this movie, we looked very closely
at unwrapping techniques: using a texture
| | 07:02 | sheet and matching the polygons to
them versus unwrapping things and figuring
| | 07:07 | out how to put the texture on.
| | 07:09 | This technique of making a texture
sheet first and aligning elements on them is
| | 07:13 | very powerful when you use it on
things that need to line up, like brick.
| | 07:19 | We've also looked at stretching
vertical elements along a building to economize
| | 07:24 | on polygon usage, making sure that
they are as slim as possible while still
| | 07:28 | maintaining the shadow lines, and then
mapping them using Rotated and Scaled
| | 07:32 | mapping to get a tiling
texture to repeat all the way up.
| | 07:37 | You can use this technique or both
techniques on one object with one texture, to
| | 07:41 | get one material to do multiple things
on one building and look like, well, of
| | 07:46 | course the building it's supposed to look like.
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| Laying out a texture sheet for a façade| 00:00 | One of the things we do when
planning elements in a texture sheet is to
| | 00:04 | gauge the relative size of the
element versus the viewing distance and
| | 00:08 | lighting condition.
| | 00:12 | In this example, zoomed in on one of
the modules we've created earlier, we have
| | 00:16 | clear shadow elements around the
windows from those deep recessed window openings
| | 00:21 | and also a shadow line next to
the vertical brick we put in.
| | 00:25 | On the windows we have a different
texture and if we reference our photos, we
| | 00:29 | can see that these windows are
largely white or off-white paint.
| | 00:33 | We can see in the window elements
that largely they are solid colored, with
| | 00:37 | something going on in the reflection of
the glass and some sort of solid color
| | 00:41 | up here on the top of the sill, which
means we can get away with a texture
| | 00:44 | element size that's actually fairly small.
| | 00:47 | The same goes for the bottom of the sill
and the sides as well as really the top
| | 00:51 | of the sill adjacent to the window.
| | 00:54 | It's up several stories.
| | 00:55 | So really we don't need to see a lot
of it as long as it has the right color.
| | 00:59 | In 3ds Max then when I lay out this
texture sheet in my UV Editor, the biggest
| | 01:03 | piece I care about is getting the
window itself, this opening where the window
| | 01:07 | resides, getting the window itself the
right size and being able to draw the
| | 01:12 | steps and the window on it and the glass.
| | 01:17 | In the UV Editor I've already placed
window elements inside their openings
| | 01:22 | and scaled them down.
| | 01:25 | I'll highlight these here by selecting them.
| | 01:27 | Notice that I'm using down at the
bottom of the Edit UVWs dialog the Select By
| | 01:31 | Element toggle, allowing me to select
one vertex edge or face of an element and
| | 01:36 | grab the whole thing.
| | 01:37 | This is very handy when you're moving
elements around and want them to stay
| | 01:41 | coherent and proportion and if
they have other parts associated.
| | 01:46 | I'll move this to make sure it's not
overlapping any of my wall and make
| | 01:50 | sure that it's scaled as large as
possible in that opening so I can paint
| | 01:53 | the most detail on it.
| | 01:56 | Over on the side I've
stacked my top and bottom elements.
| | 02:00 | By selecting the elements in the UV
Editor here I can see their selected
| | 02:04 | vertices in the main viewport,
the red at the top and bottom.
| | 02:08 | Alternately, if I switch to Face and
select those faces in the viewport, pressing
| | 02:14 | F2 to shade selected faces
shows me where those elements are.
| | 02:17 | We can see the top of the
sill highlighted in red.
| | 02:20 | I can take these elements, which will
be a solid color, and scale them down
| | 02:24 | almost so they become aligned.
| | 02:30 | Then I'll rotate them in the Quick
Transform 90 degrees and move them in just
| | 02:35 | under the windows with a--
They'd just get a solid color.
| | 02:40 | So really they can be as small as I
can stand and still be able find them,
| | 02:44 | freeing up texture space in the side
here for other pieces, such as cornice
| | 02:48 | elements which may need more
linear space in the texture sheet.
| | 02:53 | As always, I'm looking at continuity in
color and adjacent surfaces and where I
| | 02:58 | can break it when I lay out texture.
| | 03:00 | That's part of planning a very elegant
use of the texture sheet, reserving space
| | 03:04 | for high detail or items that really
need to show correct matching, like the
| | 03:10 | brick on the major face of the wall.
| | Collapse this transcript |
|
|
4. Texturing the Modular ConstructionMaking brick texture| 00:00 | In this chapter we'll look heavily at
texture techniques for use in game environments.
| | 00:05 | Quite often we need to paint textures from
scratch versus using photographs, as we
| | 00:09 | simply can't get a close enough or
straight enough view in the photograph of
| | 00:13 | the element we need.
| | 00:14 | As an example in this building, we can
see we need this pink brick or tan brick
| | 00:19 | as it runs up the side.
| | 00:21 | There is really not a good place to get
a large enough photo of it straight on
| | 00:25 | in any kind of neutral lighting.
| | 00:27 | So we need to paint it by hand.
| | 00:28 | That also gives us the advantage,
painting textures by hand, of getting
| | 00:32 | exactly the color and matching we want
on our texture sheets, like we've seen
| | 00:35 | in previous chapters.
| | 00:37 | In this first movie then I'll show
how to paint clean brick from scratch in
| | 00:41 | Photoshop using the Offset filter and
selections and clouds to make what looks
| | 00:46 | like naturally varying brick.
| | 00:48 | I'll begin with a new document.
| | 00:49 | In my new document in Photoshop I'll
make this first width and height a multiple
| | 00:54 | of the size of a brick.
| | 00:55 | A standard brick is 8 inches x 3
inches tall and 4 inches deep, including one
| | 01:00 | mortar joint on the side and bottom.
| | 01:02 | If I assign a working ratio, as an
example, of 20 pixels to the edge that gives me
| | 01:08 | a brick plus a mortar joint of
160 pixels wide by 60 pixels tall.
| | 01:13 | I'll start with that ratio, giving
myself a two brick by two brick document.
| | 01:17 | This gives me a Width of
320 and a Height of 120.
| | 01:21 | Games always work at screen resolution.
| | 01:23 | So we will leave it at 72 pixels
per inch, RGB 8 bit is fine, and a
| | 01:27 | Background of white. Great!
| | 01:30 | In this document I'll hit M for my
Marquee or choose it off the toolbar and
| | 01:34 | under the Style choose a Fixed Size.
| | 01:36 | We will make the Width slightly less
than that, 160, just a brick width. I'll
| | 01:41 | put it at 155 and a Height of 55, giving
myself a 5 pixel mortar joint between the bricks.
| | 01:49 | I'll land a brick on there, snap it
against the top on left, and fill it
| | 01:52 | in really any color.
| | 01:55 | I'll make sure to either do this on a
new layer or cut and paste this onto a new
| | 01:58 | layer so I can move it
cleanly off the background.
| | 02:00 | I'll press Ctrl+X and Ctrl+V to cut and paste.
| | 02:04 | Now I'll take this brick, make sure it's
snapped against the top left, then hold
| | 02:08 | Alt and clone the brick over, letting
it snap against the adjacent layer.
| | 02:14 | Then I can move this, either with the
Error keys or the Offset, five pixels over.
| | 02:18 | I'll use my Arrow keys,
tapping the Right Arrow five times.
| | 02:23 | Now I want to clone the layer.
| | 02:24 | I'll do it in the Layer palette by
holding Alt+Dragging and then in the Filter
| | 02:29 | under Other I'll use the
Offset filter to move this brick.
| | 02:32 | In the Offset I'll offset it half a
brick to the right, or 80 pixels, and I'll
| | 02:38 | offset it full brick down, 60
pixels, giving me a half brick.
| | 02:42 | I'll pick the first layer,
clone it, and repeat the process.
| | 02:48 | Finally, I'll clone the half brick
to the other side, either using an
| | 02:51 | Offset or an Alt+Clone.
| | 02:54 | Now I have my base pattern for the brick setup.
| | 02:57 | I'll press Ctrl+Shift+E key
to merge the visible layers.
| | 03:00 | Then I'll Select All by pressing
Ctrl+A and choosing Edit > Define Pattern.
| | 03:07 | We can name this if we would like.
| | 03:08 | I'll leave mine at Pattern 3 for now.
| | 03:11 | Now I need to make a larger document of
brick that's the multiple of this brick size.
| | 03:16 | These bricks multiply out
into 1920x1920 image size.
| | 03:21 | I'll start a new document
with a size of 1920x1920.
| | 03:25 | I'll fill this document, choosing Edit >
Fill, and under Use instead of Foreground
| | 03:31 | Color I'll choose Pattern and
select the custom pattern I just made.
| | 03:35 | Now I have an even square
of brick. In fact, two even.
| | 03:38 | What I need to do is add variety into this.
| | 03:41 | I'll go to my Paint Bucket, pressing
G or choosing it from the toolbar.
| | 03:45 | In the Paint Bucket settings making
sure that Anti-alias is off, but Contiguous is on.
| | 03:50 | Now I'll choose easy to
recognize colors, such as green, blue, red, or
| | 03:54 | yellow, and I'll fill select bricks,
one at a time, clicking through here.
| | 03:59 | I'll do this with at least three or four colors.
| | 04:02 | What I have done here is to fill in
large areas of brick with select other
| | 04:06 | colors, again using easy to
recognize colors so I can find them, select
| | 04:11 | them, tell them apart.
| | 04:12 | Trying to work in brick color and a slightly
different color is very hard on the eyes.
| | 04:17 | This is actually going to be a selection layer.
| | 04:20 | I won't actually use this as the proper color.
| | 04:22 | I'll rename the Background layer to selection.
| | 04:27 | Now I want to find my brick color
and the easiest way to do this is to
| | 04:30 | eyedropper it from the reference.
| | 04:32 | I'll go to the reference photo,
zoom in on a section of brick, and
| | 04:36 | eyedropper one of the brick colors,
looking at the foreground color to make
| | 04:39 | sure I didn't get any odd shades.
| | 04:41 | Then I'll press X to swap
foreground and background and pick a slightly
| | 04:45 | different brick color.
| | 04:46 | In this case maybe a little
deeper and a little redder.
| | 04:50 | Back in my original drawing I'll use
my Magic Wand, pressing W for Wand, noting
| | 04:55 | that Anti-alias and Contiguous are not checked.
| | 04:57 | I'll Magic Wand one of the brick colors,
create a new layer, and fill this with
| | 05:03 | clouds, choosing Filter > Render > Clouds.
| | 05:08 | Then I'll press Ctrl+D to deselect.
| | 05:10 | I am going to repeat this process,
probably changing foreground and background
| | 05:14 | colors of brick ever so slightly each time.
| | 05:16 | What I have done is to select each
of the colors in my selection layer.
| | 05:22 | On a new layer with that selection,
fill them with clouds of the foreground and
| | 05:26 | background colors, varying ever so slightly.
| | 05:29 | It's difficult to tell at the moment,
but I actually have bricks that are
| | 05:32 | slightly warmer, slightly cooler,
slightly more saturated, slightly less
| | 05:35 | saturated. Brick is never the same color.
| | 05:37 | There is a slight
variance within the tonal range.
| | 05:40 | Now I'll put a new layer underneath my
brick layers, which would be the mortor,
| | 05:44 | pressing Ctrl+Shift+N for a new layer.
| | 05:48 | I'll fill this mortar color in a
variant of the foreground, using the hue but
| | 05:52 | desaturating almost down to 0.
| | 05:55 | Then maybe just a little bit brighter.
| | 05:57 | So it's a pretty good match.
| | 05:59 | Raw concrete is sort of a yellow gray,
but sometimes it helps to bias it in the
| | 06:02 | right direction, to match the
brick so it doesn't stand out.
| | 06:06 | Now I have a raw section of brick
ready to apply across a wall, span of the
| | 06:11 | texture, or use further in a texture
map, and it has the natural variation we
| | 06:15 | expect to see in brick.
| | 06:16 | By extension we can use this technique
in things like stone block, paving, other
| | 06:21 | sides of brick, and even cinder block.
| | Collapse this transcript |
| Adding detail to the diffuse texture: Sills and arches| 00:00 | As part of forming a textured sheet for a
modular building we need to add detail in.
| | 00:05 | Often in a building like this we
see details like sills, brick arches,
| | 00:09 | corbels, and other pieces.
| | 00:11 | For this I am going to
choose to make a design variation.
| | 00:14 | I am going to put a flat arch or a
jack arch over these windows so I get a
| | 00:19 | difference in brick direction.
| | 00:20 | Right now these windows probably have
a concealed piece of steel holding up
| | 00:24 | the brick right there.
| | 00:25 | To start, I'll go over to 3ds Max and
in the UV Editor render the UVW template
| | 00:31 | to bring into Photoshop.
| | 00:32 | Here in 3ds Max I have my polygons in the UV
Editor, shown cleanly by turning off the texture.
| | 00:38 | What I'll do is choose
Tools > Render UVW Template.
| | 00:42 | I'll set my Width and my Texture
size 1024 square and hit Render.
| | 00:46 | This produces these UVs.
| | 00:48 | Notice it looks like some are missing.
| | 00:49 | It's really a question of
being zoomed out to 50%,
| | 00:53 | noted by the 1:2 up here.
| | 00:55 | I'll save this image and then go
bring it up in Photoshop for use.
| | 00:58 | I'll call this wall template.
| | 01:01 | What I typically do is name things
template so I can find them and note that any
| | 01:05 | file with template in the name is a
temporary file that can be deleted later.
| | 01:08 | I'll also save this out as a
Targa to avoid introducing any lossy
| | 01:12 | compression such as JPEG.
| | 01:15 | Back in Photoshop I'll open that
document and copy and paste it onto my
| | 01:19 | existing texture sheet.
| | 01:23 | Now I've got my template open.
| | 01:25 | I'll select all by pressing Ctrl+A,
Ctrl+C for Copy, or Ctrl+X for cut.
| | 01:29 | It doesn't really matter at this
stage. Go over to my texture sheet I had
| | 01:33 | previously and paste this over.
| | 01:36 | Typically, what I'll do is invert the
colors by pressing Ctrl+I and set the
| | 01:41 | blending mode of this layer to Multiply.
| | 01:43 | That way, areas multiplied by white are
essentially invisible and I can see the
| | 01:47 | color cleanly underneath.
| | 01:49 | It may be helpful also to desaturate this layer.
| | 01:52 | I'll hit Ctrl+Shift+U to desaturate and
possibly bump up the Brightness and Contrast.
| | 02:03 | Now I can see my mesh lines cleanly.
| | 02:05 | I'll also make sure to lock this layer so I
don't ask accidentally grab it and move it.
| | 02:09 | I'm ready to do my brick
arch up above the windows.
| | 02:12 | I'll go to the background layer of my
texture sheet or my brick wherever it
| | 02:15 | happens to be and using my marquee at
a normal style, select a large piece of
| | 02:21 | brick, roughly as tall as the windows
are wide and at least two bricks tall to
| | 02:26 | give me the right size on the arch.
| | 02:31 | With this brick selected I'll
copy and paste it onto a new layer.
| | 02:35 | I'll take this new layer and under
Transform I'll rotate it 90 degrees.
| | 02:39 | This avoids introducing any odd
distortion and makes sure I get an exact rotation.
| | 02:44 | Then I'll move this layer up on top of windows.
| | 02:47 | Zoom in and see if it needs any
cropping. It may be helpful to turn off the
| | 02:51 | background at this stage to see clearer.
| | 02:53 | What I am going to do is line up
this layer over the windows, making sure
| | 02:58 | that the brick sits evenly on top of
the UVs, and then use my Marquee if I
| | 03:02 | need to erase a little bit.
| | 03:03 | A little overlap right here doesn't bother me.
| | 03:06 | We'll eliminate that as part of the scaling.
| | 03:08 | Now I'll use the Transform tools to
squish this in and make wedge-shaped bricks.
| | 03:14 | Under Edit I'll choose Transform > Distort.
| | 03:18 | I'll grab the left top node,
hold Shift, and pull this brick out.
| | 03:24 | I'll do the same on the right side.
| | 03:27 | Then I may need to grab the center
node on the right and just pull these
| | 03:31 | bricks in a little bit.
| | 03:33 | When I'm done I'll hit Enter
to accept the transformation.
| | 03:36 | Now I have an arch almost over the windows.
| | 03:39 | The one less thing is to make sure it
comes across correctly and has mortar
| | 03:42 | joints all the way at the top and bottom.
| | 03:45 | I'll use my marquee, selecting a small
region or using a Paint Brush and adding
| | 03:49 | a white mortar joint just on top of
the bricks here, because it needs a
| | 03:53 | transition element, getting the size as
close as I can and using the arrow keys
| | 03:56 | to nudge it over if needed.
| | 03:58 | I'll eyedropper my mortar color and
fill this probably on a new layer so I can
| | 04:04 | find it and move it cleanly if I need.
| | 04:06 | Now I have a brick arch over the windows,
ready to save out as part of my texture
| | 04:11 | sheet and I add
additional detail to this building.
| | 04:14 | I also use this technique on sills.
| | 04:16 | I use it on soldier courses, turning a
roll of brick to go at a floor line, and to
| | 04:21 | add detail to an otherwise blank wall.
| | Collapse this transcript |
| Adding stone accents| 00:00 | Often in a building we have a mix of
materials we need to show in a diffused texture.
| | 00:05 | In this building the main body of the
building above the retail floors is brick
| | 00:09 | with stoned windows sills
and other trim and accents.
| | 00:13 | We have precast concrete or
stone forming the retail floors.
| | 00:16 | Additionally, we may want to add other
detail into the stone that makes this
| | 00:20 | building different from other pieces.
| | 00:22 | In stone, it can be dressed, finely
honed, polished, or even rough chiseled.
| | 00:28 | How we do it is really an artistic
decision more than a hard and fast rule
| | 00:32 | one way or another.
| | 00:34 | In this movie, I am going to
demonstrate how to put stone sills onto
| | 00:37 | our windows and also an option for making
the middle of them look rough and chiseled.
| | 00:42 | I'll start out with the texture sheet
of the module, plus the vertical element
| | 00:46 | and the arch from the previous lessons.
| | 00:48 | First, I'll zoom in on the bottom
of the windows and use the brick as a
| | 00:51 | measuring tool to get the sill size right.
| | 00:53 | I'll press M for Marquee and
make a new layer to do the sill on.
| | 00:57 | As a general practice in Photoshop I
tend to make a new layer whenever I am
| | 01:01 | doing a new element.
| | 01:03 | My motto is when in doubt, it's another layer.
| | 01:06 | We can always flatten layers as we need,
but it's better to have the flexibility
| | 01:10 | to be able to tune things a little bit
and test them in the texture and making
| | 01:13 | separate layers really helps in that,
versus trying to pick unique elements on
| | 01:17 | one flatten background.
| | 01:19 | I'll start my marquee with a normal
style, making it fit the windows as well as I
| | 01:23 | can and just about two bricks tall.
| | 01:26 | This is pretty good for the sill, although
I realize it needs to be a little bit wider.
| | 01:29 | I'll handle this in the next step.
| | 01:32 | Then I am going to fill this color
with just a slightly yellow gray.
| | 01:36 | Now this will be my stone color.
| | 01:38 | Alternately, instead of a yellow gray,
I can eyedropper a brick color and swing
| | 01:43 | it less saturated, brighter, and
maybe a little yellower on the Hue, for a
| | 01:49 | matching stone that's somewhere in the
range of the brick without being too off.
| | 01:52 | I'll go a little brighter on this.
| | 01:54 | It's perfectly okay to adjust and tune it.
| | 01:57 | Part of the flexibility I am building in
by using new layers is tuning the color
| | 02:01 | of the stone which will be
different from the chisel marks I'll add on.
| | 02:04 | I'll press G for the paint
bucket and fill this marquee.
| | 02:08 | This would be my stone.
| | 02:10 | I'll press Ctrl+D to deselect and now
I need to move it over to make up for
| | 02:14 | that width I forgot.
| | 02:15 | We can see in the reference image that
the stone sill actually goes outside of
| | 02:19 | the window openings just a little bit.
| | 02:21 | I'll use the Move tool, pressing V,,
and pull this stone over just enough
| | 02:26 | outside of that window.
| | 02:27 | It seems to look pretty good, then I'll
hold Alt and clone this over an equal
| | 02:32 | distance on the other side.
| | 02:33 | Sometimes I'll use the arrow keys to
nudge this texture over, or pieces like it,
| | 02:38 | to get that look right.
| | 02:39 | Then I'll press Ctrl+E to flatten the layers.
| | 02:42 | Now I have a clean stone sill that I
can put in the right place on my texture.
| | 02:46 | Remember, we made the match line
for this at the top of the wall.
| | 02:49 | There is not actually a texture underneath
the windows here. The geometry just sort of ends.
| | 02:54 | I'll take this layer and I'll slide
it up, holding Shift to constrain the
| | 02:58 | direction so it fits right under the window.
| | 03:00 | Again, I am going to zoom
in and use my Nudge tools.
| | 03:04 | As a possibility, I may take my
Template layer and reduce the Opacity down
| | 03:09 | just to make sure that this texture sits
into, over, or even a pixel beyond that line.
| | 03:15 | I'll relock that layer just
to make sure I don't move it.
| | 03:18 | Now I have a clean stone sill ready for tiling.
| | 03:21 | What I may want to do is
now add chisel marks in.
| | 03:24 | This is an option I am going to
do to add further detail in here.
| | 03:28 | I want to look for a sec at clouds in
Photoshop before I get into making chisel
| | 03:32 | marks, because it's important to
understand how they are generated.
| | 03:35 | If I make a new document, as an example,
with the width of 800x800 and I choose
| | 03:41 | Filter > Render > Clouds,
I get generated clouds.
| | 03:45 | A document that is 200x200
will get the same size of clouds.
| | 03:53 | Applying that same filter gets me the same
clouds and less of them in my smaller document.
| | 03:59 | What I'll do to get a lot of chisel
marks here is actually make a document
| | 04:03 | that's quite a bit larger.
| | 04:05 | I'll start my clouds out at 4000
square and I'll run these clouds in light
| | 04:12 | gray to medium gray.
| | 04:13 | So I get good variation without having a
color bias one way or another or any odd banding.
| | 04:20 | In this document, I get a lot of clouds.
| | 04:22 | Now I can reduce this, choosing
Ctrl+Alt+I for Image Size, and downsizing this to
| | 04:27 | maybe 400 on a side, giving me a
document with an abundance of cloud which will
| | 04:33 | be my chisel texture.
| | 04:34 | I'll select all and copy and
paste this on to my existing document.
| | 04:40 | Now my clouds fit fairly
nicely over my windowsill.
| | 04:43 | I also may want to scale these down to get
the chisel marks to run in more of a direction.
| | 04:48 | Pressing Ctrl+T accesses the Transform
and you can move and rotate and scale
| | 04:53 | all within this tool.
| | 04:56 | I'll pull mine down and scale it
in to get more horizontal clouds.
| | 05:00 | Hitting Enter accepts that transformation.
| | 05:02 | Now I'll constrain that selection to this sill.
| | 05:05 | I'll hold Ctrl and click on the layer
thumbnail for layer 4, my sill, invert
| | 05:10 | that selection by pressing Ctrl+I, and
on Layer 5, my clouds, deleting everything
| | 05:15 | that's not on the sill.
| | 05:17 | This is pretty good, although we can't
really see the sill color and I'd like to
| | 05:21 | have a dressed or nicely done edge around it.
| | 05:24 | Once again I am going to select the
sill and then contract this selection,
| | 05:28 | choosing Select > Modify > Contract,
and I'll pull it in by four pixels.
| | 05:34 | Then I'll invert that selection.
| | 05:36 | Once it's inverted I'll delete the
outside ring on those clouds, leaving me this
| | 05:41 | center ready for chiseling.
| | 05:43 | Finally on this layer, I'll choose
Filter > Pixelate > Crystallize.
| | 05:48 | I'll pull down the preview and bring
the Cell Size way down so I get what
| | 05:52 | appears to be a lot of
crystallization or faceting marks on that stone.
| | 05:56 | It looks like chiseling.
| | 05:58 | The last step then is to choose a
blending mode that works and I'll often try 2
| | 06:02 | or 3 before I find the right look.
| | 06:04 | In this case Multiply may be too dark.
| | 06:07 | It darkens my stone and makes it
look almost pushed in and dirty.
| | 06:10 | I may want to try a Hard Light or a
Soft Light or something similar to get
| | 06:15 | this to look right.
| | 06:16 | I can also adjust colors if that's
needed to get the chisel marks to stand out more.
| | 06:20 | I am going to try this again as a
Multiply, but I am going to bring back the
| | 06:24 | Opacity just a little bit so the
chiseling marks are almost the same color and
| | 06:28 | now the middle of the stone has a
rough look while the outside is dressed.
| | 06:32 | The last step is to save this and test it in
3ds Max and see if it works in the texture.
| | 06:38 | I'll turn off my template
and save a copy of this.
| | 06:48 | I'll press M for the Material Editor
and in my material where I have applied my
| | 06:52 | texture sheet, I'll just load in
that new bitmap, clicking on the bitmap
| | 06:56 | parameters Bitmap button.
| | 06:58 | When I pull in that new texture, I
get a rowlock or jack arch above those
| | 07:02 | windows and it chiseled the stone sill
flush with the brick, ready for a bump
| | 07:07 | map or a normal map and other things
that make it look like it has more detail.
| | 07:11 | Pulling out and I can see I
have got my sills above and below.
| | 07:15 | When you are adding detail to the
diffused texture like this it's important to
| | 07:18 | keep in mind not only the colors
you want, but how things were made.
| | 07:22 | Buildings are an assembled language.
| | 07:24 | Now we want to think of assembling our
textures as, well, pieces of a building.
| | 07:29 | Stone sills, brick arches, and
so forth with matching colors.
| | 07:33 | So it looks like a coherent
whole with the same vintage.
| | 07:36 | In this case, using a filter and
some selections modifying and expanding,
| | 07:40 | allowed me to produce what looked like
chiseled stone sills, adding a further
| | 07:44 | refinement of detail on my texture.
| | Collapse this transcript |
| Layering color in window frames and doorways| 00:00 | When we are adding detail to a texture
of a building, we need to consider the
| | 00:04 | small steps and small details we see
in areas like windows where we may see
| | 00:09 | more stepping or level changes in the
window frame than there is in the entire facade.
| | 00:15 | The brick is actually fairly flat, but
in the windows they have upper and lower
| | 00:19 | frames and a frame around
which may have its own trim.
| | 00:23 | We need to paint this in Photoshop so
it looks right, even though it's just
| | 00:26 | really a flat polygon.
| | 00:28 | These windows are single hung where
the bottom moves up inside of the top.
| | 00:32 | They also have a wood frame around.
| | 00:34 | We can just see here in this sort of warm tan.
| | 00:38 | To begin with, I'll start out in that
diffused texture I had used in previous
| | 00:42 | exercises, where I have my window
polygons inside the opening of the window,
| | 00:47 | sized as big as possible without overlapping.
| | 00:49 | What I will do to begin a
window is make a new layer.
| | 00:53 | As always, make a new
layer for new construction.
| | 00:56 | It makes it easier to adjust and separate.
| | 00:58 | On my template layer, just called Layer 1,
as a note, I am going to rename this.
| | 01:02 | I am going to call this template.
| | 01:04 | That way I can always find it and make
sure I turn it off when I save the texture.
| | 01:08 | I am going to select using the Magic
Wand with the Contiguous option checked
| | 01:12 | inside of the window.
| | 01:14 | Then I'll expand this selection by a
couple of pixels to make sure it overlaps
| | 01:17 | the line of the polygon.
| | 01:19 | Select > Modify > Expand,
and I will push it out by 2.
| | 01:23 | Then on that new layer, my Layer 6, I
am going to fill it with a window color.
| | 01:29 | I'll go back to my reference photo, zoom in
as close as I can, and eyedropper a color.
| | 01:34 | I may want to try a couple of times.
| | 01:37 | These are looking rather pink and I
have a feeling we're seeing a little bit of
| | 01:40 | extra red in the image.
| | 01:42 | I am going to take this color now that
I've got it and just pull the Hue around
| | 01:49 | or desaturate it till it's not quite as pink.
| | 01:52 | I am going to swing the Hue a little
more towards yellow and brighten it up.
| | 01:58 | Sometimes the reference maybe a little
misleading depending on the conditions it was shot in.
| | 02:02 | So we may need to push these just a bit.
| | 02:05 | That looks pretty reasonable.
| | 02:06 | Sort of an off-white buff color.
| | 02:08 | The first step then is on this new layer
to fill that selection and then deselect.
| | 02:13 | Now we have at least a clean
blank space for the window.
| | 02:17 | The trick with painting a window is to
put in steps of color, to make it look
| | 02:21 | right, as if there was extra
framework in there or extra geometry.
| | 02:25 | I'll start with a solid color and then
make the frame of the window and finally
| | 02:29 | the window frames around each light of glass.
| | 02:32 | I deselected this so I could
see clearly where that color sat.
| | 02:36 | To reselect around a certain layer
or a certain color, I can either use
| | 02:39 | the Magic Wand or hold Ctrl and
click on the layer thumbnail, and there's
| | 02:44 | my selection again.
| | 02:45 | The first thing I'll do is contract the
selection in to get me the first layer
| | 02:48 | of frame, choosing Select > Modify >
Contract, and I will contract in by 4.
| | 02:56 | Then I'm going to fill this with a slightly
darker variant of my existing window color.
| | 03:01 | Choosing the window color and pulling
the Brightness down by four or five points
| | 03:07 | and filling the selection again.
| | 03:09 | I'll do this one more time.
| | 03:12 | Contracting the selection, darkening
the color down, maybe down five points,
| | 03:20 | down to 87, and filling.
| | 03:23 | What I'm starting to get if I deselect
to show is a little bit of color stepping
| | 03:27 | in there that we read as window frames.
| | 03:30 | A lot of times window frames actually
do have multiple colors like this or they
| | 03:34 | get different amounts of dirt
depending on where they sit.
| | 03:38 | Now I need to make the
interior frames on the windows.
| | 03:41 | What I want to do is use the Magic
Wand to select that color, making sure
| | 03:45 | that the Tolerance is low. As you can
see my Tolerance is too high and it's
| | 03:49 | grabbing all the colors.
| | 03:50 | I'll try a Tolerance of 5,
deselect and reselect again.
| | 03:55 | That works much better.
| | 03:56 | The important piece here is to use the
Info palette and look at the height of
| | 04:00 | this to get the size right.
| | 04:02 | I'll go to Window and Info or press F8.
| | 04:05 | I can see that my Height is 336.
| | 04:09 | I want my size to be half of that
for a top or bottom of the window.
| | 04:13 | Half of 336 is 168.
| | 04:17 | So I'll make my marquee a fixed size at
a Width of 132, which I am getting from
| | 04:22 | the width of that
selection, and a Height of 168.
| | 04:29 | Now when I land a marquee inside this color,
I can make sure that it's in the right place.
| | 04:35 | The first step is to make sure the
marquee sits cleanly inside, again using the
| | 04:41 | arrow keys to nudge, and then
contract it in maybe a pixel or two.
| | 04:50 | This gives me an additional step in the window.
| | 04:52 | Now I will fill this with
one more slightly darker color.
| | 05:03 | Zooming back out shows me a
slightly deeper rectangle.
| | 05:06 | And again, I'm going to contract
that marquee, this time to provide the
| | 05:10 | thickness of the frame around the glass.
| | 05:12 | I'll contract in by 6.
| | 05:15 | Actually, it needs to be a little thicker.
| | 05:17 | I'll contract in by another 2.
| | 05:19 | It's fine to look at it and
do it again. Much better.
| | 05:26 | Now I am going to make the glass.
| | 05:28 | And for the glass, it's not blue
as it's a scorching bright blue.
| | 05:33 | It's much closer to
really a deep blue purple gray.
| | 05:37 | Really windows in the outside have a
reflection and not much color of their own.
| | 05:42 | So I am going to mute this out and fill here.
| | 05:46 | That will read as glass fairly nicely.
| | 05:48 | Now what I'd like to do is take this
whole assembly and clone it down, pressing
| | 05:53 | M for Marquee and lining up my marquee inside
that dark window frame, zooming in if I have to.
| | 06:00 | Notice I am hitting Ctrl+0 to Zoom
Extents and Z for Zoom to zoom back in.
| | 06:05 | Now I'll hold Alt while in the Move
tool and moving that selection and
| | 06:10 | cloning it down to fit in the window
frame, zooming in as needed to see if
| | 06:15 | it's in the right place.
| | 06:18 | With this selection still active,
I'll choose Image > Adjustments >
| | 06:22 | Brightness/Contrast and lower
the Brightness by 10 or 12 points.
| | 06:29 | Now the bottom of the window looks slightly
darker, as if it's a little more in shadow.
| | 06:34 | This is the basic diffuse texture for a window.
| | 06:37 | We can continue to add to it, adding in
either localized dirt by selecting colors
| | 06:42 | and then painting, or adding
gradients and reflections across.
| | 06:46 | I'll show a little bit of
dirt to finish the exercise.
| | 06:50 | What I'd like to do is to simulate
some age in the window, as if the corners
| | 06:53 | here are slightly dirty.
| | 06:55 | As an example, I'll use my Magic Wand
with a very low Tolerance and Contiguous
| | 07:00 | on to select the window frame around the glass.
| | 07:04 | Then I'll use my Brush tool, on a new
layer of course, to add in some dirt.
| | 07:09 | I'll work in a version of the window
color, eyedroppering one of the window
| | 07:14 | colors and then setting it darker.
| | 07:18 | And in the brush, I'll brush with a
soft brush, right-clicking to choose
| | 07:23 | my brush if needed.
| | 07:25 | Hardness at 0 and Size fairly low,
brushing in a Multiply at maybe 10% Opacity.
| | 07:32 | It's important to do it in little bits,
not just to smear on a giant brush of dirt.
| | 07:37 | And now in the selection in the corner,
I'm going to brush in a little bit of
| | 07:42 | dirt just around the edges, almost
outside of the marquee so it sort of
| | 07:46 | carries in little bit. That's fine.
| | 07:48 | A little more in the top is okay.
| | 07:52 | And it starts to look like
either a mix of dirt or shadow.
| | 07:56 | Making it irregular is just fine.
| | 07:58 | I can repeat this process all the way around,
getting me what looks like a dirty window.
| | 08:03 | When you're painting textures then, you
want to step back and look at the pieces
| | 08:08 | you need remembering it's an assembled
language that has been there over time.
| | 08:12 | That the building was put up in pieces
and has aged in different ways depending
| | 08:16 | on which way the surface was facing.
| | 08:19 | So build up your textures in pieces,
using your selection and expanding or
| | 08:22 | contracting to add steps in the color which
look like additional levels of trim or detail.
| | 08:28 | Then on new layers, selecting colors
and adding in dirt for acceptable wear,
| | 08:33 | keeping in mind that this will repeat
over and over and over on every element
| | 08:37 | you use the texture for.
| | Collapse this transcript |
| Copying diffuse layers for normal map foundations| 00:00 | Once we've crafted a diffuse texture
or that matter any other texture as
| | 00:04 | part of a material, we can reuse these
layers if we do it carefully and we are organized.
| | 00:09 | What I've done here in this example
is first to go through and name all of my
| | 00:12 | layers, separating out cleanly things
that are geometry or essentially of hard
| | 00:17 | surface from things that are
painted on detail such as dirt.
| | 00:21 | I have brick and mortar and brick arch
and mortar so they lay over properly as
| | 00:24 | well as windows and dirt and
stone sill and chiseling, etcetera.
| | 00:28 | What I'd like to do in my
layers is to go in and group things.
| | 00:32 | In addition to naming the
layers I'll name the groups.
| | 00:34 | That way I can take this whole diffuse
layer and clone it and decide what parts
| | 00:38 | will become a bump map or a normal map.
| | 00:40 | To start with I'll pick all of
my layers except for my template.
| | 00:45 | We can pick one, hold Shift,
and pick the end to select all.
| | 00:48 | Then press Ctrl+G to group the layers.
| | 00:52 | I'll rename this group to
Color. Or diffuse works nicely too.
| | 00:56 | Now I can take this whole group, hold
Alt, and clone it in the Layer menu by
| | 01:00 | dragging, renaming the new group to Bump.
| | 01:04 | Notice that I've left my template
layer above everything, still as a multiplied
| | 01:08 | layer unlocked, but that way I can see it,
no matter what texture I am working on.
| | 01:12 | I'll turn off that, turn off the Color
layer, and in the Bump layer sort through
| | 01:16 | what's going to be actually relief on
the surface and what's simply painted on.
| | 01:21 | Things that are simply painted on
are going to disappear for this.
| | 01:24 | I'll select the dirt, the sill dirt,
the window dirt, and hit Delete to
| | 01:29 | delete all of them.
| | 01:31 | Now I can take these, grayscale them, and
make a bump or a normal map out of it nicely.
| | 01:36 | The important thing to
stress here is to be organized.
| | 01:39 | In any working drawing, in this case a PSD,
we should be organized by name and by
| | 01:44 | layer and when possible in any other
method available so that we can find things
| | 01:48 | easily and adjust them.
| | 01:50 | In this case, if I had to adjust the
color of the brick or maybe add variation,
| | 01:53 | it's very easy to come in and select
just the brick layer to constrain that
| | 01:57 | selection without worrying
about affecting dirt or mortar.
| | 02:00 | Likewise, I can adjust things like
dirt or windows or even window glass very
| | 02:04 | easily and reuse it whenever possible.
| | Collapse this transcript |
| Desaturating the diffuse map copies and prepping for normal maps| 00:00 | Once we've drawn a diffuse or color
for a building in Photoshop, we want to
| | 00:04 | reuse those layers and that texture
much as possible to device things like
| | 00:08 | diffuse or bump or normal or specular
maps for use in other parts of a material.
| | 00:13 | As we can see in this building, we've
added in relief for things like the windows.
| | 00:19 | We can also see just barely a little bit
of darkness in the grout and the brick.
| | 00:23 | And what this is from is well, the
grout or the space between the brick, the
| | 00:27 | mortar, being recessed slightly and
over however many years of this building
| | 00:31 | standing here gathering a little bit of dirt.
| | 00:33 | This is something that needs to
show up in a normal map, which is an
| | 00:36 | approximation of surface detail
that appears to light correctly.
| | 00:40 | We also need to add in relief around the
sill, making it look like it sticks out
| | 00:44 | a little bit and making sure that the
stepping in the windows shows up with as
| | 00:47 | much relief or depth as possible.
| | 00:50 | Additionally, we've added stone
chiseling on the windowsill.
| | 00:53 | We want to make sure that really pops out.
| | 00:55 | In the previous texture document, we
had taken the layers, grouped them as
| | 00:59 | a color group, cloned the color group as
a bump, and are ready to begin a bump map.
| | 01:03 | What I'll do to start is we can see
here in the Layers palette is eliminate
| | 01:06 | anything that's simply
painted on, like the dirt.
| | 01:09 | Now I'll take my layers and desaturate
them for use as a bump, selecting layer
| | 01:14 | and pressing Ctrl+Shift+U for
desaturate and quickly zipping through those
| | 01:18 | layers and pulling their color out.
| | 01:21 | Bump maps are grayscales where white
is high and black is low and it's a
| | 01:25 | relative measurement.
| | 01:26 | It's not a particular white is 1 inch tall.
| | 01:29 | It just happens to look higher.
| | 01:31 | What I'll also do then
is start to invert layers.
| | 01:34 | As an example right now if I were to
use this in a bump map, the grout between
| | 01:38 | the bricks would stick out.
| | 01:39 | I'd like recess it so I'll invert it
by pressing Ctrl+I. The same will go for
| | 01:45 | the brick arch mortar.
| | 01:47 | I'll invert that layer so in a bump where
it's dark, this will appear to recess in.
| | 01:51 | I may want to do this with the windows as well.
| | 01:54 | Notice in this map that the
window is considerably brighter.
| | 01:57 | That's okay. Even though by reason it
should stick out, we have to remember that
| | 02:01 | the polygon this window was on is
actually recessed back, so no matter how high
| | 02:06 | it goes in a bump map, how bright these
values get, it's still simply recessed
| | 02:10 | back in the geometry.
| | 02:11 | We can use that to our advantage, giving
us what looks like extra depth or extra
| | 02:16 | recess in the bump map.
| | 02:18 | Most of this looks pretty good.
| | 02:20 | We'll have to try it out.
| | 02:21 | My first inclination though is probably
to take the mortar and just bring it a
| | 02:25 | little bit lighter by pressing
Ctrl+U is a quick way to do it for a
| | 02:29 | Hue/Saturation and adjusting the Lightness.
| | 02:32 | If you have another method such as Levels or
Brightness/Contrast, feel free to use that.
| | 02:36 | Use whatever is quick.
| | 02:37 | We are just bringing up Luminance.
| | 02:39 | It's very easy to go overboard on these.
| | 02:42 | So what I'll do is make sure that the
differences between colors are very subtle.
| | 02:46 | I'll do the same adjustment with the
brick arch mortar, brining up its Lightness
| | 02:50 | until it's a reasonable
match for the mortar around it.
| | 02:54 | Finally, I'll look at the stone sill.
| | 02:56 | This does need to stick out which is
good, but I need to either do something
| | 03:00 | with the chiseling or flip it so it
looks like it maybe sticks out further or
| | 03:04 | has a little more relief.
| | 03:05 | In this case, I can pick the chiseling
layer, because it's very easily selected,
| | 03:10 | and adjust Brightness/Contrast or
even Levels to get it in the right place.
| | 03:14 | I'm going to use my Brightness/
Contrast and pull up the Contrast of the
| | 03:18 | chiseling, maybe even using the
Legacy just to boost that a little bit.
| | 03:22 | So get what looks like
more relief in that stone.
| | 03:26 | Now this is ready for conversion to a
Normal map or for use as a bump map if
| | 03:30 | your application accepts it.
| | 03:32 | Some game editors want normals, someone bumps.
| | 03:34 | It depends really where you're going with it.
| | 03:36 | In this case, in the next step, I'll
take this and make a normal map out of it in Photoshop.
| | Collapse this transcript |
| Converting bump maps to normal maps using nDO| 00:00 | Once we've got a color and a bump
texture constructed for an object or a
| | 00:04 | building, we're going to use
that bump to make a normal map.
| | 00:08 | A normal map is basically you can think
of as a bump map plus a direction so the
| | 00:12 | surfaces look like they are
oriented correctly to the light.
| | 00:15 | It is more involved with it, but
that's the nuts and bolts on it.
| | 00:18 | What I want to do in this building is
in a normal map, pop out certain details,
| | 00:22 | such as the sill here, the detail around
the window, the stepping and the color,
| | 00:27 | and also little bit of
relief between the bricks.
| | 00:29 | This darkness right here between the
bricks is dirt that's collected over time
| | 00:33 | in the recesses in the mortar.
| | 00:36 | I have my Color and Bump groups ready
from the previous exercises and in them
| | 00:40 | are the layers so I can get to them easily.
| | 00:42 | I've taken my bump map and desaturated
all the layers and eliminated the ones
| | 00:47 | that aren't going to affect the depth in it.
| | 00:49 | Now I'm ready to use nDo, a free
script available from cgted.com, to make my
| | 00:55 | normal map in Photoshop.
| | 00:56 | Alternately, there are plug-ins
available form NVIDIA and other manufacturers and
| | 01:01 | also standalone programs that can do this.
| | 01:03 | We have many options available.
| | 01:04 | It's really a question of
what workflow you'd like to use.
| | 01:07 | For this, I'll start with my Bump group
and make sure that I have enough range
| | 01:12 | between the brick and the
stone for things to show.
| | 01:14 | I will also make sure that things like
the stepping in my windows have enough
| | 01:18 | range or contrast between them.
| | 01:20 | Lastly, I will clone this group by
selecting it in the Layer palette,
| | 01:24 | holding Alt and dragging,
| | 01:26 | turning off the original and then on
the new group pressing Ctrl+E to merge the
| | 01:31 | group into one layer.
| | 01:33 | Now it's ready to become a normal map.
| | 01:35 | To activate nDo we can either install it or
simply run the script straight from the drive.
| | 01:40 | I'll choose File > Scripts > Browse
and on my Desktop is the nDo folder.
| | 01:46 | In there, I'll select the
Adobe JavaScript file nDo.
| | 01:51 | This will take a second to run and
start to modify those layers pretty heavily.
| | 01:56 | When this message comes up, we do
want to remove the bevel for pixels that
| | 01:59 | intersect the canvas edges. This is
because this map is tilable and we don't
| | 02:03 | want to introduce a bevel in
the middle of bricks on the edge.
| | 02:07 | Yes, this map is tilable.
| | 02:11 | As you can see, nDo went through
quite a few steps to get this normal map.
| | 02:15 | The rainbows here in the normal map
are due to the way the normals affect
| | 02:19 | direction and surface orientation,
| | 02:22 | with blue providing direction or
strength and red and green providing surface
| | 02:26 | orientation on X and Y, thereby
giving it that rainbow appearance.
| | 02:31 | In the nDo dialog, then I have a
choice over how does this look.
| | 02:35 | Under the Style I have Bevel and Emboss.
I will try Emboss and see how this looks.
| | 02:42 | It's always important to try different ways.
| | 02:45 | One way may not work exactly but
another look may be available and get you
| | 02:49 | the results you want.
| | 02:50 | It only takes a little bit of experimentation.
| | 02:53 | Under Technique I'm going to run it as a
Chisel Hard, because right now my brick
| | 02:56 | to me is looking a little bit pillowy,
a little bit rounded. That's better.
| | 03:01 | Now the brick is flatter.
| | 03:02 | The last part is I will play
with the Depth and the Scale.
| | 03:05 | I'll bring up the Depth 2000.
| | 03:08 | Every time I make a change nDo will update.
| | 03:11 | It's going to give me a little more
relief in there, and finally I'll bring up
| | 03:14 | the Scale to maybe 500.
| | 03:15 | I'm going to give this a
guess and see if it works.
| | 03:21 | One of the most important things here
to note is that I'm working on a separate
| | 03:25 | layer and I've preserved my original group.
| | 03:27 | If this doesn't work I can always come
back and very easily re-clone the group
| | 03:31 | and make a new normal map
without having lost any data.
| | 03:34 | I'll try this and see if it works.
| | 03:36 | I will hit Close on the nDo dialog and then
save this out as a TIFF, bringing it into 3ds Max.
| | 03:41 | I will also save the final color image as well.
| | 03:45 | In 3ds Max, I have added a little
light into my scene, so that once I turn on
| | 03:49 | realistic with scene lights, I can see
how the normal map reacts. After all the
| | 03:53 | surfaces should look like they're
oriented correctly to the light.
| | 03:56 | I will make sure in the Viewport settings
that under Lighting and Shadows, I am
| | 04:00 | Illuminating with the Scene Lights.
| | 04:02 | It takes a minute and there is my scene
light showing nicely in the scene with
| | 04:07 | its shadows done
correctly as they are raytraced.
| | 04:09 | Now I will update the material.
| | 04:12 | Selecting an object, I will press M for
Material Editor and here's my material I
| | 04:17 | have running for the texture.
| | 04:18 | I will click on the M for the Diffuse
Texture and in the Bitmap Parameters
| | 04:22 | change from the existing map to the new one.
| | 04:25 | As a note, I like to name my map
so I can find them easily in a list.
| | 04:29 | In this case the color of the
building has a C at the end.
| | 04:32 | The normal map has an N.
| | 04:33 | I will use other convention,
say S for Shine or B for Bump.
| | 04:37 | In the absence of the naming
convention which may be an alphanumeric string
| | 04:41 | given by a studio, something like this let's
you recognize easily where texture should go.
| | 04:46 | Under Maps in the Bump slot,
I will add in a normal bump.
| | 04:51 | First select a normal bump and then
in the Normal slot, updating it with a
| | 04:55 | bitmap, in which case
I'll go find my normal map.
| | 05:00 | Once I've done that, and this updates,
hopefully I can see my normal map in action.
| | 05:05 | What I may do to make it easier to
see is in the unwrap UVW Modifier, turn
| | 05:09 | off the scenes, as we can see them
overlaying on the mesh and possibly obscuring detail.
| | 05:14 | I will uncheck the Map Seams and
Peel Seams and then I need to adjust the
| | 05:21 | strength of the normal map.
| | 05:23 | In the Normal we have the
strength and also a bump strength.
| | 05:26 | I will bring up the Normal strength to 6,
go up to the parent, and bring the Bump
| | 05:31 | up to 100%, and now I can
start to see some detail.
| | 05:34 | What I really notice it is in the
chiseling here on the stone. As I select the
| | 05:39 | light and move, we can see that chiseling
appear to change lighting somewhat.
| | 05:44 | That is the normal map in action.
| | 05:46 | I can also see as I move the light and
even better when I turn off the Occlusion
| | 05:50 | how the window stepping is working.
| | 05:53 | With Occlusion off, the lights selected
and moving, I can see how the windows
| | 05:57 | appear to have more detail and levels.
| | 06:00 | Even though they are really just flat polygons.
| | 06:03 | It's a very quick workflow.
| | 06:04 | To work in a grayscale bump in
Photoshop and then convert to a normal map
| | 06:08 | afterwards, rather than taking a hard
surface object like this, a building, out
| | 06:13 | to an external sculpting program, we
can have a very easy time doing normals
| | 06:17 | that look really good in a scene by
painting them gray and then converting them.
| | 06:22 | nDo is one such plug-in
and there are many available.
| | 06:25 | Whatever works to get
the normal map out is good.
| | 06:28 | In this chapter, we've constructed
diffuse and bump maps through an organized
| | 06:33 | named and layered workflow.
| | 06:35 | We've also taken that bump map and
converted it easily to a normal map for
| | 06:39 | adding extra depth and realism to our facade.
| | 06:42 | We can apply this best practice and
workflow to any building we need to
| | 06:46 | construct for our city.
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|
|
5. Creating Cornices, Parapets, and RoofsAnalyzing the necessary silhouette and geometry| 00:00 | In this chapter, we'll continue the
development of our building, looking very
| | 00:04 | closely at major elements of silhouette.
| | 00:06 | In the workflow so far we've looked at
the middle section of the building, the
| | 00:10 | modular repetitive elements, and now
it's time to look at the top where a lot of
| | 00:14 | times buildings make a statement.
| | 00:16 | This is the top, the hat if
you want to think of it that way,
| | 00:19 | where it's most visible, it's
probably the highest part of the building and
| | 00:23 | often there is extra ornament or
detail up there, especially on an older
| | 00:27 | historic building such as this one.
| | 00:29 | In this example, this building has two
-part cornice, with a lower table, or
| | 00:34 | frieze and even pilasters
with ionic snails up at the top.
| | 00:39 | And then finally a more elaborate,
engraved or cast cornices with relief
| | 00:43 | panels and at the top several steps
in cornice with, I believe, egg and dart
| | 00:48 | moulding or something similar.
| | 00:51 | The question we need to ask for games
then is really how much are we going to see?
| | 00:55 | Given that we're going to see it a
view something like this at the best,
| | 01:00 | where we're back far enough to see the whole
building if we can get there across the street.
| | 01:05 | And hence the detail becomes stuff
going on, versus being able to see every
| | 01:10 | scroll and finial and every piece in there.
| | 01:12 | What we want to look at first then is
what is the lighting in the scene and how
| | 01:17 | are we handling detail regarding that light?
| | 01:20 | In this case, this photo was shot
fairly early in the morning, about 7:30 or so,
| | 01:25 | and the lighting is fairly general.
| | 01:27 | It's a little bit overcast and while
the building shows decently, the sky is
| | 01:31 | definitely kind of a blown-out white
gray and the lightings fairly even.
| | 01:35 | In other times of the day these cornice
elements may cast stronger shadows and
| | 01:39 | so the first thing is really where are
the major mesh lines that are going to
| | 01:44 | cast the major shadows,
| | 01:46 | as differentiated from, where is the
detail that's essentially flat as we've
| | 01:50 | seen much detail is, that really needs
to show up as stuff going on versus a
| | 01:55 | particular shadow element?
| | 01:57 | On this building, the major mesh
lines that cast shadows are easily visible
| | 02:02 | scrolling over to the edge of the building.
| | 02:03 | Most often buildings are essentially two-sided.
| | 02:07 | This building has two nice faces and
on the back here, which we can't see, is
| | 02:11 | fairly raw, common brick or something
similar and it's meant to be adjacent to
| | 02:15 | another building, not have
windows all the way around.
| | 02:19 | High-rises like we can see in the
background maybe four-sided, where they're
| | 02:23 | meant to be viewed all the way around,
because they sit back from the street.
| | 02:26 | As we saw in the white box chapter on
modern structures, they may sit up on the
| | 02:30 | podium and we are able to see all the sides.
| | 02:34 | This one, we can tell it's two-sided.
Instead of wrapping around, this corner
| | 02:38 | simply cuts off and gives us a great
tool as a profile for understanding the
| | 02:42 | mesh lines we need to make.
| | 02:47 | I'll employ the same technique on this
building of previous chapters, drawing
| | 02:51 | mesh lines straight on the photo, on a
new layer, to get an understanding of the
| | 02:55 | major elements that need to cast shadows.
| | 02:57 | I'm going to change my brush from Multiply
back to Normal and up the Opacity to 100%,
| | 03:03 | so that as I draw on this photo
I can clearly see the mesh lines.
| | 03:09 | I'll start up on the top of the cornice
or nearly so, looking at the difference
| | 03:13 | between planes and the cornice, the
vertical and the horizontal. This is one
| | 03:18 | place for a mesh line.
| | 03:20 | Another major mesh line maybe right
underneath it, or right above it, for a change in trim.
| | 03:26 | Finally, I definitely need a mesh line
out here, the farthest out part of the
| | 03:30 | cornice, and one along in the corner,
probably one of the deepest places.
| | 03:35 | This is only giving me 1, 2, maybe 3 or
4 polygons to make of this whole corner
| | 03:41 | section all the way along the building.
| | 03:42 | I have another major mesh line at the
bottom of the frieze or entablature, this
| | 03:47 | relief or carved area here.
| | 03:50 | Possibly a mesh line on top or the
bottom of the small bracket. These windows
| | 03:55 | and their modules here?
| | 03:56 | That's all flat texture.
| | 03:58 | We can tell it is because it's not
standing out in silhouette immensely.
| | 04:01 | Right here this edge is basically flat.
| | 04:05 | I definitely need a mesh line at the
table, or frieze or whatever we want to
| | 04:10 | call this here and one underneath.
| | 04:12 | This is going to cap the windows at the
top of our middle section and probably
| | 04:16 | at least one or two more along it.
| | 04:20 | Again, I'm really trying to delineate
detail that's flatter in texture from
| | 04:25 | major shadow casting elements that if
the sun is more direct or straight down,
| | 04:29 | will cast a shadow onto itself.
| | 04:32 | The major cornice elements are an example of it.
| | 04:34 | To continue this, I can also start to
block in or mark in areas that will be
| | 04:40 | texture, that will require additional time,
and I'll often do this in a separate color.
| | 04:44 | I'll work in a Polygonal Lasso and make
my way along the building, blocking out
| | 04:49 | large areas and modules that will need
attention to detail in time as part of a texture sheet.
| | 04:55 | I'll fill this in blue, again on a
new layer, and just pull back the Opacity.
| | 05:01 | This is the start of a plan to be
able to get the cornice looking right.
| | 05:05 | Recognizing that this is obviously an
area in the building where the developer
| | 05:09 | or builder has spent a lot of money and
time in design, but tempering that with
| | 05:13 | the lens that we're going to stand
back and see it from the street level.
| | 05:17 | And so we can reduce it to major
shadows and stuff going on, versus every
| | 05:21 | picture pronounced in exacting detail.
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| Examining existing buildings in different lighting conditions| 00:00 | When we are adding a cornice on a
building, we need to recognize the kind of
| | 00:04 | lighting we'll be dealing with.
| | 00:06 | It's very common to have most of the
subtlety and sophistication in the lighting
| | 00:09 | for a game baked-in or rendered as part
of a texture. Where it looks like it's
| | 00:14 | lit, in reality it's actually just the color.
| | 00:17 | Then in the game you add maybe one
large light, which simulates the sun and
| | 00:21 | gives you your direct shadows.
| | 00:24 | For a cornice, we can talk about them in
terms of needing general light and direct light.
| | 00:30 | In this case, this previous exercise is cornice.
| | 00:32 | Most of the cornice is in general light.
| | 00:35 | A lot of the panels such as these
relief panels are always in light.
| | 00:39 | They don't really shadow.
| | 00:41 | The major shadow element is up here at
the top, but it's got this extra piece in
| | 00:45 | it, so it's really shade not a
direct shadow, because it's a hard corner.
| | 00:50 | In other buildings, we see
different things in different lights.
| | 00:54 | This building as an example has a very
large cornice that protrudes out, which
| | 00:58 | will cast a very, very big
shadow down on the facade.
| | 01:01 | This one, the cornice is fairly flat.
| | 01:04 | We can really paint in shading in shadow
and not worry about directly casting shadows.
| | 01:09 | This will let us simplify the geometry
considerably, so it's almost flat all the way up.
| | 01:14 | This building is an extreme example.
| | 01:17 | We can really handle this
cornice here as texture.
| | 01:20 | Do we need to have actual geometry to make that?
| | 01:23 | The answer is not really.
| | 01:25 | It'd be very difficult get to this side
enough and close enough on this building
| | 01:28 | to see this grey cornice elements stick
out at all and the shadow underneath it,
| | 01:33 | even on a sunny day, is
really kind of a dark range.
| | 01:37 | We can paint that in
Photoshop also, because it's straight.
| | 01:41 | This building is an example of a
cornice needing dynamic shadows and lighting.
| | 01:45 | We can see in here it's a two-step.
| | 01:47 | A lower green sill or table that's
underneath the windows and up above a two-
| | 01:52 | part white and green cornice.
| | 01:55 | These are fairly flat and even with
their limited depth we can still see a
| | 01:58 | shadow line pretty well.
| | 02:00 | The big shadow line is actually from
the lower piece, where even though it only
| | 02:04 | comes out by maybe a foot at the most,
| | 02:07 | that shadow extends all the way down and
has a very hard line on the flat facade.
| | 02:12 | That's a place where we need to
have geometry to make a direct shadow.
| | 02:16 | Most of the stuff up above we can
probably get away with a flat polygon and texture.
| | 02:21 | Finally in another building,
we can see we need a mix.
| | 02:25 | We have brackets underneath this cornice.
| | 02:27 | To do these in geometry would be excessive.
| | 02:29 | This building would be
huge and slow down gameplay.
| | 02:32 | So most of this would be handled in
texture where we'll fake in the shadows.
| | 02:36 | However, we need to cornice to stick out,
| | 02:38 | because it goes so far out that we get
shadow all the way down on the windows.
| | 02:43 | We probably need some of this brick banded
geometry to give extra shadow lines,
| | 02:47 | but again, most of it is done in texture.
| | 02:49 | We'll have enough geometry to worry
about dealing with the windows and
| | 02:52 | their deep openings.
| | 02:54 | This building to get fairly complex
fairly fast and we really need to question
| | 02:58 | in it, how much do we need to see
accurately, and how much given the lighting on
| | 03:02 | it can we fake in, where we have a
dark range versus needing a hard shadow?
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| Planning cornice elements| 00:00 | When ratting a cornice to the building,
once we have decided where our major
| | 00:04 | shadow casting elements are, it's
time to plan the modules on a cornice and
| | 00:07 | really see how much of it can share a texture.
| | 00:10 | This is an example of what looks
like a very, very complex cornice.
| | 00:14 | I'll zoom in to see better detail.
| | 00:16 | We can see this cornice has a large
throw or it sticks out from the building
| | 00:21 | quite a considerable distance.
| | 00:23 | Underneath we have several layers of
detail, which are somewhat dirty and
| | 00:28 | occluded, so it really needs stuff
going on and underneath are these fairly
| | 00:32 | ornate, fairly tall,
fairly deep looking brackets.
| | 00:35 | However, the thing to look at in this,
when we are talking about sharing a
| | 00:38 | texture sheet with multiple elements
sharing one texture and overlapping in the
| | 00:43 | UV Editor, these brackets seem to be all
the same, or rather they're close enough
| | 00:48 | that reasonably if we had two or
three of them in a line that were fairly
| | 00:52 | dirty, but uniformly so, so it repeated
without a noticeable pattern in the dirt,
| | 00:57 | we could make all several hundred of
them out of just a few. And because we can
| | 01:02 | handle this in texture on a polygon,
as it's all in its own shadow or
| | 01:06 | self-shadowing, we can get away with a
very, very limited number of well-done
| | 01:10 | pieces and it looks like a whole cornice.
| | 01:14 | In other buildings, we may need other
elements that help us make what looks like
| | 01:19 | a very complex cornice.
| | 01:21 | This building has a very simple piece of trim.
| | 01:24 | The big deal in a cornice is often the
corner piece. How does that corner work?
| | 01:29 | For this, this is mostly
geometry with a simple map.
| | 01:33 | Other buildings may have a more
elaborate corner for that cornice.
| | 01:37 | As an example, we'll duck
over to the original building.
| | 01:41 | In this case we can see
several distinct elements we need.
| | 01:44 | Again, we can see stuff going on.
| | 01:47 | If we could get up to the seventh or
eighth floor, we could actually see that
| | 01:50 | detail, but really from street level,
there is some kind of engraving.
| | 01:55 | For this cornice, we need several
pieces we can see fairly clearly.
| | 01:59 | We need a section of this top molding with
the egg-and-dart and other relief up here.
| | 02:05 | These will simply just miter at the corner.
| | 02:07 | I'll draw a line so we
can cleanly see that mesh.
| | 02:16 | And just so we can see I'll bump up the Opacity.
| | 02:18 | This cornice line will miter at the corner.
| | 02:21 | These lines continuing over to meet up and
the mesh will simply turn the corner there.
| | 02:26 | The map will be a section that repeats
evenly, as shown in the previous models
| | 02:31 | with its own shadows painted in.
| | 02:33 | However, this relief panel
needs some separate textures.
| | 02:37 | We need at least one straight panel,
one corner element, and one tall panel.
| | 02:42 | On this building we'll see the same
tall panel repeated. That we happen to see
| | 02:46 | the exact same one, versus absolute
accuracy to the design where the panels may vary,
| | 02:51 | is a trade-off we
are going to make for a game.
| | 02:54 | We want to save texture space by
repeating at the expense of maybe seeing the
| | 02:58 | same carving over and over.
| | 03:01 | We also need a corner condition
right here on these ionic scrolls.
| | 03:05 | In this case, the flat ones don't
quite match up with the corners.
| | 03:10 | So we need an extra piece
there which will share one texture.
| | 03:13 | The big deal then in a cornice is
looking at the elements, because we have
| | 03:17 | different conditions between a
straight run or a module and a corner, and
| | 03:23 | oftentimes this corner may be
further accented with signage or additional
| | 03:27 | detail, because the corner is important.
| | 03:30 | It's seen from two sides.
| | Collapse this transcript |
| Extruding cornice elements from polygon edges| 00:00 | Now it's time to model.
| | 00:02 | I've added on to this drawing
additional linework showing mesh lines in green
| | 00:06 | and shaded in yellow to show texture modules.
| | 00:09 | So you can see actually the whole
top floor is one big texture module.
| | 00:14 | This will give us the vertical relief
panels, a small and a large horizontal, a
| | 00:18 | large section of cornice, and a
section of table. If we do it this way,
| | 00:22 | we can tile this texture all
the way around the building.
| | 00:26 | I'll miter the material right here at
the corner and the texture will simply
| | 00:30 | flow on to the extra geometry.
| | 00:32 | At the end then, this'll be limited
geometry using part of a texture module.
| | 00:37 | I'll go into 3ds Max and the first thing
I'll do is measure the distance between
| | 00:42 | windows using a poly plane, because it
looks like the cornice sits on the top of
| | 00:46 | the window and the bottom of the next
window up, matching this arrangement.
| | 00:50 | So I'll start out with that.
| | 00:51 | Then I'll use the Extrude and Bevel tools
to make the additional cornice elements.
| | 00:57 | Here in 3ds Max, I have the
existing model of the building from
| | 01:00 | previous exercises.
| | 01:02 | Notice that I've kind of tuned up
the textures a little bit, getting the
| | 01:05 | brickwork looking sharp, adding little
detail to the window and the sill, and
| | 01:09 | generally giving it another pass.
| | 01:10 | It's perfectly okay to do that.
| | 01:12 | It's very fine to look at
the first pass of work and say,
| | 01:16 | "That was a neat learning
exercise. Let's do this again."
| | 01:19 | And I did it here and I think
I got a better result from it.
| | 01:22 | The other thing I'm doing is
I've added in a direct light.
| | 01:26 | And this direct light, which is
really just big enough to catch the scene,
| | 01:29 | has raytraced shadows.
| | 01:31 | So I can take advantage in Max of using
the Realistic+Edged Faces Display Mode
| | 01:36 | and see the elements shadow as I make them.
| | 01:39 | After all we're after shadow lines.
| | 01:40 | That's the big deal here, and I
want to know that I'm doing it right.
| | 01:44 | I'll start out by pressing F for Front View.
| | 01:47 | Then I'll hit Ctrl+Right-Click
and make a plane for measuring.
| | 01:51 | I'll snap this plane onto
any convenient vertices.
| | 01:55 | And really what I care about
on the plane is the Length, 48.
| | 01:59 | I'll do this technique quite often,
using a plane or a rectangle to measure,
| | 02:02 | especially between points that are
not aligned with each other and I need
| | 02:05 | one dimension, rather than using a
measuring tape which may give me a
| | 02:09 | different measurement.
| | 02:11 | I'll delete the plane and go
up to the top of the building.
| | 02:15 | What I'll start out with here is another
plane. Ctrl+Right-Click and choosing Plane.
| | 02:20 | And I'll snap this plane cleanly
all the way across the building.
| | 02:24 | Really I don't care that the Length is 0.
I'm going to come back and change that.
| | 02:28 | What I care about is it's snapped
cleanly across from corner-to-corner.
| | 02:32 | I'll put in a length of 48, 2
Length Segments, and 1 Width Segment.
| | 02:37 | This will give me the geometry I need
to match the mesh lines I had drawn.
| | 02:41 | I've moved the plane up and now I'll
snap it down to the top of my windows.
| | 02:46 | I can already see the shadow
lines are emerging where I want them.
| | 02:50 | It looks like based on the reference
that I need to move this edge up slightly.
| | 02:54 | I'll convert this Plane to an Editable
Poly, select Edge, and move this edge up
| | 03:00 | maybe five or six inches
using the Transform Type-In.
| | 03:03 | Alternately, you can just pull on the Y-axis,
turning off Snap, to get in the right place.
| | 03:07 | I'm going to watch the X, Y, and Z
fields down here at the bottom to see
| | 03:11 | how much I'm moving. That's good!
| | 03:15 | Now I can spin over into an isometric
view and move the top edge out to give me
| | 03:22 | that protrusion on the cornice
which is important in the silhouette.
| | 03:25 | I'll use the Transform Type-In for this,
moving out by -12 on the X. This gives
| | 03:30 | me the downward facing polygon that
will be mostly in shadow but has detail.
| | 03:36 | Finally, I'll extrude this edge back.
| | 03:38 | I'll right-click and choose
the dialog next to Extrude.
| | 03:42 | Alternately we can simply
choose Extrude and move this later.
| | 03:45 | I'll extrude it out to
give myself some geometry.
| | 03:49 | The danger with extruding like that is
we do get a base width, giving me an extra
| | 03:53 | piece and moving that edge down.
| | 03:55 | This is a case to actually
use the dialog in extrusion.
| | 03:59 | That way I can take out this base width
by zeroing it and putting that extrusion
| | 04:03 | where I need it to be.
| | 04:05 | If you notice, I didn't
care about how far it extruded.
| | 04:08 | What I'll do is now use my Snap tool,
first on the Y and then on the Z axis, to
| | 04:13 | get this in the right place.
| | 04:15 | I'll register on an edge and
snap over to the existing geometry.
| | 04:19 | Then I'll take it on the Z axis,
register on a vertex, Spacebar for selection
| | 04:24 | lock, and snap it down onto itself.
| | 04:27 | Now I know it's in the right place.
| | 04:29 | I need to make the rest of the cornice.
| | 04:31 | What I'll do in this is back here in the
front view use Bevel to make the whole module.
| | 04:37 | Then the texture will tile across.
| | 04:39 | Alternately, I can do it in pieces and see
if there's any geometry I need to eliminate.
| | 04:43 | I'm going to take the first approach.
| | 04:46 | With the edge selected, I'll use the
dialog next to the Extrude tool again on
| | 04:50 | the right-click menu.
| | 04:51 | I'll spin around into an
orthographic to see this properly.
| | 04:55 | Once I've got this polygon flattened
out, using this Edge dialog to go in the
| | 04:59 | right direction is really useful and easy.
| | 05:02 | I'll make this first one -120.0.
| | 05:06 | That way the edge pops out.
| | 05:07 | If you notice, it went in the wrong direction.
| | 05:09 | Sometimes we need to check this and
take the negative out or add one in.
| | 05:13 | +120.0 gives me my wall.
| | 05:15 | Now I need to go back and look at the
reference drawing and see if I'm getting
| | 05:18 | enough length and width in here.
| | 05:21 | Where I've gone to so far is from
the bottom of the window all the way up
| | 05:26 | to that first line.
| | 05:27 | I need to add in some extra
mesh lines in here eventually.
| | 05:31 | But first I'll extrude out for that cornice.
| | 05:34 | I'll hit the plus to apply and continue.
| | 05:36 | The extrusion went out to 120, which is too far.
| | 05:40 | I'll change that distance to 18 inches.
| | 05:43 | Now I've got the throw or the
reach on my cornice to give me a shadow
| | 05:47 | underneath correctly.
| | 05:48 | I'll hit the plus and change to a negative.
| | 05:51 | This one will go -12.
| | 05:54 | Hit the plus again, I'll come up, and
now I can extrude and move, or extrude,
| | 06:00 | move, and shape later.
| | 06:02 | In this case, I'll hit the plus once, twice.
| | 06:06 | This gives me geometry but it's in the
wrong direction, but now I've got the
| | 06:09 | steps in my cornice I need.
| | 06:11 | The last part then, I'll go into a side
view such as the Left or Right, and move
| | 06:16 | this up where I need, looking at the profile.
| | 06:19 | I'll switch over in orthographic here to Left.
| | 06:26 | I'll also press F3 to go
to a wireframe and check OK.
| | 06:31 | Now in my extrusion, I can
pull this up where I need.
| | 06:34 | I'll pull it up and out to give
me the proper throw on the cornice.
| | 06:39 | Then maybe switch to Vertex
and move this as it needs to be.
| | 06:43 | Now I can start to get the feel
on my cornice in the right way.
| | 06:47 | That big, big shelf there
that's going to cast my shadows.
| | 06:55 | Switching back to a shaded view, it
looks like I'm in pretty good shape.
| | 06:58 | I've got big shadows off this,
self-shadowing, and it's ready for
| | 07:02 | smoothing groups and texture.
| | 07:04 | I also need to miter this corner here.
| | 07:06 | A quick technique for mitering corners
is to switch to a wireframe and start to
| | 07:11 | move these edges out until we get a 45.
| | 07:14 | What I'll do sometimes is to
measure that distance and move as needed.
| | 07:22 | I'll copy that length and move my vertices.
| | 07:26 | If I did this to an exact
extrusion, I could also move it.
| | 07:31 | And I'll make this miter by
grabbing these pieces and moving them.
| | 07:36 | My cornice is almost complete.
| | 07:38 | What I've done is to move these
vertices out, measuring the distance, and
| | 07:42 | creating a miter so that when I mirror
this over at a 45, it'll match exactly.
| | 07:47 | I've created in the cornice those long
shadow lines as well as the pieces that
| | 07:52 | really need to stick out in silhouette,
remembering that the back side of the
| | 07:55 | building, which would be here on
the right, is effectively blank brick.
| | 07:59 | It's made to go next to another structure.
| | 08:04 | The last part then for shadowing is to
take this top edge by selecting Edge and
| | 08:09 | extruding it straight back.
| | 08:12 | I'll right-click, pick the dialog
next to Extrude, and give myself some
| | 08:16 | dimension, just checking OK.
| | 08:19 | Now I can use my Move tool and snap
to pull this all way back to the wall.
| | 08:24 | I'll work on the Z-axis first, pressing
Spacebar for selection lock, pulling it
| | 08:30 | down, then switching to the Y-axis,
and snapping all the way back.
| | 08:38 | The important thing with cornices is
to think of them often as long-spanning
| | 08:43 | elements, similar to the vertical
elements we added on the building in
| | 08:46 | previous exercises.
| | 08:48 | In this case, this cornice, which
appears to be one monolithic piece, will
| | 08:52 | actually get three plus texture modules.
| | 08:55 | The texture will simply span onto the
miter and over here to cap the end where
| | 09:00 | the texture repeats, we just
don't have the extra windows.
| | 09:03 | This would be simple geometry but
will give me the shadow lines I need, and
| | 09:07 | that's the important part because
it's really up in the air for everybody to see.
| | Collapse this transcript |
| Assigning smoothing groups for optimal shading| 00:00 | Once we have a cornice element modeled,
we need to think about smoothing groups
| | 00:04 | and the polygons to get that detail to
stand out right, because we aren't dealing
| | 00:07 | with very many polygons.
| | 00:09 | In this model I've modeled the cornice
and I've taken out the middle section and
| | 00:14 | incorporated a version of one of my
upper floor modules as we can see.
| | 00:18 | What see I've done in this is to take
the module, clone it, and reuse the UVs
| | 00:23 | as much as possible.
| | 00:24 | I'll open up the UV Editor and
show how those layout briefly.
| | 00:29 | What I've done is I've taken the existing
texture sheet, cloned it ,and added a few pieces.
| | 00:34 | This area up above is where I'll lay out
my cornice elements, the squares and
| | 00:38 | relief panels, these are here for
size, just these color elements.
| | 00:41 | And then clearly we can see the window
element from the previous model as well
| | 00:45 | as the side elements and sills.
| | 00:48 | What I've done then is to stretch out
this large polygon and incorporated in
| | 00:52 | a rectangle with a graphic on it that is part
of the entablature, the relief that's carved in.
| | 00:59 | Later I'll come back and add cornice
detail the tiles cleanly across, from
| | 01:04 | square to relief and so forth.
| | 01:09 | Now we need to work on smoothing groups
and the idea on the smoothing group is
| | 01:12 | that we have limited geometry
we need to interpolate as a curve.
| | 01:16 | Right now we can see I've got some
curves and some hard shadows and some areas
| | 01:20 | that really can't decide how to
react properly, such as down here.
| | 01:24 | When you extrude edges, you may get
original smoothing groups propagating or hard
| | 01:29 | or soft looking polygons that may be
can't decide what they're doing and simply
| | 01:33 | take on what they were before. To even
this out, because I like a nice hard-line
| | 01:37 | right here at this detail,
| | 01:39 | I'll drop down to the
Editable Poly in the Modifier List.
| | 01:42 | 3ds Max is going to tell me that the
world is going to end and I'm going to say
| | 01:47 | yes that's okay at the moment.
| | 01:48 | I'm not going to change any geometry or
move it around which will affect my UVs.
| | 01:53 | I am just going to play
with the smoothing groups.
| | 01:55 | I'll right click and pick Polygon and
first I'll pick this polygon and the one
| | 02:01 | above it and clear off the smoothing.
| | 02:03 | That should do pretty nicely to
bring out that edge and I'll check and see.
| | 02:07 | I'll scroll down to the Smoothing
Group rollout and clear these.
| | 02:15 | In Polygon Smoothing we can see that some
but not all of these polygons are in group 11.
| | 02:20 | That's what the blank means.
| | 02:22 | And both of these are in group 23, which
is why they are sort of looking curved.
| | 02:26 | I'll clear them and when I release
the selection, we can see cleanly I get
| | 02:31 | that hard line back. That's my detail.
| | 02:33 | I'll make sure that the top polygon
as well is not in the smoothing group.
| | 02:38 | That way it didn't try to
curve over this crisp edge.
| | 02:45 | I'll repeat the process up on the top.
| | 02:47 | We'll see a drastic change.
| | 02:51 | At the moment once the display resolves,
we can see where this should be a round,
| | 02:56 | I have two polygons and I have a crisp edge.
| | 02:59 | We can also see some odd kind of bubbly
looking shading where this polygon can't
| | 03:04 | decide to be smooth or flat.
| | 03:06 | I'll fix this by clearing off all the
smoothing groups and then show how to
| | 03:10 | assign the smoothing to two polygons.
| | 03:12 | So I cleared off all the
smoothing of all of my polygons.
| | 03:16 | If I pick any one of them, none of
the polygon smoothing groups highlight.
| | 03:20 | What I'll do to put a curve in this
top cornice is select these two polygons,
| | 03:25 | picking one, holding Ctrl and
selecting the next, and then putting them into
| | 03:28 | a smoothing group by clicking on the button.
| | 03:30 | You can see the immediate change in the shading.
| | 03:33 | Now these two polys, which I know
have a hard corner, try to look round.
| | 03:36 | They interpolated curve.
| | 03:38 | I'll right click and choose Top-level.
| | 03:42 | Now these look round.
| | 03:44 | This is the roundness I want in that
cornice and when I back out far enough,
| | 03:48 | roughly impersonating a street-level view,
| | 03:50 | it looks like a round cornice
and I have the detail I need.
| | 03:54 | The important thing I'm also doing is
backing out to check, saying reasonably
| | 03:58 | from eight or nine stories below,
does it look close enough in a curve,
| | 04:02 | including right here at the edge in
silhouette that it is believable as the
| | 04:07 | cornice I need to make.
| | 04:09 | I'll check it one more time against the
reference, and I think I've got the cornice.
| | 04:13 | Smoothing groups are a great way to add
extra detail and make sure that things are
| | 04:17 | either crisp or round.
| | 04:19 | The important thing is not to let
3ds Max decide, but rather to go in and
| | 04:23 | put them in yourself.
| | 04:25 | So the things are either crisp or round
and not sort of one way or the other.
| | Collapse this transcript |
| Unwrapping cornices for lighting| 00:00 | Once you've got the geometry in place in
a cornice, you can start unwrapping it.
| | 00:04 | In this case what you're seeing,
aside from the additional geometry of the windows,
| | 00:08 | is that I've
unwrapped it piece by piece.
| | 00:11 | If you notice, I have a lot going on
in the Modifier stack on this object.
| | 00:15 | It starts out as an editable poly, but
then we see a sequence of UVW Map and
| | 00:19 | Poly Select with the Polygon
icon next to the Poly Selects.
| | 00:24 | Here's what this is doing.
| | 00:25 | I'll drop down to this
Poly Select as an example.
| | 00:30 | What I've done is to select these two
polygons on this cornice element and the
| | 00:35 | next unwrap then only respects the selection.
| | 00:38 | There is my mapping gizmo.
| | 00:41 | What I have done is to size it at 144.0x144.0.
| | 00:45 | That's the size of one module from
this engraved pilaster to the edge of the
| | 00:50 | next where it repeats across
the wall and including the height.
| | 00:54 | What this corresponds to then is the
texture map for this whole cornice module.
| | 00:59 | What this looks like when I'm all done,
when I jump back up to the Unwrap UVW
| | 01:03 | Modifier is part of it is
tileable and part of it is not.
| | 01:08 | When I go up to this Poly Select, if
you notice, I'm getting this warning.
| | 01:12 | Max wants to say that because changing
topology or changing the mesh will affect
| | 01:17 | the unwrap. We'll get distortion.
| | 01:19 | So it's telling me, would you like to
keep going, do I want to hold, which is
| | 01:22 | kind of a temporary save?
| | 01:24 | I'm going to say yes, I'd like to continue
because I'm just jumping around in the stack here.
| | 01:29 | Now I've deselected everything, and
finally the Unwrap in this case, if I go
| | 01:33 | down and open up the Unwrap Editor.
| | 01:39 | The Unwrap Editor shows me a large
spanning polygon over the Normal or 0-1
| | 01:44 | space in the Unwrap here.
| | 01:46 | If I turn on my texture sheet called
CorniceC for Color, I can see where
| | 01:52 | I've got my repeat.
| | 01:54 | Here's my wall with the window and I'm
using the other brick as you remember
| | 01:57 | from before for the other parts.
| | 01:59 | This is the vertical pilaster and here is
one square with its engraving and one panel.
| | 02:05 | The pieces up above then will get
further detail, egg-and-dart moulding and other
| | 02:09 | fun things in there.
| | 02:11 | And you can see the
polygons run right off the edge.
| | 02:13 | That's because of the UVW Map Modifier.
| | 02:16 | In this case I'm using this part of
the map as a tilable or repeating map,
| | 02:20 | figuring that based on the reference
this cornice detail can just run all
| | 02:24 | the way along here.
| | 02:25 | And I can just extend out this
geometry as far as I need for the other
| | 02:29 | side, tiling that map.
| | 02:31 | Part of the reason to look at this is
the difference between a tilable map and
| | 02:36 | a non-tiling one, especially when we
get into baked lighting and shadows.
| | 02:41 | In the end, I can actually collapse
the stack and the coordinates will still
| | 02:45 | be there for mapping.
| | 02:48 | What I want to look at when I'm
dealing in ambient occlusion is where are
| | 02:52 | the adjacent pieces for occlusion, because
they may change depending on the geometry.
| | 02:59 | The mapping will still tile but the
darkness caused by ambient occlusion will
| | 03:03 | vary from side to side and cornice elements.
| | 03:08 | The other thing to consider then is we can
use multiple mapping coordinates on an object.
| | 03:13 | Right now this is Map Channel 1.
| | 03:15 | That's the default.
| | 03:16 | I'll scroll down to the Channel
and show this in the Unwrap dialog.
| | 03:21 | Here we can see this is Map Channel 1.
| | 03:23 | In the Material Editor, pressing M,
this image looks to Map Channel 1.
| | 03:28 | We can see it right here
under Explicit Map Channel.
| | 03:31 | I can add on multiple unwrap
dialogs and unwrap this again.
| | 03:35 | That's what I'm going to do here, and
I'll pull up the unwrap on the second
| | 03:39 | channel for occlusion.
| | 03:41 | In the interest of time, I'll unwrap
this and show what it looks like when I'm
| | 03:45 | done as this may take a
few minutes to get right.
| | 03:47 | So what I've done is to first collapse
the modifier stack down so it's a little
| | 03:52 | less messy, removing the Poly Selects and
things, and putting a new Unwrap UVW on.
| | 03:58 | In this case, this unwrap is Map Channel 1.
| | 04:01 | If we open the editor, we see the pieces
actually laid out tillable. They span across.
| | 04:08 | The second unwrap I've put on is Map Channel 2.
| | 04:11 | And we can see this here in the Channel
rollout where it says Map Channel 2 and
| | 04:16 | I move the UVs over once I have them.
| | 04:19 | In the Editor here, I've put these
cornice elements together at the top.
| | 04:24 | I've saved the rest of the space for
another object as part of this light map,
| | 04:28 | trying to maximize my
texture space as much as possible.
| | 04:32 | I've used tools such as Stitching here.
| | 04:34 | Stitching To Source, Stitching To Target,
and aligning vertices using the Align
| | 04:39 | Vertical and Horizontal where needed
to put these back together, where the
| | 04:42 | element seams are shown in green and the
seams between faces are done in yellow.
| | 04:49 | I'm ready to bake my occlusion or
render the ambient occlusion out into that UV
| | 04:54 | space so I can use it as a
texture, faking lighting essentially.
| | 04:58 | As a side note, what we really want
to do is turn off these panel seams.
| | 05:02 | It may make it easier to see in
the viewport. We know where they are.
| | 05:05 | I'll scroll down under the Unwrap UVW
Modifier, all way down and turn them off.
| | 05:15 | Down here under the Configure rollout,
under Display, I can turn off Map and
| | 05:19 | Peel Seams. It may make it just easier to
see especially when I'm overlaying Edged
| | 05:24 | Faces by pressing F4.
| | 05:26 | Now I'm ready for the occlusion.
| | 05:28 | With the object selected, I'll
press 0 for Render To Texture.
| | 05:31 | In this case, the Render
To Texture shows Plane029.
| | 05:35 | That's this object.
| | 05:36 | If I scroll down here, I'd like to use
the existing Map Channel 2 making sure I
| | 05:42 | bake into the proper one.
| | 05:44 | Under the Output I will add
and choose Ambient Occlusion.
| | 05:48 | MR stands for mental ray.
| | 05:50 | I'll add the elements.
| | 05:51 | And if I scroll down further, I can
choose where is it going to and also a size.
| | 05:56 | Being that I'm going to use this for a
light map in Unity, I don't know if I'm
| | 05:59 | going to put it into a target map slot yet.
| | 06:02 | But I will bake this out at 1024,
figuring we can always reduce it later, but I
| | 06:06 | want the detail at the moment.
| | 06:09 | Finally, I'll tell this
where to go and give it a name.
| | 06:12 | I'll put this one in Chapter 5
images and a 32-bit target is fine.
| | 06:20 | Really what I care about is the RGB data.
| | 06:23 | Now I'll hit Render and wait for it to process.
| | 06:28 | My ambient occlusion rendered, although
it didn't really show in the view that
| | 06:32 | it was just a diffuse texture.
| | 06:33 | What I need to do is browse over to see it.
| | 06:36 | And when I select it and
hit View, I can see the image.
| | 06:40 | There are probably a couple
of things to tweak in here.
| | 06:43 | The occlusion has dots in it, the
quality is not high enough, and it's also
| | 06:46 | darkening areas possibly too much.
| | 06:49 | This is an artistic choice to make:
how much do these pieces darkened.
| | 06:52 | But it is popping out the
detail nicely on my cornices.
| | 06:57 | I'll cancel this and test or tweak the
ambient occlusion parameters just a little bit.
| | 07:03 | Upping the Samples to 128 will help the quality.
| | 07:07 | The Spread determines how much
darkness clusters in the corners versus
| | 07:10 | spreading on the surface.
| | 07:11 | And a Max Distance determines how far
apart in seam units will objects cast
| | 07:17 | occlusion on each other.
| | 07:18 | A Max Distance of zero is a special case,
meaning that everything participates no
| | 07:22 | matter how far apart.
| | 07:24 | I'm going to set my Max Distance at 24,
so I get nice zones of darkness in the
| | 07:28 | corner without graying
and darkening my whole mesh.
| | 07:31 | I'll hit Render again and
pull up the final image.
| | 07:34 | Here's the image when the
ambient occlusion finishes.
| | 07:36 | It rendered but it looks like the
diffuse texture into that map channel.
| | 07:39 | I don't actually need this view.
| | 07:42 | What I need then is actually the
occlusion image which I'll click on the three
| | 07:45 | dots for the file to go browse to.
| | 07:48 | Select it and view it.
| | 07:50 | That's much better.
| | 07:51 | Now I can see right here on the top
where the cornice meets the wall below,
| | 07:55 | the occlusion rises and falls because
it's adjacent to different geometry.
| | 08:00 | In my cornices then for lighting, I
have a nice solid darkness in the corner
| | 08:04 | that will really pick out the details well.
| | 08:10 | The important thing to remember here is
to make the distinction in your mind and
| | 08:14 | in your models between a tiling or
repeating map and a non-tiling map that
| | 08:19 | depends on different
geometry, such as ambient occlusion.
| | 08:22 | We'll use ambient occlusion as a
foundation for dirt and grime and also as faked
| | 08:27 | or baked in lighting in a game where I
need things to look more soft and complex
| | 08:32 | in the lighting than they actually are.
| | 08:34 | We can use multiple Unwrap UVW Modifiers
using multiple map channels in Max to do this.
| | 08:40 | And many game engines
including Unity can respect them.
| | Collapse this transcript |
| Modeling sloped roofs| 00:00 | Sometimes in the construction of your
environment, you need buildings with sloped roofs.
| | 00:04 | What we've looked at so far are largely
flat roofs, where the roof sits inside
| | 00:09 | of the walls a little bit and
isn't visible from the street.
| | 00:13 | Occasionally though, we may be
modeling houses, we may be modeling barns, or
| | 00:17 | similar structures that
really need a sloped roof.
| | 00:20 | What we want to do is construct
these as elegantly as possible, with a
| | 00:23 | minimum of polygons but recognizing
that the roof is one of the largest
| | 00:27 | elements we are going to see.
| | 00:29 | We are going to see a large expanse of
thatch or shingle or steel or whatever
| | 00:34 | that roof is made of.
| | 00:35 | Additionally, we're going to see the
edge of the roof and we need to make sure
| | 00:39 | that's detailed correctly.
| | 00:41 | To lay out roofs, I will start out with
the building so I can look in a Top view
| | 00:45 | and see a footprint, pressing T
for Top and Z for some Zoom Extents.
| | 00:50 | To lay out a roof, what I will begin
with then are rectangles, splines or shapes.
| | 00:55 | They give me the line with a throw of the
eves, how far out do those come from wall?
| | 01:01 | I'll start up a Rectangles.
| | 01:03 | The first rectangle I will make will
define how far out the eaves go. In this
| | 01:07 | case, I'm going to put a roof eave all
the way around, that we don't see the edge
| | 01:11 | of the wall, that there is actually a
slope all the way around the building.
| | 01:14 | I will begin this one with a 2 foot
x 2 foot rectangle or 24 on a side.
| | 01:22 | Then using my Snap tools and the
Spacebar for Selection Lock, I will start
| | 01:27 | snapping rectangles around
my roofs as a measuring tool.
| | 01:31 | Holding Shift, I will clone this rectangle.
A Copy or an Instance is fine for now.
| | 01:36 | It doesn't really matter. These are
construction objects. I will pick it.
| | 01:41 | Occasionally, I'll hit X, which
turns off and on the Transform Gizmo.
| | 01:46 | That way I can find a vertex that would
normally be hidden and distort where I'm moving.
| | 01:50 | I will clone this around until my
entire roof is done in rectangles at the
| | 01:59 | corners. Sounds rather odd but very helpful.
| | 02:04 | I can put one here, although I do have
reference of both of these I am going to
| | 02:08 | use with the Spline.
| | 02:09 | The next step in making a roof is
to actually lay out the roof planes.
| | 02:13 | Most often we need a ridgeline in a
sloped roof, and ridges tend to go in the
| | 02:18 | middle or equally between the walls.
| | 02:22 | Additionally in a roof, when two roofs
meet, we will have one from one side, and
| | 02:26 | one from the top here.
| | 02:28 | They will meet at a 45 on both places.
| | 02:32 | I'll use a rectangle to lay this out.
| | 02:35 | The first thing I'll do is
use my rectangle to measure.
| | 02:39 | Actually this isn't on the roof but
I'm looking way down in the bottom right
| | 02:43 | corner at the Width, 240.
| | 02:45 | Then I'm going all the way over and
looking at the Width of the rectangle here.
| | 02:49 | 432 and a Length of 192.
| | 02:53 | That's an important one to remember.
| | 02:57 | Now this isn't exactly the
full roof. It's too big.
| | 03:01 | What I need to do is actually make one
plane and so in here under theLength I
| | 03:06 | will actually put divided by 2
and let Max compute it for me.
| | 03:10 | I will move this rectangle down
to match up with my eave lines.
| | 03:17 | Remember this Length 96. I will convert
this to a Spline, right-click, and choose
| | 03:23 | Vertex and move this top-left vertex
in on the Transform Type-In by 96.
| | 03:33 | This will give me a 45-degree corner.
| | 03:36 | I'll take a minute, fill the
roof with rectangles as I've shown.
| | 03:40 | Move their vertices and show
what it looks like when I'm done.
| | 03:43 | So I have taken my rectangles, cloned
them around, and moved vertices as I need.
| | 03:47 | What I need to do now is to get rid of
this twistiness or the curve in the roof,
| | 03:51 | as these should be straight.
| | 03:53 | When you draw out a shape, those
corners may be whatever the default is set to.
| | 04:00 | As an example under a line, the Creation
Method is Corner, with the Drag Type being Bezier.
| | 04:06 | What that means in a rectangle then
is if we make it, it looks like a
| | 04:10 | rectangle, we convert it to an editable
spline, and any one of these corners we
| | 04:14 | thought was a corner is actually a
Bezier corner vertex where it has handles to
| | 04:19 | give influence on the connecting segments.
| | 04:22 | What I will do is pick my splines,
select their vertices, both or just all at
| | 04:29 | once, and right-click and choose Corner.
| | 04:32 | I can do this at any point but it's
helpful to see sometimes, where those curves
| | 04:36 | are as part of the process of making the roof.
| | 04:39 | I've straightened out all the vertices,
literally converting them to corners so
| | 04:43 | that the adjoining
segments are perfectly straight.
| | 04:45 | I'll fill in the last part of the
roof. For this I will create a line,
| | 04:49 | by holding Ctrl+Right-Clicking and
in the line, just to make sure it
| | 04:53 | stays straight, I will make
the Drag Type Corner, in case I
| | 04:55 | accidentally click-and-drag.
| | 04:56 | I will fill in the last part with a triangle.
| | 05:03 | Close the spline and I'm ready.
| | 05:06 | Now I can start to make my roof a surface.
| | 05:10 | For each part, not all at once but
uniquely, I'll right-click, choose Convert To:
| | 05:16 | > Editable Poly, and if I switch to a
Shaded mode I can see where that is
| | 05:21 | taking on a surface or it's a solid.
| | 05:25 | Converting to a poly
gives me the rest of my roof.
| | 05:30 | The important thing I think is to
do it one at a time, so you can spot
| | 05:34 | any possible issues.
| | 05:35 | Occasionally, you may have a more complex
shape that's not closed and will disappear.
| | 05:40 | And if it's overlapping with something
else, it may be hard to tell what's missing.
| | 05:44 | I've made my roof or so
it would seem but it's still flat.
| | 05:46 | What I will do is I'll take this roof
and move it up above the wall, so I can
| | 05:51 | see clearly and then attach it
together and elevate the middle.
| | 05:55 | I have moved my roof up above the walls.
| | 05:58 | Now I can start to attach it together,
picking any one of the editable polys,
| | 06:02 | right-clicking, and choosing Attach.
| | 06:04 | Then I will select the other roof planes.
| | 06:09 | Now my roof is almost ready to move.
| | 06:13 | If needed, you can weld vertices.
| | 06:15 | I'm going to leave these alone for the moment.
| | 06:18 | So I don't get any accidental
smoothing from roof plane to roof plane.
| | 06:22 | That is they stay flat.
| | 06:23 | I will go by Vertex and
select those ridge vertices.
| | 06:27 | I can do them all at once.
| | 06:29 | So if there is different ridges at
different heights because of different roof
| | 06:33 | runs or how horizontal it goes,
I can do it one at a time.
| | 06:37 | For this, I will grab on the Z-
axis and pull up till it looks right.
| | 06:42 | In this case, I am designing on-the-fly.
| | 06:45 | What I've got is a sloped roof.
| | 06:46 | It's economical in polygons.
| | 06:49 | As we can see in my Polygon Display, which
you can toggle off and on with the 7 key.
| | 06:57 | The total polygons I have
selected are 5 or 19 vertices.
| | 07:02 | That's pretty slim considering the
amount of geometry it covers or the amount of
| | 07:06 | texture it will show.
| | 07:08 | Now I can take this roof and sit it
down correctly on the walls and I am ready
| | 07:12 | to fill in the edge detail,
such as the soffits and fascia.
| | Collapse this transcript |
| Adding fascias and soffits| 00:00 | Once we have the flat planes of a roof
in place we need to add the elements that
| | 00:04 | give us thickness at the
edge or apparent thickness.
| | 00:06 | In reality they are really built of
planes of material and linear elements.
| | 00:11 | For this roof I'm going to put a
fascia on the outside and a soffit.
| | 00:15 | The fascia is the board that caps the
rafter ends, so it looks like a continuous edge.
| | 00:20 | There is often a gutter
or something similar over it.
| | 00:23 | I'll also put a soffit underneath the
roof. That way because the polygons in this
| | 00:28 | roof face out, I have coverage
underneath instead of a blank area.
| | 00:32 | So in a game if I happen to duck into
this doorway or next to the building and
| | 00:35 | look up at the roof, I see what
really should be there: a solid surface.
| | 00:39 | To start with on this fascia I'll go into top
view and change to a wireframe by pressing F3.
| | 00:46 | With my Snap on at 2.5 I'll press
Ctrl+Right-Click and choose Box.
| | 00:51 | I'm going to make one piece of the
roof fascia here and a soffit and then clone
| | 00:56 | this all the way around to finish out this roof.
| | 00:59 | I'll snap this first box
across from corner-to-corner.
| | 01:04 | If you notice, the box has a
Length of 0, a Height of 7 point
| | 01:08 | whatever really, and a Width of exactly 192.
| | 01:11 | That's the important part.
| | 01:13 | Now I can change the Length to 2, and I'll
put the Height at 8 for 2x8 rough lumber.
| | 01:19 | I'll take this piece and snap it onto
the edge of the roof, then look at in the
| | 01:23 | left view and make sure
it's up to the right height.
| | 01:27 | Now I need to optimize this before I clone it.
| | 01:29 | I'll right-click and choose Isolate
Selection so I can see this a little bit easier.
| | 01:35 | I'll convert this to an Editable Poly
and choose Polygon. We'll take out the ends
| | 01:41 | of this so it's open.
| | 01:44 | I'll also take out the top polygon so
I'm basically left with the tall skinny U.
| | 01:48 | Lastly, I'll take the inside vertex,
which for me is here on the right, and I'll
| | 01:53 | move it down by 2 or 3 inches.
| | 01:56 | I use the Transform Type-In and on the
Offset Y put in -2. That will give me some
| | 02:02 | thickness up here in the soffit.
| | 02:04 | That way it looks like the right
dimension, that the roof isn't just a flat poly.
| | 02:09 | Now I can exit the Isolation Mode
and in a top view adjust the miters.
| | 02:14 | Remember that the
dimension of this was 2 inches.
| | 02:17 | That way I can choose these vertices,
on the Transform Type-In put in -2 and
| | 02:24 | get a perfect 45 here.
| | 02:26 | I'll do this in the other side as well.
| | 02:31 | In this case I'll move 2 over.
| | 02:35 | I'm almost ready to clone, but I
have one more element to complete.
| | 02:39 | All of my ridges and valleys meet at a
45. On a roof this is a hip-ridge, meets
| | 02:46 | at a 45 degree angle.
| | 02:49 | The valley where two roof
planes come together is also at a 45.
| | 02:52 | Occasionally this varies, but those
roofs get pretty complex and require a set
| | 02:56 | of plans to detail properly.
This is a fairly simple roof.
| | 03:00 | I'll look up underneath that soffit.
| | 03:03 | Right now it's blank and I have the fascia.
| | 03:06 | I can pick this top inside edge
of my fascia and extrude it out.
| | 03:10 | I'll do this in the top view so I
can put it exactly where I want it.
| | 03:15 | Notice that I switch between
wireframe and shaded and move my views around
| | 03:18 | to get where I need.
| | 03:20 | Don't be afraid to really zoom in.
| | 03:22 | I'll right-click and choose Extrude.
| | 03:24 | I'd like to use the dialog for this.
| | 03:26 | That way I can reset the base Width down
to 0 and a Width of 10 is just fine here.
| | 03:32 | I'll check OK and then I'll pick this
edge and move it down where I need to go.
| | 03:37 | Next I'll pick the vertices, pressing 1
for vertex, grabbing this corner, and on
| | 03:42 | the X axis snap it onto the building.
| | 03:45 | I'd like to use the Spacebar for Selection Lock.
| | 03:48 | I'll release the Selection Lock by hitting
the Spacebar and do this on the other side.
| | 03:55 | Next I'll check this in the left view.
| | 03:58 | Hitting Z for Zoom and making sure
my soffit is flat. This worked nicely.
| | 04:03 | Occasionally, we may need to snap it back
down depending on which way it extruded.
| | 04:07 | I'm ready to take this piece and clone it and
stretch it around to my other roof elements.
| | 04:13 | What I'll do now, probably in a shaded
view so I can see what's going on, is
| | 04:19 | duplicate, clone, rotate, and move this piece
along with stretching it out along the roof.
| | 04:25 | With this fascia element complete
I'm ready to clone it around the roof.
| | 04:29 | I'll clone, rotate, and stretch as
needed and in the interest of time, come back and
| | 04:33 | show the completed roof.
| | 04:36 | I stretched the fascia and
cloned it around the roof.
| | 04:39 | Now on any side of my roof
it appears to have thickness.
| | 04:42 | Now when I look up
underneath it I have polygons there.
| | 04:45 | We're working in a single-sided workflow.
| | 04:48 | Notice that if I pick any particular
object, right-click, and choose Object
| | 04:52 | Properties and turn on
Backface Cull, it's still there.
| | 04:55 | If I were to view this in the other side
it would disappear, but there is a roof.
| | 05:00 | My roof is complete.
| | 05:01 | The important thing to remember when
you're making roofs is that they need to
| | 05:05 | look like they have thickness and we
need to get the details right, because
| | 05:08 | they do occupy a large part
of the view of a building.
| | 05:11 | They also tend to be down low
especially sloped roofs like this on houses
| | 05:15 | and such, and so there is a bigger
chance for going to see them closer up in our game.
| | Collapse this transcript |
| Adding fascias and soffits for gable ends| 00:00 | When we were building a roof we don't always
have the luxury of eaves all the way around.
| | 00:05 | Sometimes we have a roof that has a
gable end where we can see the edge of the
| | 00:08 | roof rise up to the peak and back down.
| | 00:10 | And this wall below will
actually come up to a point.
| | 00:13 | We need to add a fascia to this and
I'll show a common technique used to
| | 00:17 | transition gracefully between a
straight fascia here and a gable fascia.
| | 00:23 | I'll add in an extra end which will allow
me to take this soffit up and over correctly.
| | 00:28 | To begin, I'll go into Left view.
| | 00:31 | Zoom in and go into
Wireframe so I can see my roof.
| | 00:36 | I'll use my Line tool to draw in that profile.
| | 00:39 | I'll press Ctrl and right-click and choose Line.
| | 00:42 | Notice under Creation Method my
Initial Type and Drag Type are set to Corner.
| | 00:46 | What I'll do to begin this is start at
the outside corner of the fascia, come up
| | 00:51 | and over the roof,
snapping cleanly on the points.
| | 00:54 | Also, notice that I'm using my 2.5D Snap,
so my line doesn't zigzag in Z space
| | 01:00 | forward and away from me,
instead appearing on the 0 plane.
| | 01:03 | When I get over here to come to the
wall I'll hold Shift and register the mouse
| | 01:08 | on another point to snap to.
| | 01:10 | Now I can come up and snap
on my wall and my fascia.
| | 01:16 | I'll land this next line
somewhere up in the middle.
| | 01:20 | Really, as long as it's up here
and out of the way that's fine.
| | 01:23 | Now I'll come back down, register
the mouse again, even holding Shift and
| | 01:28 | snapping, and bringing it back to a close.
| | 01:34 | Notice mine was little off there.
| | 01:36 | I can fix this easily in Vertex mode.
| | 01:39 | I'll pick Vertex by pressing 1, grab
that error in vertex, and move it down on
| | 01:43 | just the Y axis, pressing Spacebar for
Selection Lock and pulling it down to
| | 01:48 | where it needs to be.
| | 01:51 | Now for the middle.
| | 01:52 | What I want to do is take this
point that I sort of landed in space.
| | 01:55 | Select it and first align it on
the X axis so it's centered on the roof.
| | 02:02 | The next step is to grab the bottom
inside points of that fascia and pull them
| | 02:08 | up to match the outside points.
| | 02:10 | I'd snap them there because there
wasn't an outside point initially.
| | 02:16 | As an alternate, we may
want to bring these up higher.
| | 02:19 | What I'm looking for in here is that
these bottom points plus the top give me a
| | 02:24 | fascia width across that roughly
matches the height of my others.
| | 02:28 | So it looks like it's all
made from the same material.
| | 02:31 | I'll turn off my snap and pull them
up and then grab this middle point and
| | 02:35 | pull it up as well.
| | 02:37 | As long as it's fairly close it will look right.
| | 02:39 | What I'm trying to avoid is a
fascia that pinches up at the top.
| | 02:43 | That's a mistake I see made often when
people simply add points in and move them
| | 02:48 | up and we lose width across.
| | 02:51 | My line was created in the middle of
the house, because that's where 0 is.
| | 02:55 | I'll snap it using my 3D Snap
this time onto the edge of the roof.
| | 03:02 | Now I can convert this
to a poly and extrude edges.
| | 03:05 | This would give me the additional
geometry to be able to match that miter here
| | 03:10 | of my existing fascias.
| | 03:12 | I'll right-click, Convert to an
Editable Poly, and check in a shaded view by
| | 03:16 | pressing F3 to see if it
appears. It looks good.
| | 03:20 | It maybe facing away from me.
| | 03:22 | That's very possible.
| | 03:23 | In which case I need to flip the normals.
| | 03:26 | I'll release my Selection Lock, which is
on previously, and select this polygon.
| | 03:30 | The way to check is by
pressing F2 for Shaded Faces.
| | 03:34 | If it's a dark red it's facing away.
| | 03:37 | I'll scroll down to the Polygon
Normal section and flip the mormals.
| | 03:42 | Alternately, I can right-click and
choose Flip Normals from the Quad menu.
| | 03:46 | Notice how the shading is brighter and turning
off the shaded faces shows me the right color.
| | 03:51 | Now the normals are facing the right direction.
| | 03:54 | Now I'll switch over the edge by right-
clicking and pressing Edge or the number 2.
| | 03:59 | I'll pick all of the bottom edges of
this and extrude them out by two inches.
| | 04:06 | Right-click. I'll choose
the dialog next to Extrude.
| | 04:09 | In this case, I'll zero out by right-
clicking on the Base Width and put my
| | 04:14 | Height in at -2, noting
which way my X axis goes.
| | 04:18 | I'll check OK and I've
almost got my fascia complete.
| | 04:22 | The last step then is to take the
existing soffit, square it off into the
| | 04:28 | fascia, and extrude an extra line
up and over to match into that gable.
| | 04:33 | I'll pick this soffit and square it off first.
| | 04:35 | I'll pick a vertex and on the X axis
using the Spacebar for Selection Lock, snap
| | 04:43 | it up cleanly on to that fascia.
| | 04:46 | I'm going to do this on the other one as well.
| | 04:49 | I've squared off both fascias by vertex.
| | 04:52 | Now I'm ready to fill in the back of this.
| | 04:55 | The way to handle this, rather than
trying to extrude these back edges out and
| | 04:59 | get them into place, is
actually to make the soffit first.
| | 05:02 | I'll go back of my Left view or Right
view, whichever is easier to see here,
| | 05:07 | and make a new line.
| | 05:09 | For this, I'll press Ctrl and right-
click and snap a line over the existing
| | 05:13 | fascia, making sure I make
my snap 2.5 instead of 3.
| | 05:23 | Now my line is in place and I'm
ready to outline it and extrude it.
| | 05:27 | The trick here in splines, if I go to
the Modifier panel is to choose it by
| | 05:31 | spline and select that spline.
| | 05:33 | It's actually one shape with one spline in it.
| | 05:36 | I'll scroll down into the geometry
and offset that by an inch or two.
| | 05:46 | In the outline, the field next to the
Outline button allows you to offset that line.
| | 05:50 | I'll offset here by -2.
| | 05:51 | This gives me my line on the
inside up above the edge of the fascia.
| | 05:58 | Now I can delete any segments I don't
need such as the ends and with the ends
| | 06:06 | deleted I can extrude this
line to form that soffit.
| | 06:09 | I'll throw an Extrude
Modifier on and extrude that back.
| | 06:15 | For the Amount, I'm going to
start with 24 and see if that works.
| | 06:20 | In a Top view I'll grab this piece,
move it into place, and see if I need
| | 06:26 | to adjust it at all.
| | 06:27 | It looks like the Amount can come
down to 22 and I'm in good shape.
| | 06:32 | If I switch over to shaded view I
can see that my soffit is almost ready.
| | 06:38 | I need to do some minor tweaks on
the line to get it in the right place.
| | 06:42 | I'll do these and come back and show the
completed soffit in the interest of time.
| | 06:46 | Really, I'll just be moving vertices and
segments to make them match up exactly.
| | 06:51 | I fixed the soffit, done some minor
alterations and movements. Now I can take
| | 06:56 | this wall and snap it up cleanly to
the soffit, and pull the corners down as
| | 07:00 | needed to finish out the gable end.
| | 07:01 | We'll save that for another lesson,
as we've probably want to plan that as
| | 07:05 | part of a texture sheet.
| | 07:09 | In a roof, it's important to think of
all the different parts we're going to
| | 07:12 | see it from, especially given that at
person height we may be looking up at
| | 07:17 | even a one-story building.
| | 07:19 | So getting the detail right
on the edges is important.
| | 07:21 | Making sure we've what appears to be
the right thickness of things and also
| | 07:25 | surfaces aimed in the right
direction so if we look up under the roof we
| | 07:29 | don't see the sky.
| | Collapse this transcript |
| Texture sheets for roofs| 00:00 | Once we have the geometry of a roof done,
it's time to think about the texture.
| | 00:04 | The important thing on a roof, as I've
said in previous lessons, is that it's
| | 00:08 | going to occupy a lot of the view.
| | 00:10 | That visually, as we examine this
little house we'll call it, roughly
| | 00:14 | two-thirds of what we are seeing is house and a
third of what we're seeing of this is the roof.
| | 00:20 | If we stand down even more on street level, we
still see an enormous amount of roof surface.
| | 00:25 | So we want to think carefully about
the textures that are going on there.
| | 00:28 | As an example of this, I've made up a
texture sheet of a corrugated metal roof.
| | 00:33 | The big deal with a roof is we can map it
plane by plane and it becomes very easy.
| | 00:37 | Here's the texture sheet.
| | 00:39 | Right now this is 1024 square, although
we can always reduce it in size if needed.
| | 00:43 | It's got a Color group organized by a
layer as usual with corrugation, rust,
| | 00:48 | splotches, and up at the
top, siding turned across.
| | 00:52 | This will be the ridge.
| | 00:54 | The big deal in the roof is that we
have special conditions at the ridge or the
| | 00:58 | top of the roof and usually the same
kind of sheathing all the way down.
| | 01:03 | We'll handle things like the fascia
and the soffit probably as part of the
| | 01:06 | building texture of a sheet
because they have more like materials.
| | 01:10 | In this case, this is for the roof only.
| | 01:11 | So I can reuse it in a number places if I need.
| | 01:14 | As an example, I may be dealing in a
number of dwellings that have corrugated
| | 01:18 | metal roofs that can share a texture.
| | 01:24 | In the Bump group on this, I've got
the raw corrugations, I've taken out the
| | 01:27 | rust, and I've added in the screw heads,
which are really very, very tiny little
| | 01:32 | dots with a little bit of white in the middle.
| | 01:34 | They will be close enough.
| | 01:36 | I can convert this to a normal map if needed.
| | 01:38 | What I'll do is I'll save out this image, at
least the color so we can tell how it maps on.
| | 01:43 | Over here in 3ds Max, I've saved out
those textures from Photoshop, running the
| | 01:47 | Bump group through nDo to
produce a normal map as well.
| | 01:50 | Now I'll add this on as a material
so I can see it mapped on the roof.
| | 01:54 | I'll press M for the Material
Editor and make a new material.
| | 01:59 | In this case, I will put in the Diffuse
slot my color, choosing under standard
| | 02:03 | maps a bitmap, and picking metal roofC.
| | 02:11 | I'll go up to the Parent
and show this in the view.
| | 02:18 | I'll call this metal roof rusty
and select the roof and assign it.
| | 02:28 | At the moment, we can't really see much.
| | 02:30 | There aren't mapping coordinates on it.
| | 02:32 | So we need to map it.
| | 02:33 | I can come back later and
add the normal map to this.
| | 02:35 | I'm going to map this in the top view
and I'll right-click and choose Hide
| | 02:42 | Unselected just so I don't
grab anything accidentally.
| | 02:46 | The way to map this roof is by polygon.
| | 02:49 | I'll select a polygon, let's say
this one first, and under the Modifier
| | 02:53 | List add a UVW map on.
| | 02:56 | The big deal is to make the map size
exactly to fit this distance, from ridge
| | 03:02 | down to eave, which I know is 96.
| | 03:05 | I can measure it if needed, remember, using
a poly plane, quickly snapping it in place.
| | 03:12 | The length and width of my poly plane are 96x96.
| | 03:15 | That's going to give me my map size.
| | 03:18 | Back here to the roof with my
polygon selected, I can apply my UVW map.
| | 03:28 | In that mapping, I'll set the Length
and Width to 96.0x96.0 and then rotate it
| | 03:35 | around in the right direction.
| | 03:37 | For mapping this roof as I spin around here I
want make sure that the ridge is up at the top.
| | 03:42 | So I'll spin this mapping around by
right-clicking and choosing Gizmo and
| | 03:46 | rotating on the Z axis.
| | 03:49 | That's pretty good
although it's not quite aligned.
| | 03:52 | We can see it's sort of sticking through.
| | 03:53 | In the UVW map, we want to scroll
down and try a different way of aligning.
| | 04:02 | In the Alignment, I'll use the
Normal Align, clicking on it and then
| | 04:06 | selecting that polygon.
| | 04:07 | This lets me align that Gizmo very
cleanly on that roof, making sure it's
| | 04:12 | snapped in the right place.
| | 04:16 | We can see I may need to scale
this up slightly as that distance is
| | 04:20 | slightly longer than my 96.
| | 04:23 | You have some options in here.
| | 04:24 | You can do it this way, scaling up
that gizmo to match, or map it flat down.
| | 04:30 | This is really up to you
how you would like it to be.
| | 04:32 | I'm going to take the more exact
approach and scale this up a bit.
| | 04:40 | I'll try a Length of 110.0
and a Width of 110.0 as well.
| | 04:46 | And that seems to fit pretty nicely.
| | 04:47 | I'll remember that for future use.
| | 04:50 | As we can see in my texture here, as I spin
around to see it better, the rust is tiling.
| | 04:55 | It repeats cleanly with some streaking in here.
| | 04:58 | In a metal roof like this, it's okay to see
streaking as it is part of the way these rust.
| | 05:03 | If I needed to clean this up, my PSD
is layered in Photoshop for just such
| | 05:07 | an occurrence, making it very easy to come
back and repaint the rust so it works nicely.
| | 05:13 | Now I'm going to continue
to map the rest of these.
| | 05:16 | In the interest of time, I'll come
back to the completed version with all the
| | 05:19 | polygons of the roof mapped in the same way.
| | 05:22 | I've used the mapping on this roof in
every different direction, simply selecting
| | 05:27 | polygons by their direction in
the roof and applying a UVW map.
| | 05:31 | As you can see here in the Modifier
stack, I've used a Poly Select modifier to
| | 05:35 | jump between different polygons.
| | 05:37 | Now if I need I can collapse this whole
stack back to an Editable Poly and the
| | 05:42 | object will still have mapping coordinates.
| | 05:46 | I'll convert it to an Editable Poly by
right-clicking and choosing Convert to an
| | 05:49 | Editable Poly, deleting the
history or optimizing the object.
| | 05:54 | I want to make sure that my
mapping looks right before I do this.
| | 05:57 | I can always come back and repaint the
texture if needed, but I think it looks pretty good.
| | 06:01 | I have a rusty metal roof on my building.
| | 06:04 | The last step then is I'm going to add
in the normal map and see if this behaves
| | 06:08 | correctly in terms of the way it lights.
| | 06:10 | I've put in a directional light
in the scene to help me with that.
| | 06:14 | I'll unhide everything.
| | 06:15 | I'll press M for Material Editor
and scroll down to the Maps rollout.
| | 06:20 | In the Bump slot, I'll add in a Normal Bump.
| | 06:27 | In the Normal Bump under the Normal, I'll
click on the None slot and choose Bitmap.
| | 06:33 | And finally, I'll pick
the metal roofN for Normal.
| | 06:38 | This should work fairly nicely.
| | 06:40 | If this doesn't show as well as it
needs to, I can always add another light in.
| | 06:45 | I think for now what I will do is make
sure that my shading or my lighting and
| | 06:48 | shadows illuminate with the default
lights instead of the scene lights.
| | 06:52 | And I should get a better look on it.
| | 06:54 | I'll also make sure that under Materials,
I am using Realistic Materials with Maps.
| | 07:00 | And I start to see my ridges, my
corrugation pop out very nicely.
| | 07:05 | In the Material, I can always increase
the Normal strength or increase the Bump
| | 07:10 | strength from the default of 30.
| | 07:13 | As a final note, I design my
bumps to run at a strength of 1.
| | 07:16 | Many game engines only
run a bump at full strength.
| | 07:20 | There is not a question of how much.
| | 07:22 | It's just is there one or not.
| | 07:24 | So I design it to run so at a strength
of 100 here in Max, it looks pretty good.
| | 07:29 | It looks like a rusty
corrugated metal roof on a building.
| | 07:33 | For your roofs then, think about the
amount of room you're dealing with.
| | 07:37 | You're dealing with a roof that quite
possibly is a third of the amount of
| | 07:41 | building you are going to see.
| | 07:42 | And we might be seeing it from
fairly close and able to pick out detail.
| | 07:47 | We also want to think about
carefully how a roof wears and accumulates
| | 07:51 | things like dust and dirt.
| | 07:53 | Different kinds of roofs are going to
have different materials applied, which we
| | 07:56 | can paint in Photoshop easily
using an organized layered workflow.
| | Collapse this transcript |
|
|
6. Assembling StructuresArranging, aligning, and cloning modular elements| 00:00 | With the design of a structure
together and the texture mapping underway,
| | 00:04 | including unwrapping and sharing
texture sheets, we need to think about how do
| | 00:07 | we clone structures and start to
combine them to head into unity.
| | 00:11 | We don't want to leave our
structures as a bunch of separate pieces.
| | 00:15 | We'd like to unify them or attach
all the objects together at some point.
| | 00:18 | However, we want to make sure that
the design is nice and solid first.
| | 00:22 | One of the techniques I'll use in
design is cycling the axis constraints.
| | 00:27 | This allows me to move and clone
things without using the Array tool; instead
| | 00:31 | snapping and cloning based
on geometry I already have.
| | 00:34 | What I like to do is to
configure it as a hot key.
| | 00:37 | That way also, I can hide the move
gizmo and see exactly what I am doing.
| | 00:42 | To begin, I'll go to
Customize > Customize User Interface.
| | 00:46 | With the Customize User Interface window
open, in the Keyboard tab I'll go down
| | 00:51 | to find Transform Gizmo Axis
Constraints, shown as Transform Gizmo...
| | 00:56 | In this case, it doesn't have a hotkey assigned.
| | 00:59 | You can assign any hotkey you wish.
| | 01:01 | I prefer to put it where my
hands are most likely to be.
| | 01:04 | For me, I am right-handed. My right
hand is on the mouse and my left hand is on
| | 01:08 | the left side of the keyboard.
| | 01:10 | That puts the signal quote under the
Tilde or Escape button within easy reach.
| | 01:14 | I am going to assign it here by
pressing that hot key and switching it away from
| | 01:18 | Redraw All Views and Assign.
| | 01:21 | You can save out a keyboard chart if you
need as well or just close this dialog.
| | 01:26 | With the Transform Gizmo Axis
Constraints cycle enabled on a hot key, now I can
| | 01:31 | use it in cloning this building.
| | 01:34 | I'll select one of my modules, and go
into a left view so I can see it clearly.
| | 01:40 | If I press W for move, the yellow handle is
highlighted, showing which axis I am constrained on.
| | 01:46 | What I like to do for design to make
it easy and quick and also to really
| | 01:50 | carefully constrain the movement is to
use that to cycle which way I am going.
| | 01:55 | As I press that key, you can see
different parts are highlighting in yellow.
| | 01:59 | That's the direction I'll be moving in.
| | 02:01 | For cloning this, I am going to pick
this whole left side, press Spacebar for
| | 02:07 | Selection Lock, and zoom up to
the top where I can see a vertex.
| | 02:11 | I'll register my snap on one of the corners.
| | 02:16 | In this case, I am going to use 2.5D
Snap to make sure I am not snapping
| | 02:20 | through the building on something,
registering the snap and my axis is
| | 02:25 | constrained to the x-axis only.
| | 02:27 | Now, when I hold Shift and drag, I can
constrain it to only move on the x-axis
| | 02:33 | and clone parallel to the other elements.
| | 02:37 | In the Clone Options I'll set these up
as Instances and I'll make seven copies.
| | 02:46 | This gives me the long side of the building.
| | 02:48 | Next, I would mirror over and complete
and stretch those cornices out, much in
| | 02:53 | the same way we stretched out the
vertical elements in previous chapters.
| | 02:57 | The important thing to keep in
mind is precision of movement.
| | 03:01 | At all times when we're making an
environment, we want to keep things snapped
| | 03:05 | and tight. Anywhere we can avoid an
environment leak, where there is a
| | 03:09 | hairline crack in something that the
game engine has to think about, we get
| | 03:12 | better performance.
| | 03:14 | Game engines, to put it
humorously, get very existential.
| | 03:17 | If there's a crack in the world,
they'll spend a lot of time thinking about the
| | 03:20 | nature of the crack in the world and
incidentally your frame rate and hence your
| | 03:24 | gameplay goes downhill.
| | Collapse this transcript |
| Setting pivot points for buildings| 00:00 | Once we've gotten the building's
design, ready we'd like to import it into
| | 00:04 | Unity or a game engine.
| | 00:06 | However, there is some final
cleanup we need to do to make sure it's
| | 00:08 | really ready for import.
| | 00:10 | The first is this still a design model.
| | 00:13 | There is lots of parts, nothing is
named, there might be extra stuff and
| | 00:17 | modifier stacks, it's messy, which is
just fine for design. And we took some time
| | 00:22 | to get the feel for this model and get
it looking right and the unwraps right
| | 00:26 | and everything works like the
existing building. That's great!
| | 00:29 | However, if I were to bring this
across into Unity it would be another story.
| | 00:32 | I've done this as an example.
| | 00:34 | Here in Unity I brought in the
building and I've imported its materials as
| | 00:38 | assets as well, applying them so
I've got the upper floor and cornices.
| | 00:42 | However, when I bring this
in, everything comes with it.
| | 00:46 | This is a bit of a mess.
| | 00:47 | I'll open up the Project window as
tall as it can go and open up that scene.
| | 00:52 | As we can see we have several dozen
objects and their mesh controllers and all
| | 00:58 | sorts of stuff with it. This is messy.
| | 01:00 | In Unity every object requires a draw
call, every texture requires a draw call.
| | 01:05 | What I've done unnecessarily is put in
maybe 60 or 70 objects for my game engine
| | 01:11 | to think about as part of displaying
one building instead of one object to come
| | 01:15 | in with one texture to display on one building.
| | 01:18 | So I'm possibly slowing down my gameplay.
| | 01:21 | We want to streamline it before we bring it in.
| | 01:24 | I'll go back to 3ds Max and show how to do this.
| | 01:28 | In 3ds Max we want to look over our
objects for any issues as much as we can.
| | 01:32 | I'll look at this with an eye
towards odd smoothing groups, odd shading,
| | 01:36 | stretching textures etcetera, but I
may see some minor issues here and there.
| | 01:41 | Part of getting this ready for export
is to attach it together as one object,
| | 01:45 | transitioning from a design
model to an exportable model.
| | 01:48 | I'll make sure I save the design
model as a separate file first or save the
| | 01:54 | export scene as a separate scene so I don't
lose the editability in case I need to go back.
| | 01:59 | These are instance objects.
| | 02:01 | What I'll do is make this object unique.
| | 02:03 | It doesn't really matter which one I
start out with as long as I have one that is.
| | 02:07 | Now I'll convert this to an Editable
Poly by choosing Convert To Editable Poly.
| | 02:12 | I'll attach it to everything.
| | 02:14 | Right-clicking and choosing
the dialog next to Attach.
| | 02:17 | In this dialog we can organize here.
| | 02:20 | Right now I have a Display Geometry
filter on. No other button is depressed,
| | 02:25 | meaning I'm only showing the geometry.
| | 02:28 | Additionally, I only have one object selected.
| | 02:31 | I'm going to scroll down and make sure I
don't see anything else odd and then in
| | 02:35 | my selection filter I'll check Select All.
| | 02:37 | Now it's going to attach
everything to that object.
| | 02:41 | When I press Attach it's gives me a warning.
| | 02:43 | How would I like to attach
the Material IDs to the object?
| | 02:47 | I can come back and deal with
that one in a minute. I'll hit OK.
| | 02:51 | I do see a little issue pop up on the side.
| | 02:54 | Apparently, in the attaching I had
some weird smoothing groups happen.
| | 02:58 | Smoothing issues are noticeable by
odd shadows or dark lines where they're
| | 03:04 | really shouldn't be one on a flat wall.
| | 03:07 | However, this is an easy fix.
| | 03:09 | I know this is all flat. I made it so.
| | 03:12 | I'll right-click choose Polygon and
select this whole mass of polygons.
| | 03:17 | Then I'll scroll down to the Smoothing
Groups and Clear All and that issue goes away.
| | 03:21 | I'll right-click and choose Top-level.
| | 03:24 | I'm just about ready. I could probably
clean up my materials, although I will see
| | 03:28 | some places in Unity to handle that.
| | 03:30 | I need to name this.
| | 03:32 | We'll call this Building01.
| | 03:35 | That way I can find it when it comes in.
| | 03:37 | In a city I may end up with
Buildings 1 through 45 very easily.
| | 03:40 | I also need to move the pivot to
a place where placing in Unity is
| | 03:44 | fairly straightforward.
| | 03:46 | Right now the pivot is well up
about the fifth floor and kind of in
| | 03:49 | somebody's corner office.
| | 03:50 | Not the best place.
| | 03:52 | To do this I'll go into the
Hierarchy tab and check Affect Pivot Only.
| | 03:57 | I'll also configure my snap by holding
Shift+Right-clicking and making sure that
| | 04:01 | Pivot and Vertex are both checked.
| | 04:04 | I can use the Align tool or I can use
Snap to move this pivot down where I need it.
| | 04:10 | So if I am moving this building adjacent
to a sidewalk I can put it precisely on.
| | 04:14 | I'll show the Align tool as
one method of aligning a pivot.
| | 04:17 | I'll click Align and
align the building to itself.
| | 04:20 | The Align tool starts out with
whatever settings were in there last.
| | 04:24 | What I'm going to do is align this from
Minimum to Minimum or Minimum to Maximum
| | 04:29 | until I get it where the pivot of
the building goes down to the base.
| | 04:32 | If I try a few options I'll find one that works.
| | 04:35 | In this case, Y and Z from
maximum to minimum seemed to do it.
| | 04:40 | I'll hit OK when it's ready.
| | 04:42 | When you align a pivot you want to
make sure it's as close on to the place
| | 04:46 | you're going to position
the building as possible.
| | 04:49 | I have it down on the floor correctly,
but I need to move it over to that corner.
| | 04:53 | I'll register my snap on it.
| | 04:54 | Notice the yellow ring on the pivot
showing that it is snapping and I'll bring
| | 04:58 | it right over onto that corner of the building.
| | 05:02 | I'll uncheck Affect Pivot Only and
now this is ready for export out.
| | 05:07 | As a test if I press E for Rotate and spin
the building, it does spin around that corner.
| | 05:13 | So if I needed to flip this building
90 degrees to be on a different block to
| | 05:16 | flesh out my city, it would be fairly easy.
| | 05:19 | I can also snap it down to the
sidewalk, again to avoid leaks in my scene.
| | 05:24 | The thing to stress here and the thing
you should watch out for is keeping your
| | 05:28 | scenes clean and making it difference
in your mind into the scene between a
| | 05:33 | design model, where you maybe moving lots
of elements around to get the feel of a
| | 05:37 | place right, and the final model for
export which should be as clean as possible
| | 05:41 | so that we're reducing the number of
draw calls leading to one building having
| | 05:45 | one draw call and a better game.
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| Reusing elements: Exploring possibilities in modular building design| 00:00 | In making a game you'll go through a
lot of effort to build a lot of assets.
| | 00:05 | The best philosophy is to see how
many places you can reuse those assets.
| | 00:09 | Especially on the design side, we need
to populate a city with, well, a city
| | 00:13 | worth of buildings, or at
least a chunk of a city.
| | 00:15 | We want to take our kit of parts, our
assembly of windows and walls and frames
| | 00:20 | and cornices we've made, and see if we
can get one or two more buildings out of
| | 00:24 | each one, rather than all
this effort to make one place.
| | 00:27 | This kit of parts I have here will
easily yield me another building.
| | 00:31 | What we've been doing so far
is looking at elegant design.
| | 00:35 | Not that it's necessarily in heels
or streamlined, but that the mesh
| | 00:40 | construction, I'll press F4 to show it,
snaps clean and easily, that everything is
| | 00:45 | on the module, that taking this and
cloning it or replicating to make a new
| | 00:49 | building, is very, very straightforward.
| | 00:52 | As an example, I am going to take
this building and lengthen it, adding in
| | 00:57 | another course of brick and also a
couple of more floors. Maybe it's a larger
| | 01:02 | bank or a larger office building.
| | 01:04 | What I'll do is first grab the
upper floors and move them up.
| | 01:08 | I'll select the top and then hold Alt
to deselect those vertical elements.
| | 01:12 | I am going to zoom in and use
my Spacebar for Selection Lock.
| | 01:18 | Press W for Move and I'm going to use my snap.
| | 01:21 | I notice that possibly from a previous
exercise, my Snap settings have changed.
| | 01:27 | That I may be actually snapping to a
pivot point on an object, as evidenced by
| | 01:31 | the yellow highlight around it.
| | 01:33 | I can set this back easily and I
find I do so on-the-fly a lot of times,
| | 01:37 | setting and reasoning my snap as I need,
configuring my workspace to get the best results.
| | 01:42 | I'll hold Shift and right-
click and uncheck Pivot.
| | 01:46 | Now I am only snapping on vertices, as we can
see by the yellow plus here. I'm ready to move.
| | 01:52 | What I'll do is I'll register that plus
maybe three floors down and I'll move
| | 01:56 | this up three floors, snapping evenly.
| | 02:00 | You can see the green rubber
band showing where I am snapping to.
| | 02:04 | I'll deselect and zoom out,
hitting the Spacebar to do so.
| | 02:08 | Now I've destroyed my
building, which is just fine.
| | 02:11 | I am going to stretch out my vertical elements.
| | 02:13 | You'll notice when I've cloned them,
we'll look on the Modifier panel.
| | 02:17 | They are instances largely.
| | 02:19 | That means if I change one, they all change.
| | 02:21 | So first I'll stretch them up.
| | 02:23 | I'll drop down to the Editable
Poly and this is a real advantage of
| | 02:26 | keeping things separate.
| | 02:27 | Going down to the Editable Poly I can
select Vertices, grab those vertices, zoom
| | 02:32 | in and stretch those elements right up.
| | 02:35 | I'll press spacebar for Selection Lock
and X to turn off to transform, so I don't
| | 02:39 | accidentally change direction.
| | 02:41 | I'll snap right up to the
cornice, grabbing those three.
| | 02:47 | Now when I release those vertices
and go back up to the UVW map, my brick
| | 02:51 | mapping I carefully put on
earlier still goes all the way up.
| | 02:55 | This is flexibility in design, that I
can take these elements move, clone, snap
| | 03:01 | them, and have that mapping I so
carefully put on, still be in the right place.
| | 03:06 | Here's the other side.
| | 03:07 | Notice also that because I'm using my
axis constraints I can register my mouse
| | 03:11 | wherever I need, stretching those
elements up to match the cornice.
| | 03:15 | Finally, I'll finish out the corner.
| | 03:18 | On this one, it's actually a couple of
pieces and the reason is I had to move it
| | 03:22 | and clone it and mirror it and
take a piece off so it miters properly.
| | 03:26 | It's only two, so it's not a big deal.
| | 03:28 | While I am doing this, the main idea
you should be getting from this is that
| | 03:34 | it's fairly easy to stretch a building.
| | 03:37 | That it should be a matter of moving and
stretching a few pieces, and of course
| | 03:41 | the mapping still works,
because you planned it that way.
| | 03:45 | Now I am ready to clone the middle floors.
| | 03:48 | I'll select that row of three right
here, making sure I have all of my
| | 03:52 | elements by holding Ctrl to select
any I missed, and then Alt to deselect
| | 03:56 | those middle verticals.
| | 03:58 | Now I can press spacebar for selection
lock, hold Shift, and register on a vertex.
| | 04:04 | I'll drag up and clone and I've
added more pieces to the building.
| | 04:08 | I'm going to clone these as instances, in
case I need to come back and change something.
| | 04:13 | This building suddenly got taller.
| | 04:15 | I could in the future take the whole
building and expand it to the side or mirror it
| | 04:19 | over or even stretch one of these brick
elements laterally, because that mapping
| | 04:24 | will still apply once I've stretched.
| | 04:26 | The big deal is to make yourself a kit of parts.
| | 04:29 | If you make a kit of parts you can reuse it.
| | 04:32 | If you make a one-off design, it's
very difficult to repurpose and you end
| | 04:36 | up making thousands of unique
things for your city, which takes a huge amount of time.
| | Collapse this transcript |
|
|
7. Creating a Texture Library in PhotoshopCreating a texture library| 00:00 | A large part of making game assets
is texture and while we can get photo
| | 00:05 | reference for texture, getting a
photo of a texture we can use on a game
| | 00:09 | asset is difficult.
| | 00:12 | I've included several videos to show how
to paint things from scratch in Photoshop.
| | 00:17 | That way, you can have well, like you
see here, a large brick wall where the
| | 00:21 | brick is uniform and lit by what's in
scene, not by the lighting that's baked on.
| | 00:28 | We'll also explore methods for painting
rusty steel, wood, and granite to give
| | 00:33 | you a good start for the
textures you'll need in your city.
| | Collapse this transcript |
| Creating rusty corrugated metal texture| 00:00 | In this video, as part of making our
texture library, I will demonstrate how to
| | 00:04 | make corrugated metal such as we
can see in this rusty barn here.
| | 00:08 | A surface like this is useful in a lot
of ways. As well as the barn we have, I
| | 00:13 | can also use this on warehouses in
a city, let's say down by the docks.
| | 00:17 | I can use it on an army base,
standard issue army base games, zombies
| | 00:22 | running around, etcetera.
| | 00:23 | I can use this on tropical locales.
| | 00:27 | maybe we need metal roofs on structures.
| | 00:29 | So having a corrugated metal
in library is pretty valuable.
| | 00:33 | The trick with it is to recognize
the wear and dirt and rust patterns as
| | 00:37 | different from the metal itself.
| | 00:39 | Corrugated metal when
it's clean looks like this.
| | 00:42 | This is galvanized.
| | 00:43 | We can see this flaky fractal pattern is the
galvanization intended to keep it from rusting.
| | 00:48 | I have collected reference
images of different kinds of metal in
| | 00:52 | different states of rusts.
| | 00:53 | We can see a difference in the
corrugations and also a difference in the way
| | 00:57 | it rusts in each one.
| | 00:58 | more streaky and along the
corrugations and really flaky and bumpy here.
| | 01:04 | It's always important to
start out with reference.
| | 01:06 | We can't just imagine that. We need
pictures of what does this material look
| | 01:10 | like and this is fairly common.
| | 01:12 | To begin, I am going to start out
a new document by pressing Ctrl+N.
| | 01:15 | I am going to make this texture 1024 square.
| | 01:19 | I'd rather paint big and then
reduce down later if needed.
| | 01:22 | Textures are usually in a power of 2
and square, so 1024 is one of those.
| | 01:27 | If you like, you can save a preset.
| | 01:29 | I am going to save my preset
and leave the name at 1024 Square.
| | 01:32 | I am going to leave this as RGB, White,
and 72 pixels per inch, which is a
| | 01:38 | standard for working on screen.
| | 01:40 | In this new document, the first
thing I'll do is lay down my corrugation.
| | 01:44 | I'll press M for Marquee and change my
Marquee to a Width of 16 and a Height of 1024.
| | 01:49 | I will land this marquee anywhere
really on screen and zoom in on it so I can
| | 01:55 | see it across the width clearly.
| | 01:57 | I'll change my colors here, picking a
white or near white for my foreground, and
| | 02:02 | leaving my background at
somewhere in a middle gray.
| | 02:04 | Then I'll go to my Gradient tool, pressing
G, and in the Gradient choose Reflected.
| | 02:10 | I will start in the middle of this
selection, click and hold Shift while I drag
| | 02:16 | to keep the selection running straight.
| | 02:18 | There is my gradient
across that. One corrugation.
| | 02:21 | When I zoom out, I have a
thin line with a gradient on it.
| | 02:25 | I will go to Edit > Define Pattern.
| | 02:28 | I'll call this Corrugation.
| | 02:34 | Now I can deselect and then press
Ctrl+A to select my whole document.
| | 02:38 | Then I will press Shift+F5 and under
the Fill dialog where it says Use, I will
| | 02:44 | drop-down and pick Pattern.
| | 02:45 | In my patterns, I'll
pick my Corrugation pattern.
| | 02:51 | Now I have my document
filled with even corrugations.
| | 02:54 | I've got the right rhythm going.
Now we need to add the chips.
| | 02:57 | I'll press Ctrl+D to deselect and double-
click on my background layer and rename it.
| | 03:02 | I'll call this one Corrugation.
| | 03:06 | I need a new layer but first I need to
generate some chips at the right size.
| | 03:11 | Remember that from previous lessons,
render clouds always generate at the same
| | 03:15 | size regardless of the document size.
| | 03:17 | So I want more clouds in order
to have more chips spread evenly.
| | 03:21 | I am going to make a new document by
pressing Ctrl+N and I'll make this new
| | 03:25 | document 4000 pixels square.
| | 03:29 | Now I will fill this new document using clouds
that go between a light gray and a medium gray.
| | 03:34 | I will set the foreground color to
a light gray and the same one for
| | 03:38 | the background is fine.
| | 03:39 | I will choose Filter > Render > Clouds and
now I have a lot of clouds in my document.
| | 03:47 | Now I'm ready to crystallize.
| | 03:49 | I will zoom in so we can see it, and
choose Filter > Pixelate > Crystallize.
| | 03:55 | I am going to crystallize
this first at a size of 10 or so.
| | 04:00 | Now I'll crystallize once more at a
smaller size, choosing Filter > Pixelate >
| | 04:05 | Crystallize and running a size of roughly half.
| | 04:10 | Now I'm ready to take this
document and downsize it and apply it.
| | 04:14 | I'll go to Image Size by pressing Ctrl+
Alt+I and changing the Width to 1024.
| | 04:19 | I will make sure that Constrain
Proportions is checked if it's not already, so
| | 04:25 | that the width and height change together.
| | 04:27 | There is my document with my crystallization.
| | 04:30 | I'll select all by pressing Ctrl+A,
Ctrl+C for Copy, and into my other document
| | 04:36 | with my corrugation I'll paste this by
pressing Ctrl+V. I'll take this layer,
| | 04:42 | zooming in to check the crystallization.
It looks pretty good. I've got some good
| | 04:45 | fractalization going and I'll set it
over the other layer as a Soft Light.
| | 04:51 | If this isn't show through well enough,
I can always change the blending mode.
| | 04:55 | In this case I might try a Multiply.
| | 04:58 | Now, I start to get some phasing and
chipping or crystallization on my metal as
| | 05:02 | well as a nice blotchy pattern.
| | 05:04 | I can adjust this later if needed.
| | 05:06 | Now we are ready to add the rust.
| | 05:08 | I'm going to do this on a new layer
again, pressing Ctrl+Shift+N and naming
| | 05:12 | the new layer rust.
| | 05:14 | For the rust, I'm going to paint with
a big soft brush, setting my foreground
| | 05:18 | color to a good rusty orange.
| | 05:20 | I will press B for Brush and Brush with
an Opacity of 10 or 12 and a Multiply mode.
| | 05:31 | That way, as I add the rust on, I can
put everything from a gentle skim of rust
| | 05:35 | to some hard splotches by
brushing over and over in the same place.
| | 05:39 | It's important when you're painting
textures to not paint at full strength.
| | 05:43 | We don't want to just smear a big color on.
| | 05:47 | As part of this, I may want to zoom out,
pressing Ctrl+Minus or using the Zoom tool,
| | 05:51 | and I'm trying to get my
rust fairly even across here.
| | 05:55 | I want this to be old rusty,
pretty well denigrated.
| | 05:59 | That's pretty good.
| | 06:00 | I can always adjust it later.
| | 06:03 | I'll take this rust and set its
blending mode over as a Color Burn.
| | 06:07 | That's going to intensify that rust across here.
| | 06:10 | I may want to reduce the
Opacity just a little bit.
| | 06:13 | I will pull it down to 60.
| | 06:16 | Additionally, I may need to reorder my
layers, moving around the flaking and
| | 06:20 | corrugation to put them in the right direction.
| | 06:23 | In each of these I am going to play
with the blending mode, making the
| | 06:26 | corrugation to Soft Light, and possibly
switching the flakes to Normal and then
| | 06:31 | taking the rust and trying other
alternatives and if Color Burn doesn't look
| | 06:35 | right, I'll try it as a Multiply.
| | 06:38 | When you're building textures like this,
play with it. There's not one right way.
| | 06:42 | I've got some good blotching going on,
I've got rust across it, and the final
| | 06:46 | thing I need to do is to
add-in some panel joints.
| | 06:49 | For this, I am going to
use a fixed size marquee.
| | 06:52 | I will select by Marquee tool and
on Width I will put-in 256 which
| | 06:57 | divides evenly into 1024.
| | 06:59 | I'll land my marquee first on the
left side and choose my Eraser tool by
| | 07:04 | pressing E. I will erase mostly
outside, just lightening the edges of the
| | 07:08 | panels ever so slightly.
| | 07:11 | Then I will grab a guide, drag it
across and snap it to the marquee, and
| | 07:15 | repeat the process.
| | 07:16 | In the interest of time, I am going to
do this three more times and then show
| | 07:20 | that final document.
| | 07:22 | I've added the panel
joints into my corrugated metal.
| | 07:25 | I've also adjusted using the Brightness
and Contrast, the cloud layer, so maybe
| | 07:29 | it's a little less visible or obvious.
| | 07:32 | I can come in and add any other rust
now and bulk out any textures I need or
| | 07:36 | erase any parts and redo
any parts that look wrong.
| | 07:40 | My corrugated metal is ready to apply.
| | 07:42 | I can put in additional details such as
screw joints or other pieces as needed.
| | 07:47 | But this is a good base for my texture library.
| | 07:49 | I can use this in a variety of places.
| | Collapse this transcript |
| Creating stone texture| 00:00 | In the textures for a city, aside from brick,
one of the main things you'll need is stone.
| | 00:05 | Many buildings have a stone base
and are often clad in stone as well.
| | 00:09 | In the lower right corner of this photo we
can see that this building has a granite base.
| | 00:14 | Then it has precast concrete or
another stone forming the blocks and relief.
| | 00:20 | This modern office building is clad in
marble, both on the columns as well as
| | 00:25 | part of the facade above.
| | 00:27 | Being able to paint a large chunk of
stone and use it where we need in a texture
| | 00:31 | sheet is a valuable skill.
| | 00:34 | To paint the stone I'll start with a
new document, pressing Ctrl+N in Photoshop.
| | 00:39 | I'll make this new document 2000 square.
| | 00:44 | We'll run this as an RGB
white background 8-bit image.
| | 00:48 | Stone is really a series of chips in a matrix
or different colored dots in an overall color.
| | 00:56 | To start then, we'll fill this
document with a 50% gray, pressing Shift+F5 and
| | 01:02 | under the Contents in Use we'll choose 50% Gray.
| | 01:07 | I do this a lot because some filters
need a color besides white to work on.
| | 01:11 | Now I'll choose Filter > Texture > Grain.
| | 01:17 | In the Grain filter, change
the Grain Type to Enlarged.
| | 01:21 | This gives us large soft clumpy grain.
| | 01:25 | We'll crank up the contrast so
we can see the colors as well.
| | 01:29 | I'll press OK and return back to my image.
| | 01:32 | I'll zoom in so I can see the colors.
| | 01:35 | We're using grain here because grain
generated in Photoshop is an even series
| | 01:41 | of colors spread over the image and
phases between colors we can select, such as
| | 01:47 | purple, green, and blue.
| | 01:49 | I'll press W for the Magic Wand,
making sure that Contiguous is unchecked but
| | 01:54 | Anti-alias is checked.
| | 01:56 | A low Tolerance, somewhere
between five and 10, is fine.
| | 02:00 | First I'll click on one of the purple blotches.
| | 02:04 | Notice that with Contiguous
unchecked, my selection is an evenly spread
| | 02:08 | series of blotches.
| | 02:10 | Pressing Ctrl+0 to zoom out verifies that
the entire document has little bits selected.
| | 02:16 | I'll make a new layer by pressing Ctrl+
Shift+N. I'll fill this new layer with
| | 02:22 | any kind of an off-white, choosing in
my foreground color a brightness near 90
| | 02:28 | and a slight yellow in the Saturation and Hue.
| | 02:33 | I'll use the Paint Bucket, pressing G,
and making sure that Contiguous is
| | 02:37 | unchecked, but Anti-alias is on.
| | 02:41 | Pressing Ctrl+D shows an evenly spaced
series of off-white dots. This is good so far.
| | 02:47 | I'll repeat this process three more times
to get a variety in the chips of my stone.
| | 02:55 | I've repeated the process of selecting
on the background layer with the Magic Wand,
| | 02:59 | selecting different colors each
time, and then filling that selection on a
| | 03:04 | new layer with another color.
| | 03:06 | I've used black, white, gray, and a pale gold.
| | 03:10 | Now I'll turn off the background color
and make a new layer above the background.
| | 03:16 | This new layer will be the
matrix that the stone chips are in.
| | 03:20 | For my foreground color I'll
pick the main color of my stone.
| | 03:24 | In this case I'm going to
make a warm gray granite.
| | 03:29 | I'll pull my Saturation down, make
sure the Brightness is somewhere around 60,
| | 03:34 | and shift the Hue over into the mid-20s.
| | 03:36 | Now I use the paint
bucket to fill this new layer.
| | 03:43 | Zooming out by pressing Ctrl+0
shows me an even field of granite.
| | 03:47 | This texture is ready for use.
| | 03:49 | We can flatten the layers, copy and
paste it, and fill in parts of an unwrap,
| | 03:54 | such as stone blocks on a building,
headers or sills above and below windows,
| | 03:59 | and even use this to look
like terrazzo cast in a floor.
| | 04:05 | Remember, that most of the things we need
in a city are things that generally repeat.
| | 04:10 | It's not a singularity; it's always a pattern.
| | 04:13 | If we look in our filters and think of
making patterns, we can generate most
| | 04:18 | textures that we need.
| | 04:20 | I've used this approach to make granite.
| | 04:22 | With some slight variation in the
selection size and number of colors, I'll use
| | 04:26 | this to make sandstone, marble,
limestone, and even travertine.
| | 04:32 | Often, I'll play with several layers
of grain to further enhance the stone,
| | 04:36 | giving a directionality or
strata that's found in natural rock.
| | Collapse this transcript |
| Creating wood texture| 00:00 | Another valuable element in
a texture library is wood.
| | 00:04 | We use wood as a building material
around the world in different places
| | 00:08 | and different ways.
| | 00:09 | Sometimes it's used as siding.
| | 00:10 | We can see here on an old barn or outbuilding.
| | 00:13 | Sometimes it's used as a
structural frame, sometimes it's both, and
| | 00:17 | sometimes it's even a floor.
| | 00:18 | We need to make wood in various ages,
various sizes, and various weather
| | 00:23 | conditions so we get different looks to it.
| | 00:26 | What I will show in this example is how
to make a large swatch of raw wood that
| | 00:31 | later we can adjust color and cut planks.
| | 00:34 | To begin, I'm going to
start out with a new document.
| | 00:37 | I will press Ctrl+N for New
Document and make this 500x500.
| | 00:45 | I'll fill this new document with a
50% gray, pressing Shift+F5, and under
| | 00:50 | Use choosing 50% Gray.
| | 00:53 | Then I will put some vertical grain
on, choosing Filter > Texture > Grain.
| | 00:59 | We want to think of it as not wood, but
a roughly parallel series of lines with
| | 01:04 | occasional variation in color and weave.
| | 01:07 | I will make my Grain Type Vertical and
take the Intensity and Contrast down.
| | 01:12 | These don't need to be too fierce.
| | 01:13 | We don't want black and white in the wood.
| | 01:15 | We want gray and slightly
different gray to start. I will press OK.
| | 01:20 | Now I'll take this and choose
Filter > Blur > Motion Blur.
| | 01:24 | I will set the Angle to 90 to
match the grain and the Distance to 20.
| | 01:29 | That way it smoothes out most of
the dots, leaving the even grain.
| | 01:33 | I have a little bit of
weave in here. That's just fine.
| | 01:36 | Now I need to stretch this document.
| | 01:38 | I will press Ctrl+Alt+I for Image
Size and blow this up to 2000 square.
| | 01:46 | What this does is it spreads out the
grain, forcing Photoshop to soften and
| | 01:50 | interpolate the colors slightly,
giving me a more natural appearance.
| | 01:54 | We will add the color last.
| | 01:56 | It's really about the pattern first and
this is not going to be a tilable texture.
| | 02:00 | This will be a large chunk of wood,
actually something bigger than we could get
| | 02:03 | from any tree possible, maybe a 4x4 or
6x6 board that later we could cut planks
| | 02:09 | out of and arrange in the
same way we do bricks or stone.
| | 02:12 | Now I am going to add some weave into
the grain. But before I do that, I need a
| | 02:16 | little bit of color variation.
| | 02:18 | I will press B for Brush, and using a
fairly large brush, maybe a few hundred
| | 02:23 | wide, and setting it as a Multiply with a
very low Opacity, I will brush vertical lines.
| | 02:29 | It's helpful to do this zoomed out
just a little bit, pressing Ctrl+Minus.
| | 02:33 | That way I can start my
brush outside of my document.
| | 02:37 | Hold Shift and click and drag
straight down to match the grain.
| | 02:41 | I'll add in variation, a little lighter,
a little darker in different places.
| | 02:47 | Occasionally, I'll use the square
brackets to up- and downsize the brush giving
| | 02:52 | me larger and smaller areas of darkness.
| | 02:57 | As a side note, I do this regularly.
| | 03:00 | I probably have 30, 40, 50 wood
samples like this of different species, just
| | 03:05 | large planks ready to go in my library.
| | 03:07 | Then if somebody says we need cherry
for all the furniture, I can go to my
| | 03:12 | cherry samples and cut out the
parts I need to paste onto and unwrap.
| | 03:15 | I will also work in white sometimes for
this, taking the color up to white and
| | 03:21 | setting the brush
blending mode here to Soft Light.
| | 03:25 | As I brush over, I will add light
streaks, maybe even smaller across this,
| | 03:30 | again holding Shift while doing this,
making sure I click and drag, hold Shift,
| | 03:35 | and then release both at the top,
so I don't get a diagonal line.
| | 03:38 | Now I've got variation across this.
| | 03:40 | We will go to Filter and Liquefy.
| | 03:45 | In this, I will add the variation in the wood.
| | 03:47 | I will zoom out so I can see the full document.
| | 03:50 | The first step is to change the grain width.
| | 03:52 | I will use the Bloat tool and I will make
the Brush Size fairly big, maybe 300 or so,
| | 03:57 | but a very, very low Density and Rate.
| | 04:00 | If you are using a tablet, set
your pressure very low as well.
| | 04:04 | For this first one, I'm going to try
to keep my hand as steady as possible,
| | 04:08 | running my Bloat tool down the
wood to spread out the grain.
| | 04:12 | A little weave is okay, but we
want to stay away from large zigzags.
| | 04:16 | I'll come back up and catch the
top and go right off the document.
| | 04:20 | I'll repeat this several more times,
maybe changing the Brush Size just a little bit,
| | 04:24 | looking to add that characteristic
variation across wood grain that's there
| | 04:28 | from different years of
drought or fire or otherwise.
| | 04:31 | I don't want to start from the top
like that because it's very easy to
| | 04:34 | introduce a dip in the wood.
| | 04:35 | I will make sure I start in the middle,
brush down, and come back and catch that top edge.
| | 04:42 | It's okay to leave these in once in a while
because we do see places like that in wood.
| | 04:47 | Maybe one or two more will do.
| | 04:52 | Now I need to add the wave in the grain.
| | 04:55 | Trees are always curved.
| | 04:56 | So I am going to use the Forward Warp
tool with a huge brush, maybe 1000 square,
| | 05:02 | and a very, very low Density and Pressure.
| | 05:06 | The idea on this is I'm going to just
brush it over and add some weave and variation.
| | 05:12 | Again, I want to stay away from large
zigzags but some gentle curves would help.
| | 05:16 | That way in case I see my grain,
it's not perfect on something.
| | 05:21 | I tend to do it diagonally, either top
-left to bottom-right or top-right to
| | 05:25 | bottom-left, whatever works.
| | 05:27 | We are working our way in from
the large scale down to the small.
| | 05:32 | Now I need to add in places for knots.
| | 05:34 | Depending on the species you are making, you
may see more or fewer knots or none at all.
| | 05:38 | I'm going to work in somewhat of a
generic pine or fur like we saw on
| | 05:43 | those reference photos.
| | 05:45 | I'll use the Blot tool, taking the
Brush Size way down, maybe 100 or so and
| | 05:50 | again a low Density and Pressure.
| | 05:52 | I'll zoom-in and find a place with
a bit of weave and in my Blot tool,
| | 05:59 | just gently open up the grain, maybe a
little bigger in this case. 150 will work well.
| | 06:06 | I'll open up a place for a knot.
| | 06:09 | Zoom out and go catch another area.
| | 06:13 | You can add in more or less weave if you'd like.
| | 06:17 | You can do straighter wood if it's
quarters-on or if it's flats-on, you may have
| | 06:21 | a great amount of weave.
| | 06:23 | It also depends on the species.
| | 06:25 | As an example, I've had to make
curly maple and tiger's eye maple where
| | 06:29 | basically the whole thing was weave and knots.
| | 06:32 | That took me a bit but the result was worth it.
| | 06:35 | Once I have got my knots in,
I can use the Twirl tool.
| | 06:38 | Zooming in on each knot and sizing down
this Twirl tool to maybe 60 or 70 and in
| | 06:44 | the middle of the knot, I will twirl.
What we don't want a huge bunch of rings,
| | 06:49 | but really a somewhat ring like structure
that looks kind of like a knot. That will do.
| | 06:55 | I will zoom in and do another one.
| | 06:59 | It's really okay if some
are dark and some are light.
| | 07:01 | That's fine and if some aren't
really formed at all. Knots show up in a
| | 07:05 | different places in the wood.
| | 07:11 | I'll finish these out and
show the end result here.
| | 07:15 | Using the Twirl tool, maybe upsizing and
downsizing the brush a little bit, I've
| | 07:19 | added knots to most of the
places I've used the Bloat tool on.
| | 07:22 | Some of them I left alone,
like this one here at the top.
| | 07:25 | My wood is now ready for color.
| | 07:27 | I'll hit OK and accept the Liquefy.
| | 07:32 | This wood is ready as a grain pattern.
| | 07:35 | Now I need to add color.
| | 07:36 | I will make my Background layer by
double-clicking on it and naming it.
| | 07:40 | I will call it grain.
| | 07:41 | I will slip a new layer under it,
pressing Ctrl+Shift+N for new layer, calling
| | 07:46 | this one color, and then Ctrl+
Shift+Left Bracket to move it down.
| | 07:50 | On this new layer, first I
will pick the wood color I want.
| | 07:53 | I am going to make this kind
of a nice warm yellow to start.
| | 07:59 | I'll fill in my under layer, my color, and
change the blending mode of Grain to Color Burn.
| | 08:06 | It's neat, but it's a little on the bright side.
| | 08:08 | I will zoom in and using Hue/Saturation
on the color layer desaturate and get
| | 08:14 | the color where I want it.
| | 08:16 | I press Ctrl+U to get here.
| | 08:18 | I'll pull the Saturation out, maybe up
the Lightness a little bit, and shift the
| | 08:23 | Hue ever so slightly.
| | 08:25 | I would like mine a little warmer.
| | 08:28 | The last step is to add a
little more color variation.
| | 08:30 | I will turn off the grain
and eyedropper my under color.
| | 08:35 | Then on the foreground color, I will
change the Brightness of the Saturation
| | 08:38 | slightly, maybe 4 or 5 points.
Using a Paint Brush that's fairly large maybe
| | 08:46 | several hundred across, but painting in
a normal at 80% Opacity, I will add some
| | 08:53 | streaks along the wood.
| | 08:54 | A little goes a long way.
| | 08:56 | We can see just a little bit
gets me a bunch of extra darkness.
| | 09:00 | I may want to rethink
this and lower the Opacity.
| | 09:14 | I'll repeat this process with a lighter color,
maybe 5 or 6 points lighter than the original.
| | 09:23 | It's okay to let your
hand weave a little bit here.
| | 09:25 | It doesn't have to be perfect.
| | 09:27 | You can always come back and
paint it where you'd like it.
| | 09:30 | My wood texture is ready.
| | 09:32 | Right now, this is 2000 square.
| | 09:34 | It's ready for cutting and pasting
into a texture sheet and recoloring
| | 09:38 | or reusing as I need.
| | 09:40 | It's very easy to do this and now I
have a clean raw diffused sample of wood,
| | 09:45 | meaning there is no lighting or
perspective baked in and I can cut as many
| | 09:48 | planks out of it as I need.
| | Collapse this transcript |
| Creating rough brick texture| 00:00 | As part of our texture library, we need brick.
| | 00:03 | We use brick all over the world, in every city.
| | 00:06 | And what we see a lot of times is
actually the side and back brick, which is what
| | 00:10 | we've got here in this reference photo,
in a common bond or something similar
| | 00:14 | where it's not the prettiest
brick, but it was cheap to put up.
| | 00:17 | We also will see a lot of it.
| | 00:19 | It's very possible to see in any view
hundreds of square feet of brick on a
| | 00:24 | wall in varying degrees of
dirt and color variation and such.
| | 00:28 | So when I make my map, I need to make a
large chunk of this that tiles nicely.
| | 00:33 | I also need to add in this roughness.
| | 00:35 | It's well placed but the bricks
themselves are maybe not as nice-looking as face
| | 00:39 | brick we see on the front of a building.
| | 00:42 | I'll start out my new document at 320x120.
| | 00:45 | A brick is 8 inch wide x 3 inches
tall, made to fit in the human hand.
| | 00:51 | This first document will help me
define my pattern to make this wall.
| | 00:56 | What I'm doing here is I'm assigning
myself a working ratio of 20 pixels to
| | 01:01 | the inch, so a brick at 160 pixels will
include a mortar joint on the side and bottom.
| | 01:07 | This will give me my half
overlap or my running bond.
| | 01:12 | To begin, I'll start with a fixed
size marquee and I'll make the Width on
| | 01:16 | this marquee 150x50.
| | 01:17 | That gives me a nice wide half-inch mortar
joint on the bottom and side of the brick.
| | 01:24 | Common brick tends to be a little
rougher and the mortar is a little bigger.
| | 01:28 | I'll make a new layer by hitting Ctrl+Shift
+N and landing this marquee on that layer.
| | 01:34 | Then I'll fill this with really any color.
| | 01:37 | I'll deselect, hold Alt, and the Move
tool and I'll clone this layer, snapping
| | 01:44 | onto the previous and either using
the offset or nudge to move it over.
| | 01:48 | I'll nudge over with the right arrow.
| | 01:53 | Now in the Layers palette, I'll clone
this layer by dragging while holding Alt.
| | 01:57 | Then I'll use the Offset filter found under
Filter > Other > Offset to move this brick over.
| | 02:04 | I'll move this clone over by 80 and down by 60.
| | 02:09 | There's the half brick!
| | 02:10 | Now I'll take the first brick, clone it,
and press Ctrl+F to repeat the offset.
| | 02:15 | I need one more half brick on that side.
| | 02:18 | I'll just hold Alt and clone this layer
over, snap it on the existing one, and
| | 02:23 | nudge it into place.
| | 02:27 | There's my nice white
mortar joints around my brick.
| | 02:30 | Now I'm ready to make a pattern and add variety.
| | 02:33 | I'll take this layer and merge it down.
| | 02:38 | Press Ctrl+A to select all and
choose Edit > Define Pattern.
| | 02:43 | I'll make a new document, 1920x1920.
| | 02:46 | That measurement comes from
a multiple of 320 and 120.
| | 02:50 | They both divide evenly
into it and it's a square.
| | 02:54 | Now I'll choose Edit > Fill, and
under Contents, Use, a Pattern.
| | 03:00 | In my patterns, I'll choose my brick.
| | 03:03 | There is an even pattern of brick in the wall.
| | 03:06 | What I want to do now is use my
Paint Bucket and varying colors to make
| | 03:10 | selections of the brick,
so I can add variety to it.
| | 03:13 | Before I do that, I need
to add in a header course.
| | 03:17 | The headers will tie the wall together.
| | 03:20 | The easy way to do this is
actually to make the mortar joint.
| | 03:24 | I'll zoom in, set my marquee to a
Height of 50 and a Width of 10.
| | 03:32 | I'll center it on a brick or roughly so
and press Delete, filling in with white.
| | 03:40 | Alternately, I could make one
white mortar joint and clone it over.
| | 03:44 | I'll repeat this process, taking bricks
and dividing them in half with the mortar joint.
| | 03:49 | In the interest of time, I'll do this
and jump forward showing the end result.
| | 03:54 | I've added in middle mortar joints
across the bricks, roughly every sixth course
| | 03:59 | or horizontal layer of brick.
| | 04:01 | Down at the bottom, I have an
extra course, and it's really okay.
| | 04:04 | It's fine for the texture to be a little uneven.
| | 04:07 | That way we get variety on the wall.
| | 04:08 | What we want to see is the
general field of brick and pattern.
| | 04:13 | Now I'm going to take these sections of
half brick or headers and I'm going to
| | 04:18 | move them slightly using the Offset tool.
| | 04:20 | I'll put my marquee back to
normal and select across them.
| | 04:28 | I'll choose Filter > Other > Offset
and offset this by some random number.
| | 04:34 | How about 27 pixels to the right,
making sure that my Offset wraps around?
| | 04:41 | Now I'll choose the next one
and offset by a different number.
| | 04:45 | I'll repeat this process all way down
the wall making sure that the Offset
| | 04:49 | varies a little bit each time wrapping
the brick around to get a less uniform look.
| | 04:54 | I've offset the rows of header bricks
ever so slightly so that they're broken up;
| | 04:59 | their joints don't align.
| | 05:01 | Now I'll go through as I've done in the
previous chapter and color random bricks
| | 05:05 | with varying colors.
| | 05:07 | So I can use them to drive a selection,
filling bricks with slightly different
| | 05:11 | color to give me the variance in wall I need.
| | 05:13 | In interest of time, I'll
do this and show the result.
| | 05:17 | I've gone through and colored this brick
with different colors, looking to break
| | 05:22 | up any large contiguous areas.
| | 05:24 | Now what I'll do is select those colors
and refine the selection a little bit,
| | 05:30 | and then fill it with a brick color.
| | 05:32 | I'll use my Magic Wand with
Contiguous and Anti-alias off.
| | 05:36 | First, I'll magic wand my yellow bricks.
| | 05:39 | And under Refine Edge, I'll add in a
Radius and some shifting edge and feathering.
| | 05:44 | This will give me a
variation in the brick. I'll hit OK.
| | 05:50 | My brick is rounded.
| | 05:51 | we can see when I zoom in.
| | 05:52 | This is going to give me when I
fill it a slightly different feel to
| | 05:56 | these particular bricks.
| | 05:58 | I'll also add in more color variation.
| | 06:00 | So we look at a wall, especially one
that's like this, it's old and it's grungy.
| | 06:05 | We've got orange, deep red, nearly
black. I'll make sure to add that in.
| | 06:11 | I'll set my Foreground Color to a deep red.
| | 06:19 | I'll set my Background Color to a
variant of it but going fairly dark.
| | 06:24 | Now with the selection, I'll make a new
layer and choose Filter > Render > Clouds.
| | 06:31 | I'll deselect and repeat this
process all the way through.
| | 06:34 | Along the way as part of it, I may
also nudge the selection a pixel or two
| | 06:39 | in each direction so that the rows
are slightly offset from each other
| | 06:42 | vertically as well.
| | 06:45 | I've gone through my brick wall,
selecting each color on the background layer,
| | 06:49 | and refining the edge, and then
filling that selection with clouds, phasing
| | 06:54 | between various brick colors from
actually fairly dark to fairly light.
| | 06:57 | So I have some good variation on the wall.
| | 06:59 | I've also used my arrow keys
to nudge the bricks up and down.
| | 07:03 | That way I get a little bit of odd spacing.
| | 07:05 | They weren't put in as nicely.
| | 07:07 | They still work just fine,
but they slip a little bit.
| | 07:10 | Lastly, I'll put in a mortar layer
underneath all my other layers, filling this
| | 07:15 | mortar in probably just a
decent concrete gray, fairly warm.
| | 07:20 | My Hue will swing actually into the
red oranges and a very low Saturation.
| | 07:24 | When I fill that in, I've got my wall.
| | 07:30 | I'm ready to take this and add dirt
overlays or darken it and resize as needed.
| | 07:35 | This will tile really nicely and I can
repeat it across square feet of wall as
| | 07:40 | I need, several hundred as the case may
be on the side or back of the building.
| | Collapse this transcript |
| Creating roads| 00:00 | One of the most important textures we
need in our city are the roads we drive on.
| | 00:05 | We need these in miles and
miles of tiles and tiles.
| | 00:09 | It's very easy to end up with city
blocks worth of roads very quickly.
| | 00:13 | The road then that we drive on is
really a mixture of painted pieces and
| | 00:18 | procedural textures.
| | 00:20 | In this case, looking at the reference
photo, we can see that the asphalt is a
| | 00:23 | grain structure, dark and light with
things overlaid like road lines, gutters,
| | 00:29 | oil stains, and so forth.
| | 00:31 | To begin then I'm going to start with a
large clean section of asphalt and then
| | 00:35 | add in my wear and tear, my stains and my lines.
| | 00:38 | I will begin with a new document.
| | 00:42 | In this case I will set the
document large, 2000 on a side.
| | 00:45 | I will run this document at
the standard resolution of 72.
| | 00:50 | RGB and White is fine.
| | 00:51 | I am making it big, 2000 square, so
when I downsize to 1024 square I
| | 00:57 | force Photoshop to blur.
| | 00:59 | By not making it an even multiple,
| | 01:01 | it's not a half resolution or twice the
size, I force Photoshop to interpolate,
| | 01:07 | getting me a better look overall.
| | 01:10 | I'll fill this first with the 50%
gray, choosing Edit > Fill or Shift+F5
| | 01:15 | and under Use 50% Gray.
| | 01:17 | Then I will make a new layer and
fill this as well with 50% Gray.
| | 01:25 | I use 50% Gray in textures a lot
because it gives me a base for filters such
| | 01:30 | as grain or noise. Rather than having them
act on white and maybe missing components,
| | 01:35 | gray lets me have range up
and down or lighter and darker.
| | 01:38 | I will choose Filter > Noise > Add Noise.
| | 01:43 | In the Noise, I will try a Gaussian
Noise at 11, 10, 12%, whatever works.
| | 01:48 | Monochromatic is good here
as well, keeping it all gray.
| | 01:53 | Finally, I will set the blending
mode of this layer to Multiply.
| | 01:57 | We have a clean section of asphalt.
| | 01:59 | However, if we zoom in,
we can see it's pixilated.
| | 02:03 | This might dance a little bit
or crawl as part of the texture.
| | 02:08 | Now we want to reduce
this before adding the lines.
| | 02:11 | I want to choose where I want my
lines blurred and not have Photoshop make
| | 02:14 | them fuzzy on the edge.
| | 02:15 | I will press Ctrl+Alt+I and
downsize this to 1024 square.
| | 02:21 | For this road, I'm going to do three
lanes in each direction plus a center
| | 02:25 | safety lane, giving me a
total of seven lane widths.
| | 02:29 | Seven doesn't go evenly in the 1024.
| | 02:31 | We come out with roughly 146 and change.
| | 02:34 | I will put the extra pixel out on the
outside in case I need a little extra on the road.
| | 02:40 | To start that, I'll choose my Marquee by
pressing M and under Style, do a fixed size.
| | 02:46 | I will make the width here
146 and the Height as well 146.
| | 02:50 | Although really it doesn't matter.
| | 02:52 | I just need the Width.
| | 02:53 | I will land the Marquee
and press Ctrl+R for Rulers.
| | 02:57 | I will drag a ruler from the left
side over and snap it to the Marquee.
| | 03:01 | I am going to repeat this process
across, landing guides which will serve as
| | 03:05 | alignment for my road lines.
| | 03:10 | I have seven lane widths across, maybe a
little more in the right side but that's fine.
| | 03:14 | Roads can be a little bit uneven.
| | 03:16 | I will use these guides as placement
for my road lines and guidelines to
| | 03:21 | paint my oil stains.
| | 03:22 | I will paint those in first.
| | 03:24 | I will make a new layer.
| | 03:25 | Press Ctrl+D to deselect and zoom out.
| | 03:29 | When painting, I find especially for
straight lines, it's easier to start
| | 03:32 | outside of the document, hold Shift, and
drag down so that the line is straight.
| | 03:36 | I will set the blending mode to
Multiply and paint in a fairly dark gray to
| | 03:41 | start with a big soft brush.
| | 03:43 | Notice my Hardness is at 0, my Size is 300.
| | 03:46 | I will start outside of one lane,
hold Shift, and click and drag down.
| | 03:51 | I will repeat this
process through all the lanes.
| | 03:55 | Initially, it doesn't look like much.
| | 03:57 | Then I will downsize the
brush and lay another line down.
| | 04:05 | As we can start to see in this one
lane I am building up, we get the wear
| | 04:09 | down in the middle of the road,
along with any oil and drips and exhausts
| | 04:12 | that have spilled on it.
| | 04:13 | I will downsize the brush one more time,
maybe two or three, and lay a centerline down.
| | 04:21 | I have even wear on my road
starting from top to bottom.
| | 04:24 | I will go through and repeat this
for all six of my lanes, leaving the
| | 04:28 | center safety lane alone.
| | 04:29 | I have cloned my oil stains and touched
up the painting a bit, finishing all six
| | 04:34 | outside lanes, but not the center safety lane.
| | 04:37 | This gets less wear than the main traffic lanes.
| | 04:39 | If I zoom in, we can see that the
staining is gently in the center with
| | 04:44 | some bleed to the sides.
| | 04:45 | Now I need to paint my paint my lane lines.
| | 04:48 | The trick when painting a tilable map
with lane lines is to choose a multiple
| | 04:52 | or an easily divisible part
of the overall texture size.
| | 04:56 | As my texture is 1024 square, I'm
going to make my lane lines 128 long and
| | 05:01 | see how that looks.
| | 05:02 | I will make a new layer and zoom in
so I can test the size of my marquee.
| | 05:06 | I will press M for
Marquee and choose a fixed size.
| | 05:10 | For the Width, I'll try 5 pixels. That way I
can center it evenly on one of my guidelines.
| | 05:16 | For the Height, I will put in 128.
| | 05:20 | When I lay down a line, check and
zoom out, I'll gauge the proportion.
| | 05:25 | If I repeat this every so often, do I
have too much lane line or not enough?
| | 05:29 | My guess at the moment is
it could be a little shorter.
| | 05:32 | I am going to make the Height of this 100.
| | 05:35 | I'll have to remember that when I repeat this.
| | 05:37 | I will zoom in on one of my guidelines.
| | 05:40 | Really it doesn't matter which one.
| | 05:42 | Lay down my Marquee and fill it
with white or yellow, depending of your
| | 05:46 | choice of lane line.
| | 05:47 | I will deselect, press V for Move and move
this line over, centering it on that guideline.
| | 05:55 | Mine is snapped to the top of the image.
| | 05:57 | Zooming out, we can see
the start of a lane line.
| | 06:00 | Now I will clone this layer and use
my Offset tool to move it down exactly,
| | 06:04 | choosing Filter > Other > Offset.
| | 06:07 | For the repeat on this, so it tiles
seamlessly, I will move it down 256 pixels
| | 06:13 | even though the line is 100 long.
| | 06:15 | That repeat will go evenly down
the drawing for ever and ever.
| | 06:18 | I will repeat this process twice
more finishing out the lane lines.
| | 06:25 | When I press Ctrl+Semicolon,
| | 06:27 | to turn off the guidelines, we
can see my lane lines on the road.
| | 06:31 | I'll go to the top lane line layer,
| | 06:33 | press Ctrl+E to merge down, and now
all of my lane lines are on one layer.
| | 06:39 | I'll take this and clone it across to
fill in my other lane lines and then
| | 06:43 | show the end result.
| | 06:44 | I have cloned my lane lines across.
| | 06:48 | You may wish to take the ones on one
side and move them down to the bottom of
| | 06:51 | the drawing, so that the dashes don't
line up from side to side on the road.
| | 06:55 | This is an artistic choice.
| | 06:56 | The last thing to do is use this same method
to paint in the yellow lines in the middle.
| | 07:01 | I'll start this out so we can
see how it looks. Pressing Ctrl+Semicolon
| | 07:05 | turns on my guides again.
| | 07:07 | I'll zoom in so I can see for placement
and I will start out with a fixed size
| | 07:11 | marquee, a Width of 5 and a Height of 1024.
| | 07:13 | I will land this marquee on my drawing,
centered on that line, and I'll fill this
| | 07:19 | marquee in, well, road line yellow.
| | 07:21 | I want to make this on a new layer as this
center is a different construction than the dashed lines.
| | 07:33 | Now I need to move my marquee over.
| | 07:35 | I can do this by pressing M and
then using the arrows to nudge.
| | 07:39 | I'll fill this next marquee with black
or nearly black, and finally I'll use a
| | 07:47 | fixed size marquee in the same way from
the lane lines to make the dash inside
| | 07:51 | of the center safety lane.
| | 07:52 | I will use a Height of 100 in my marquee again.
| | 07:57 | Landing the marquee next to
the black and filling in yellow.
| | 08:03 | I'll repeat the technique of cloning
and offsetting this line and show how it
| | 08:07 | looks when I am done.
| | 08:09 | There is one side of my center safety lane.
| | 08:12 | Now I just need to clone
this layer and flip it over.
| | 08:15 | I will clone this layer, holding Alt
and dragging, and then choose Edit >
| | 08:20 | Transform > Flip Horizontal.
| | 08:23 | Now I will take the clone of
the center safety lane lines,
| | 08:26 | turn on my guides again so I
can see, and snap this into place.
| | 08:29 | We probably need to zoom in, press V
and use the arrows to nudge a little bit.
| | 08:36 | You may wish to flip these back and
forth so that the lines alternate, or you
| | 08:39 | can keep them aligned together.
| | 08:42 | If you would like to flip them,
choose Edit > Transform > Flip Vertical.
| | 08:47 | Now I have got an offset
pattern. My road is ready.
| | 08:51 | I have got oil stains, lane lines, center
safety lane, and the feel of the asphalt.
| | 08:57 | If you would like, you can add in other
texture or other repeating objects such
| | 09:01 | as manhole covers.
| | 09:02 | As one final variation, we could put in a
gray along the side if your road needs a gutter.
| | 09:08 | Judging from my reference pictures,
the asphalt goes straight to curb so I am
| | 09:11 | going to leave mine alone.
| | 09:12 | This is ready to save out and map as
a tilable texture onto those miles of road.
| | Collapse this transcript |
|
|
8. Planning and Constructing Texture SheetsUsing the Walkthrough Assistant to assess texture needs| 00:00 | When you're making a game, there is an
enormous amount that depends on texture.
| | 00:04 | In every game we're limited in the
amount of geometry or polygons we can have,
| | 00:08 | and this is further constrained
depending on where our platform is.
| | 00:12 | If we are going out to a console, we may
have even more limited resources than a PC.
| | 00:17 | A small form such as a
phone is even more constrained.
| | 00:20 | We try to do a lot with texture and
part of dealing with that is in 3ds Max
| | 00:26 | before we get to a game engine,
testing things out and finding out if you're
| | 00:29 | truly painting the textures at the
right size and if your mesh works for
| | 00:33 | your game mechanic.
| | 00:35 | A great tool for this is to
use the Walkthrough Assistant.
| | 00:38 | The idea then is we can simulate gameplay.
| | 00:42 | We have look around plus the standard
game keys of W, A, S, and D for forward
| | 00:46 | backward and side to side, giving us
all the controls and constraints of a
| | 00:51 | first-person shooter.
| | 00:52 | We can test out not only the
resolution of our textures, but also if our
| | 00:57 | geometry works for the game mechanic.
| | 00:59 | In this example, I've put
together a warehouse quickly.
| | 01:02 | It's a brick structure, two stories,
with garage doors and windows on three
| | 01:07 | sides and a large blank wall.
| | 01:09 | In this case we are looking at the
front and one side and around the back we
| | 01:13 | have three rollup doors.
| | 01:14 | On the fourth side then it's
effectively blank, probably a parking lot
| | 01:18 | or something similar.
| | 01:21 | We want to test and see if we duck
into a doorway that our texture will be
| | 01:26 | the right resolution.
| | 01:27 | And also did we plan enough space and the
geometry in, so it feels like we're ducking in.
| | 01:32 | If we are playing in a game looking
over this city, that game mechanic is far
| | 01:36 | different than, let's say, ducking down
an alley looking in trash cans or
| | 01:40 | ducking into a doorway so
somebody doesn't see you.
| | 01:43 | What I'll do for the Walkthrough
Assistant is choose Animation > Walkthrough
| | 01:47 | Assistant and it pulls up the Main
Controls Walkthrough Assistant dialog.
| | 01:52 | It creates a camera, either Free or Targeted.
| | 01:54 | We can actually animate this on a path if we'd
like, either picking a path or generating one.
| | 01:59 | For now I just want to be able to use
the camera and test it in the view and see
| | 02:02 | if my geometry works and
how close I'll be to things.
| | 02:06 | I'll hit Create New Camera and
it gives me Walkthrough_Cam001.
| | 02:11 | I'll take this camera and
move it down in on my scene.
| | 02:14 | For this example, I'm going to test if
these large doorways are big enough I can
| | 02:18 | duck in and really not see
down the surface of the wall.
| | 02:21 | I'll make sure my snap is off, pull
the camera down and also look at the Lens
| | 02:26 | Parameters in the camera.
| | 02:28 | We can decide on the lens for a game,
and it really affects the storytelling of it.
| | 02:32 | Do we see a narrow view or a wide one?
| | 02:34 | I am going to set mine to 28,
which is not far off the human eye.
| | 02:37 | That way I get a nice wide field of view
and what looks like great depth in the scene.
| | 02:42 | I'll put my camera fairly close to
start and aim it over where I want to be.
| | 02:48 | Let's say I am walking up to the
door and need to duck into this doorway.
| | 02:53 | I'll hit C to go into the camera,
so I can see from that perspective.
| | 02:57 | Now I am ready to test.
| | 02:59 | In the viewport controls on the lower
right in the screen under the track is the
| | 03:03 | Walkthrough Assistant button.
| | 03:05 | Once you're in this mode, the cursor
changes to a circle with a dot in the center.
| | 03:09 | This simulates as you click and drag with
the left mouse, the look-around of the player.
| | 03:14 | The W, A, S and D keys simulate
moving forward, backward, and side to side.
| | 03:19 | Here using W and A, I am going into
the doorway, aligning with it and seeing
| | 03:24 | if I can duck behind.
| | 03:25 | It looks like I could duck into this
doorway, out of sight from passersby.
| | 03:29 | I'll use the D key to come to the side.
| | 03:33 | The other thing I can tell by doing
this is that if I can duck in the doorway
| | 03:37 | here, I'm right next to this rollup door.
| | 03:39 | And if I'm right next to this rollup
door and seeing this frame straight on,
| | 03:43 | that texture needs to be pretty good.
| | 03:46 | I also possibly can be in a position
like this, seeing this brick wall fairly close,
| | 03:50 | maybe even turned over a
little bit and to the side more.
| | 03:54 | So whatever I've got going on down here
should look pretty decent as well as these windows.
| | 04:00 | Coming farther back using S to scroll
backwards here, I can see that I get
| | 04:05 | pretty far away from the building to
see the upper stories and brick up above
| | 04:08 | that first window, so that texture if
it's different, may need to be a little
| | 04:12 | lower res, where I can
get away with less texture.
| | 04:15 | In this case this tells me as well that
if I'm standing close to the building,
| | 04:20 | I'm going to see a good expanse of
this brick and this is a good place for a
| | 04:23 | tileable texture, which
we'll get into the next lessons.
| | 04:26 | The important thing is to test.
| | 04:28 | We always want to go in and test as much
as we can and plan what we're going to do.
| | 04:33 | Rather than slapping something in and
just revising, I'd rather know going in
| | 04:38 | that well, I need a good rusty texture
on this door and I am going to see that
| | 04:41 | doorframe really close.
| | 04:43 | That way I can do it right
the first time and move on.
| | Collapse this transcript |
| Drawing detail at the right size| 00:00 | Once we've used the walkthrough
assistant to figure out really what do we need
| | 00:04 | to see up close, given our game mechanic
and any other constraints on the view,
| | 00:09 | we need to draw our textures correctly.
| | 00:11 | This is an example of reference that
really fits kind of that warehouse shown in
| | 00:15 | the previous lesson where we have got a
one or two story building, in this case
| | 00:19 | one story, corrugated
metal doors, and deep doorways.
| | 00:23 | And remember in the planning of
buildings that deep doorways like this are great
| | 00:27 | for games, they are good for a cover
mechanic where we can duck in, and also deep
| | 00:31 | window openings fill the same function.
| | 00:33 | So for this, I can tell and based on my
experience of the Walkthrough Assistant
| | 00:37 | that this brick needs to be done pretty well.
| | 00:41 | In drawing a texture, sometimes we'll
draw at a different size than our final
| | 00:45 | texture and we want to plan to be
able to reduce these without just mushing
| | 00:49 | the colors completely.
| | 00:50 | Here is an example.
| | 00:53 | This brick is drawn at 1920x1920.
| | 00:54 | We can see here in the Image Size.
| | 00:59 | This doesn't reduce evenly down to 1024
square, but we want our game textures to
| | 01:04 | be a multiple or a power of 2.
| | 01:06 | If I take this image and reduce it
down to 1024 here using the Bicubic
| | 01:11 | Interpolation, I may get some fuzz on
the bricks. Not bad, this is bearable, but
| | 01:17 | there are places where I may get extra bleed.
| | 01:20 | If the brick is already irregular like
in this brick, where the brick itself is
| | 01:25 | varied, a little fuzz is kind of nice
because it makes it look sort of natural
| | 01:29 | and like they're slightly
irregular like we'd expect them to be.
| | 01:32 | If I want precise bricks though,
reducing that down may get me some odd edges.
| | 01:38 | A better way to do this is to
experiment with the different reductions.
| | 01:42 | I'm going to pull up the Image Size
dialog again, using Ctrl+Alt+I, reduce it
| | 01:47 | down to 1024 and try it as a nearest
neighbor, preserving the hard edges.
| | 01:54 | Now, I get my crisp edges
that I worked so hard to make.
| | 01:57 | I'm down to 1024 square, and
my brick is precise faced brick.
| | 02:02 | It's important to think of that
when you're drawing your texture.
| | 02:05 | The typical practice is to draw twice
as big and reduce down, letting Photoshop
| | 02:11 | interpolate those colors a little bit.
| | 02:14 | In game, we're going to reduce these
further, possibly specifying a texture to
| | 02:18 | max out at 512 square and reusing
it in different places like that at
| | 02:23 | different resolutions.
| | 02:26 | On the garage door, in this case a rust
spattered garage door that maybe used to
| | 02:30 | actually say something on it, this
one we'll reduce cleanly using bicubic.
| | 02:35 | I can paint it at 1024, which I did, so
that as I stand next to it, it looks good
| | 02:40 | and I've got the rust and
the detail I'd expect to see.
| | 02:43 | When I reduce it down using Image Size,
if I pull it down to 512x512, a 50%
| | 02:50 | reduction, a bicubic reduction is going
to give me a good result and it looks a
| | 02:55 | little better. The colors blend a little more.
| | 02:58 | Nearest neighbor would produce odd edges
and hard banding and strange things in
| | 03:02 | here I don't want on my smoothly rusting door.
| | 03:06 | The other component of this is
identifying any other key details.
| | 03:11 | In this example, the key details to
watch out for are the bricks, the brick
| | 03:17 | sill, the arches, and the
earthquake reinforcing up at the top.
| | 03:21 | I want to make sure that those pieces
stay crisp and are visible when I make
| | 03:26 | this texture, and I plan
that it will be reduced.
| | Collapse this transcript |
| Understanding tiling and non-tiling textures| 00:00 | One of the greatest assets that a game
developer or a game designer has is tiling texture.
| | 00:07 | What that means is that a texture
repeats seamlessly. Not just repeats. It's not
| | 00:12 | a matter simply of cloning one side
over to the other and throwing a texture on
| | 00:16 | an object, but rather carefully
crafting a texture so that a repeat is
| | 00:21 | essentially invisible.
| | 00:22 | In this building as an example shown
with a couple lights over head, a rollup
| | 00:27 | garage door that's rusty, and a metal
frame, we have brick and we have several
| | 00:32 | hundred square feet of brick viewable.
| | 00:34 | This brick is constructed as a tiling
texture, making sure that from side to
| | 00:38 | side and top to bottom the brick repeats,
| | 00:41 | but also that the variation in the
brick is randomized enough and seamless
| | 00:45 | enough that only if we look very hard can
we tell that there is a pattern to the brick.
| | 00:51 | I'll switch over to the Shaded View
and get out of the walkthrough camera to
| | 00:54 | be able to show this.
| | 00:59 | If I view a large face of the building
without lighting, I can pick out some of
| | 01:03 | the patterning. Some of the dark bricks repeat.
| | 01:05 | But on the whole, it's not terribly noticeable.
| | 01:08 | This texture is tiling nicely.
| | 01:10 | It's only mapped at 8 foot square, and for
reference, these windows are 16 feet across.
| | 01:16 | So this is fairly successful.
| | 01:17 | It will be even better in light with
overlays of dirt and other objects.
| | 01:22 | We might see dumpsters or other
things next to it that will further
| | 01:25 | camouflage this pattern.
| | 01:27 | Therefore, this is a successful
tiling brick and one which I can use in any
| | 01:32 | number of places in my environment.
| | 01:34 | A non-tiling texture or non-
repeatable is a texture that's designed to be
| | 01:39 | thrown on one set of UVs.
| | 01:41 | Here is an example.
| | 01:43 | In Photoshop, I have pulled up the cornice
color that was used on a previous building.
| | 01:48 | In this case, this is a non-tilable,
although some elements are meant to
| | 01:52 | repeat, such as the square and this long
rectangular relief. Some pieces are clearly not.
| | 01:58 | A window in the middle of brick.
| | 01:59 | When it's applied to a building, which
I'll go back to 3ds Max and show, we can
| | 02:04 | see that the texture repeats on the
elements, not that the texture is seamless.
| | 02:09 | Here in 3ds Max, we have the building
from previous chapters with upper floor,
| | 02:14 | cornice, and top floor elements.
| | 02:17 | This texture is not tiling.
| | 02:19 | It's not meant to be seamless, evenly
meeting from side to side, but rather
| | 02:24 | have division elements such as these relief
panels that break the brick on the upper floor.
| | 02:29 | Additionally, the cornice has
squares and long rectangular elements,
| | 02:33 | again that break that
pattern, so it's non-tiling.
| | 02:37 | The difference in these is that we
maybe able to get more detail, more dirt or
| | 02:42 | more variation in a non-tiling texture,
but we have to be careful how we use it.
| | 02:46 | In a tiling texture, we can repeat it
endlessly, but any flaw or pattern we
| | 02:52 | introduce will show every
time that texture is mapped.
| | Collapse this transcript |
| Deciding when to use tiling and non-tiling textures| 00:00 | In a game, we want to make the
difference in our minds and in our game between
| | 00:04 | tiling and non-tiling textures.
| | 00:06 | Tiling are repeatable, and non-tiling,
as in part of an Unwrap UVW Modifier or
| | 00:12 | in other coordinates that are
meant to span a complete structure.
| | 00:15 | One of the things I like to do when
visualizing maps is in the Configure Rollout
| | 00:20 | for the Unwrap UVW, turn off the seams
so I can see things a little clear.
| | 00:23 | I'll go down there and uncheck Map Seams
and if you've used the Peel function,
| | 00:29 | uncheck that as well.
| | 00:30 | This is about as close to in game as
we can get. It depends on the graphics card
| | 00:34 | you have installed and what
other features you have on.
| | 00:37 | But right now this is
giving me a pretty good look.
| | 00:40 | In this case, this brick is tilable.
| | 00:42 | It's made to repeat every 8
feet or so as how I have it mapped.
| | 00:46 | So I get large swatches of
brick with pretty good detail.
| | 00:50 | I drew it this way and the difference
here is that the tiling texture allows me
| | 00:54 | in that 1024 square map to draw a
pretty good detail on the brick.
| | 00:58 | A non-tiling texture may give me far
less detail because it might be spread over
| | 01:03 | a larger area such as the
whole face of the building.
| | 01:06 | Here is how this looks, so you can see the maps.
| | 01:12 | I've pressed M to get into my
Material Editor and I have this set up for
| | 01:16 | testing as a multi sub-object material.
| | 01:18 | In the Diffuse channel of
my brick is this brick image.
| | 01:22 | Here is how that brick looks.
| | 01:23 | Right now it's perfectly clean.
| | 01:25 | There is no dirt, no grunge, no
graffiti, no other stuff we'd find in it.
| | 01:29 | It's great for tiling.
| | 01:31 | From side-to-side and top to bottom it
matches, and in this map I was able to
| | 01:34 | get lots of brick and lots of detail,
even down to right here, the color
| | 01:38 | variation in a brick.
| | 01:40 | I'd like to lay some dirt over it and the
other place, we'll want to lay multiple
| | 01:45 | textures on is going to Unity and
baking out lighting, where we need a light
| | 01:49 | map for an entire building or entire
object laid over a tiling texture, using
| | 01:54 | multiple mapping coordinates.
| | 01:57 | A non-tiling texture looks like this.
| | 02:00 | This is a dirt map combined with
an occlusion map I put together.
| | 02:04 | As an example then, this shows the
entire face of this building, the whole wall
| | 02:09 | fitted into that same space.
| | 02:11 | I get far less detail.
| | 02:13 | I can almost see the pixels in here.
| | 02:15 | But for things like dirt where it's
a soft even coating, I don't need the
| | 02:19 | precise detail in it. A non-
tiling map works very nicely.
| | 02:23 | The big deal then is differentiating
that in your mind and in your texture.
| | 02:28 | Which one is better?
| | 02:29 | Often we can get away with a really
nicely detailed 256 square map or even 128
| | 02:35 | that tiles endlessly, such as a floor
tile, and then overlay rust and dirt or
| | 02:41 | something else on it or lighting at a
far larger size, but still far smaller
| | 02:45 | than if we had mapped the entire floor.
| | 02:47 | In this case, once I get into Unity,
this dirt map laying over the entire
| | 02:51 | building will give me really
nice darkness along the bottom.
| | 02:55 | W can see a little bit of it here and
it's going to make this building look
| | 02:58 | like well, a grungy brick
warehouse down the side of an alley.
| | Collapse this transcript |
| Using multiple mapping coordinates| 00:00 | Once we have decided on our design
for our game and we have started making
| | 00:03 | textures, we need to make a decision about
tiling and non-tiling textures on an object.
| | 00:09 | We can also blend these
using multiple map channels.
| | 00:13 | The idea in multiple map channels is I
want to unwrap an object in multiple ways
| | 00:17 | to do different things. Maybe a tiling
texture that's small with good detail
| | 00:22 | drawn in it and then a larger
overly texture for things like dirt.
| | 00:26 | In this example I have a warehouse
whose entire side here is covered in brick.
| | 00:31 | We can see the brick repeating and
tell by the map size it's not very big.
| | 00:35 | This is 8 feet square. It gives me lots of
detail in 1024 square map to paint this
| | 00:40 | brick and if I right-click on it and
choose Gizmo, I can move this Gizmo around
| | 00:46 | and get that brick anywhere I need it to be.
| | 00:49 | However, I may want a dirt overly and so I
need to use multiple map channels on the object.
| | 00:54 | What I'll do quickly as an example is
throw a Poly Select on top of this and
| | 01:01 | deselect the object using that modifier.
| | 01:03 | Now I'll take the whole object and
unwrap it, again using an Unwrap UVW.
| | 01:12 | In this Map channel I want to specify
under the Channel rollout Map Channel 2.
| | 01:17 | Max will give me a notice. Would I
like to move UVs or just abandon them and
| | 01:21 | display the existing?
| | 01:22 | I am going to move.
| | 01:25 | Now if I open the Editor, I can
see my object and this is ready for
| | 01:29 | unwrapping and flattening.
| | 01:33 | What I'll do is unwrap this and show
the result as this may take a couple of
| | 01:36 | minutes to get right.
| | 01:37 | I've unwrapped this object, looking
at the large planes on the building.
| | 01:41 | I took the other things, the sides of
the windows, and slid them off to the side
| | 01:44 | for clarity for now.
| | 01:46 | Later I'd come back and stack
them neatly in the remaining space.
| | 01:50 | What this will let me do is render out this
template under Tools > Render UVW Template,
| | 01:55 | bring it into Photoshop, and paint dirt
or other things along the wall to overlay
| | 02:00 | onto the clean brick.
| | 02:01 | Alternately, I can use this to render
out ambient occlusion for lighting like we
| | 02:05 | saw in Chapter 5 on the cornices.
| | 02:09 | Once I've got this ready,
I can apply my texture.
| | 02:12 | In this case this will apply to the
whole building based on that channel, as
| | 02:16 | long as I set the Map to Map Channel 2.
| | 02:19 | In the Material Editor the way to do
this is to insert it into another channel.
| | 02:23 | To bring multiple UVs across to Unity, we
need to put this map into the self illumination.
| | 02:28 | I'll click on the None slot, choose
Bitmap, and then choose my warehouse
| | 02:34 | dirt image I painted.
| | 02:37 | Once this is in, in that Map
Channel I'll make sure it says 2.
| | 02:41 | I'll give the display a minute to
update and turn on the scene lights and we
| | 02:46 | should see dirt along the wall.
| | 02:50 | This is how we can bring lighting or
multiple map channels across into a game.
| | 02:54 | Under Realistic, I'll choose Lighting
and Shadows > Illuminate with Scene Lights.
| | 03:00 | Now I can see nicely in addition to the
large pool of light for my streetlights
| | 03:04 | dirt along the wall and some coming
up this side here, crossed over by the
| | 03:08 | dynamic light in the scene.
| | 03:10 | On a final note I'd like to turn off the
scenes here in my display to make it easier to see.
| | 03:16 | I'll scroll down in the Unwrap UVW
dialogue and into the Configure Rollout.
| | 03:22 | I'll uncheck Map Seams.
| | 03:24 | This is about as close to end game as we
can get, barring the other lighting
| | 03:28 | and other textures needed here. My
windows are a little black, but what I can
| | 03:32 | see nicely is the dirt on the wall and
how it works to the lighting and also the
| | 03:37 | rest of lighting on it and where
I need to pay more attention to.
| | 03:40 | It's important to note that yes, we can use
multiple map coordinates here in 3DS Max.
| | 03:45 | We need to set up right to take them across
to game and we need to use them carefully.
| | 03:50 | They're perfect for things like
overlaying dirt or grunge or graffiti onto a
| | 03:55 | clean wall and allow you to blend
skillfully tiling textures with good detail
| | 03:59 | and non-tiling things like dirt or staining.
| | Collapse this transcript |
| Using multiple unwrap modifiers| 00:00 | In the process of mapping object for
a game, we can apply multiple mapping
| | 00:04 | coordinates to different parts of
an object to get the look right.
| | 00:07 | In this example, I have the warehouse.
| | 00:10 | I've created a Multi/Sub-Object
material with the textures and assign polygon
| | 00:14 | IDs but I haven't mapped anything yet.
| | 00:16 | What I will show then is using a
combination of UVW map and Poly Select
| | 00:21 | modifiers to put the mapping in the right place.
| | 00:24 | I am going to start out with a few pieces of
the brick wall then move over to the windows.
| | 00:29 | First, I will choose Polygon and select
the large face of the brick wall shown
| | 00:33 | here outlined in red.
| | 00:35 | On top of this I'll add a UVW Map Modifier.
| | 00:43 | Initially, the mapping is all
over the place. That's just fine.
| | 00:46 | What I will do is down in the Length and
Width specify an exact size for my map.
| | 00:51 | I'll make this 96x96,
| | 00:54 | as I made it that big in Photoshop. By
counting the bricks I can get the right size.
| | 00:58 | As an alternate I could use a real world map
size, I will show that one on another piece.
| | 01:03 | I will rotate this by right clicking and
choosing Gizmo and then hitting E for Rotate.
| | 01:08 | I will rotate it over 90 degrees exactly
watching down at the bottom in the X, Y, and Z
| | 01:14 | fields for the correct rotation.
| | 01:16 | The important thing when you are
mapping is that as you're facing the map and
| | 01:20 | if the map is facing in the right
direction, that the tag is up and the
| | 01:24 | green side is on the right.
| | 01:25 | That way things like a bump map or a
normal map will face out correctly.
| | 01:29 | When I zoom in I have my bricks.
| | 01:33 | And if needed I can align them up
and down to match up to a windowsill or
| | 01:36 | header. Now I am going to look at
mapping the sides of the windows.
| | 01:41 | To do this I will add on a Poly Select modifier.
| | 01:44 | That way I can switch my polygon
selections and apply mapping only to selected
| | 01:48 | sub-objects of this warehouse.
| | 01:51 | Under Selection Modifiers is Poly Select.
| | 01:54 | I will choose it. Right now it shows
I have deselected all the polygons.
| | 01:58 | I will go into the Polygons and select all
the right sides of the windows in this view.
| | 02:05 | I'll pick one, hold Ctrl,
and pick the other four.
| | 02:11 | One of the strengths of 3ds Max is
being able to copy and paste modifiers.
| | 02:15 | I will right-click on my
UVW map and choose Copy.
| | 02:19 | Then I will right-click on the
Poly Select and choose Paste.
| | 02:22 | Now I have that exact same mapping.
| | 02:25 | It's also with the exact same height,
which is important to get the brick to
| | 02:28 | work around that corner.
| | 02:29 | I will rotated it 90 degrees, pressing E for
Rotate and right clicking and choosing Gizmo.
| | 02:36 | I'll rotate this mapping 90 degrees, making
sure that that green side is on the right.
| | 02:44 | As we can see in this close-up, I
have the brick flowing cleanly around.
| | 02:48 | I can adjust it if needed.
| | 02:49 | I will do the other side in the
same way and then look at the Windows.
| | 02:55 | I'll spin around the object and
this time I'll copy and paste both Poly
| | 02:59 | Select and UVW Map.
| | 03:01 | Selecting both, right-clicking,
choosing Copy, back up to pick UVW map, right
| | 03:07 | clicking and choosing Paste.
| | 03:11 | This second Poly Select in the Polygon menu
will let me choose the other side of the windows.
| | 03:18 | Picking one, holding Ctrl,
and selecting the others.
| | 03:21 | In the UVW Map, I can flip this around
180 degrees, right-clicking, choosing Gizmo
| | 03:28 | and rotating around.
| | 03:33 | Now the window is mapped.
| | 03:34 | If needed I can repeat the process to
form the headers and sills here, but I'll
| | 03:38 | move on to the windows for this exercise.
| | 03:45 | In my materials, I've assigned separate
textures for the brick and for the windows.
| | 03:49 | I will press M to show
this in the Material Editor.
| | 03:51 | I have set it up as a Multi/Sub-
Object material for now, so I can see all
| | 03:54 | the different parts.
| | 03:55 | I will need to rework materials a
little bit in Unity to get it optimized.
| | 03:59 | In the window material, I've drawn a
two pane window with some dirt on it.
| | 04:06 | If needed I can tweak this for
better tilability, but I will try it out.
| | 04:10 | The important thing here is that I'm
applying different mapping size, noting
| | 04:14 | that I only need two panes here and
even more, maybe less but I'll try two.
| | 04:18 | That way I am drawing an entire
window worth with fewer pixels per window.
| | 04:22 | I am adding better detail into a smaller map.
| | 04:24 | I will copy and paste the
Poly Select and UVW Map again.
| | 04:33 | Selecting both, right-
clicking and choosing Copy.
| | 04:37 | Picking the UVW Map, right-
clicking and choosing Paste.
| | 04:41 | Now in the last Poly Select I
will pick the window polygons.
| | 04:45 | We can either do them
altogether or one at a time.
| | 04:48 | I will try these and see if the spacing works.
| | 04:52 | In the UVW Map I will set
the Length and Width to 24x24.
| | 04:55 | I will also rotate this mapping by
right-clicking and choosing Gizmo
| | 05:04 | and rotating it back.
| | 05:05 | There are my windows. Almost
nearly aligned, not quite on.
| | 05:17 | I need to move it back and forth a
little bit but I'm starting to get it to
| | 05:19 | look like a warehouse.
| | 05:20 | I will right-click and choose Move
and then on the Y-axis pull these
| | 05:29 | windows over slightly.
| | 05:35 | As an alternate to this, we can
use real-world mapping coordinates.
| | 05:39 | Instead of specing an exact size of length
and width, I can check real-world map size.
| | 05:44 | Notice that my windows completely go gray.
| | 05:47 | In the Material Editor instead of using
a texture with an explicit map channel
| | 05:52 | I can check Use Real-world Scale and set
the Size instead of tiling to that exact size.
| | 05:59 | Putting in 24x24 gives me that exact map.
| | 06:03 | Once it resolves here in
the view, we will see it.
| | 06:06 | What this means is that anytime this image
appears it will always be this exact size.
| | 06:11 | We only have to worry about
position instead of possibly accidentally
| | 06:15 | scaling the map out.
| | 06:19 | I'd repeat this process through this
building, mapping the brick on all the
| | 06:23 | sides, including the sides, adding
in the rusted door frame and the door
| | 06:27 | itself on all the different doors and
parts, and finally finishing out the
| | 06:31 | windows, giving me one simple mesh with
multiple materials and multiple UVW Map modifiers.
| | 06:38 | It's a powerful tool to be able to
map parts of an object very selectively,
| | 06:42 | to get the look exactly as it should
be, with the texture placed exactly where you want it.
| | Collapse this transcript |
| Unwrapping objects a second time: Planning an unwrap for a light map| 00:00 | Once we've got the base diffuse texture
unwrapped for an object and we want to
| | 00:04 | start to add on grunge or dirt or
light overlays, we need to think carefully
| | 00:09 | about how we unwrap the
objects for that extra mapping.
| | 00:13 | Part of this is looking at the size of
the element and what kind of texture will
| | 00:17 | be on it and really planning out
in that UV space how we'll use it.
| | 00:22 | For this warehouse, I've applied
tiling textures to the walls, the sidewall
| | 00:26 | elements, the windows, doors, and doorframes.
| | 00:30 | This is ready for a grunge or dirt overlay.
| | 00:33 | I'll use an Unwrap UVW modifier using Map
Channel 2 and plan out these UVs very carefully.
| | 00:40 | For something like a grunge or dirt overlay,
it's going to span the entire size of the wall.
| | 00:45 | For this one, I'll have most of my dirt
down here at the bottom where rain and
| | 00:50 | things splashing up are
likely to make the wall dirty.
| | 00:53 | Additionally, I need to plan in
some wear around the garage door. Because people
| | 00:57 | will be touching it, it'll get stained
putting a dirt, and possibly some along
| | 01:02 | the windows, especially on the lower
floor where I can really see that texture.
| | 01:06 | I need dirt on the sill
and on the sidewall elements.
| | 01:09 | I'll add an Unwrap UVW Modifier to this object.
| | 01:14 | It shows on my map seams quickly.
| | 01:19 | The first thing I want to do here is
change to Map Channel 2 so I don't distort
| | 01:23 | the existing UVs I have.
| | 01:25 | I'll do this in the Unwrap UVW modifier.
| | 01:29 | I'll scroll down to the Channel
rollout and change the Map Channel from
| | 01:32 | the default 1 to 2.
| | 01:35 | In this case, Max is going to pop up a
warning for us about changing channels.
| | 01:39 | I'm going to abandon the
changes and display the existing UVs.
| | 01:45 | Now when I open up the UV Editor,
I'll have my polygons ready for use.
| | 01:49 | I'll open up the UV Editor
and I can see my UVs overlaid.
| | 01:57 | This is a little awkward at the moment.
| | 01:59 | Even turning off the checkered
background doesn't seem to help.
| | 02:02 | I really can see that they are all
overlaid, which is as they should be.
| | 02:05 | That's how I did them
originally, with a tiling texture.
| | 02:08 | The first thing then especially in a
building is to flatten the mapping out again.
| | 02:13 | What this involves is right-clicking,
choosing Face, and in this case, selecting
| | 02:18 | all pressing Ctrl+A. Under
Mapping, I'll choose Flatten Mapping.
| | 02:23 | The default settings will work nicely for this.
| | 02:26 | What this will do is break things
apart if they meet at or above 45 degree.
| | 02:32 | When I do this, I get a whole bunch of pieces.
| | 02:35 | What I want to look at in laying out
this UV is where do I allocate the most
| | 02:39 | texture size and where can I stack
elements even though it is a dirt or overlaid map?
| | 02:46 | In my view, I'm going to overlay the
garage doors, as they are all going to share
| | 02:50 | pretty much the same kind of dirt and occlusion.
| | 02:53 | They all have the same condition.
| | 02:55 | The garage door elements are
these slightly taller rectangles.
| | 02:58 | These can all be stacked.
| | 03:00 | To start, I'll grab them all
and pull them over onto one door.
| | 03:05 | I can repeat this process with the windows.
| | 03:07 | The windows are these
slightly squashed rectangles.
| | 03:11 | All of these can be overlaid, because
again, the windows are all the same size
| | 03:15 | and they're all going to share the same
condition, basically dirty on the bottom
| | 03:19 | and up around the edges
and not so much at the top.
| | 03:22 | Therefore, occlusion will look
the same on both as will dirt.
| | 03:26 | I'll stack these and then show how it looks.
| | 03:29 | What I've done is to stack out
the door and window elements.
| | 03:32 | What I can do in mMapping is
also slide things out of the way.
| | 03:36 | I really have this whole area around it as my
playground for scratch space, we can call it.
| | 03:41 | I'll select everything at the
moment and then hold Alt and deselect the
| | 03:45 | major wall elements, these are clearly visible,
and we can see which one they are readily.
| | 03:50 | I'll take the other pieces
and slide them off to the side.
| | 03:53 | Later after I scale the wall elements
out, I'll take these pieces and arrange
| | 03:57 | them by placement on the model, sides with
slides, tops with tops, bottoms with bottoms.
| | 04:02 | So when I do a bake, they
all get the right occlusion.
| | 04:07 | Now I'll pay attention to the wall elements.
| | 04:09 | The trick with unwrapping is to make
the big pieces as big as possible within
| | 04:14 | this normal or 0 to 1 space.
| | 04:17 | I'll select all four of
these and press R for scale.
| | 04:21 | I want to keep my scale uniform.
| | 04:23 | One of the things I do in architecture,
especially flat building elements, is to
| | 04:28 | flatten the mapping.
| | 04:29 | This makes sure that the pieces are all
the same relative size to each other and
| | 04:33 | that the UVs are as distortion free as possible.
| | 04:37 | I'll scale this out and press W for move,
fitting it into that space as well as I can.
| | 04:44 | In the Arrange Elements rollout, I have
some options for packing if I want to try it.
| | 04:49 | Sometimes this works nicely.
| | 04:51 | I'll try out Pack Custom.
| | 04:53 | It's okay, but I'd rather
have a little more scale.
| | 04:55 | So it does boil down to a
manual process of moving and scaling.
| | 04:59 | I'll scale these out, move them,
and fit them just inside that square.
| | 05:06 | The important thing when you are laying
out UVs is to get it either inside the
| | 05:10 | square or far outside.
| | 05:12 | Things on the border is where
game engines get finicky sometimes.
| | 05:16 | Now I'll take these elements and
switching my Move tool to Vertical, slide
| | 05:21 | them down onto each other, keeping space between,
but maximizing that space as much as possible.
| | 05:27 | One of the things I see beginners do
and I've seen this quite a lot in teaching
| | 05:32 | is not using the UV space well enough.
| | 05:35 | This is one of the first things that
employers look for: how well did you
| | 05:38 | use the texture space.
| | 05:40 | In this case it looks like I need to
scale down just a bit, but this maybe
| | 05:44 | tempered somewhat by a judgment call.
Which am I most likely to see and where
| | 05:49 | can I get away with a
little bit less resolution?
| | 05:51 | I'm going to take the longest
wall here and scale it down.
| | 05:55 | And the judgment call on that is that
the shading along the bottom where I would
| | 06:00 | get dirt or something splashing up
or just general darkness and grit is
| | 06:04 | constant. That unless I'm going to put
something there, I need just basically a
| | 06:10 | line of dirt across.
| | 06:12 | So I can make this element
relatively smaller next to everything else.
| | 06:17 | I'll move it down into place.
| | 06:19 | Later I can slide it over.
| | 06:20 | And then I'll fit in more and more
complex elements, holding Ctrl to select and
| | 06:25 | pulling them down to fit. That's better.
| | 06:29 | Now I'll take this wall and make
sure it's scaled as large as possible.
| | 06:33 | Don't be afraid to zoom in.
| | 06:38 | Finally as part of my layout, I'll make
sure that I'm sliding these elements over.
| | 06:43 | I'll switch over to the Horizontal
Move instead and pull this wall just about
| | 06:48 | even with the others.
| | 06:51 | This is ready for the inclusion of
the other elements or other use of
| | 06:55 | the texture space here.
| | 06:56 | We might see a roof or other
pieces occupying the rest of that.
| | 07:00 | As a personal preference, I
like to flip my elements around.
| | 07:04 | This wall is facing upside down.
I'm going to use the Rotate 90 degrees and flip
| | 07:09 | it to orient with the others.
| | 07:11 | That way when I'm painting, I can paint
all the bottoms, all the tops, all the
| | 07:14 | windows, and not have to worry about
rotating around to catch the opposite side.
| | 07:20 | It's a very big deal to
lay out your UVs correctly.
| | 07:23 | How you do it and how you maximize that
texture space affects the performance of your game.
| | 07:28 | If we're loading in a square texture,
we have to load in all the pixels
| | 07:33 | regardless of they're being used.
| | 07:35 | So it's better off to use all the
space in that texture as thoroughly as
| | 07:40 | possible with as many pieces spread
as big as possible to get the most out
| | 07:44 | of that memory.
| | Collapse this transcript |
| Unwrapping a building façade using overlapping texture elements| 00:00 | Part of unwrapping an object is
actually stitching the object back together.
| | 00:04 | We are taking an object that is a 3D
object and we're flattening it so that a
| | 00:09 | 2D texture can wrap around it correctly.
| | 00:11 | That's the idea of unwrapping.
| | 00:13 | What I will show here is how to take
pieces and stitch them together in an
| | 00:18 | economical way to best use up the texture space.
| | 00:22 | I have the warehouse from the previous
exercises and as we can see by the map
| | 00:25 | seams evident, the large faces are
mapped on their own and the small sides are
| | 00:31 | all split apart, as are the
window polygons and the doors.
| | 00:35 | Because this will be used for a dirt
map or occlusion map, I would like to have
| | 00:39 | some continuity in my textures, where
the same dirt can be painted on the bottom
| | 00:43 | or the windowsill, the bottom
of the window, and on the side.
| | 00:47 | I will open up the UV Editor, and in
here start to stitch together my elements.
| | 00:54 | What I had done for convenience and so I
could tell where they were, is to start
| | 00:57 | to stack my window pieces.
| | 00:59 | I'll pick one and pull it to
the side and then zoom in on it.
| | 01:04 | Whenever we select a face or an edge
in the UV Editor, 3ds Max will show us
| | 01:09 | the adjacent pieces.
| | 01:11 | This particular window I have has
these adjacent faces shown in blue.
| | 01:16 | What I'll do as an example is take
these pieces and pull them into place.
| | 01:21 | What I can see as I select this bottom is
that it's adjacent to that blue edge.
| | 01:26 | I will pull it over into the right place.
| | 01:29 | I'll pick the next piece and move it in.
| | 01:31 | I will get them fairly
close, selecting parts here.
| | 01:36 | Putting them in one place and finding
the last one,. There it is, stuck out there.
| | 01:43 | Once I have the five components of
the window and its sides, I can start to
| | 01:47 | rotate and put these into the right place.
| | 01:49 | I will select one of the side faces and
look at the adjacent edge highlighted in blue.
| | 01:54 | When I picked the window face, I'll make
a mental note of which edge on the side
| | 01:59 | is highlighted as well.
| | 02:00 | This tells me which way to rotate it.
| | 02:02 | It looks like I need to
flip a few of these around.
| | 02:04 | I will start with the side and I'll use
the Rotate -90 around the Pivot button,
| | 02:11 | In flipping this when I toggle back and
forth, I can see that the blue edges are
| | 02:16 | adjacent to each other correctly.
| | 02:18 | I'll move this into the right
place and continue flipping.
| | 02:22 | Picking the window and it looks like
the header needs to flip around as well.
| | 02:26 | Once, twice and the 90 gives me 180 degrees.
| | 02:29 | I will move it nice and close and
look at the last one. It looks like this one
| | 02:33 | needs to flip 90 degrees.
| | 02:37 | Now all of my elements are
flipped in the right place.
| | 02:39 | What I would like to do here, is
get them as close as possible and then
| | 02:43 | start sewing edges.
| | 02:49 | We do have some snap tools available in
the Unwrap dialog. Sometimes I use these
| | 02:53 | and sometimes I like to do it manually.
| | 02:55 | In this case, I am going to go manual.
| | 02:56 | I will pull these in as close as
possible, then right-click and switch to Edge.
| | 03:04 | Alternately we can work by face.
| | 03:06 | It's important to note where that blue edge is.
| | 03:09 | Working by face I am going
to look in the Stitch rollout.
| | 03:12 | We have some options here in how we
are stitching: whether we are working to
| | 03:17 | the Target, whether we are stitching to a
center or Average, or stitching to the Source.
| | 03:21 | I am going to stitch to the Target in this case.
| | 03:25 | What that does is stitches the whole piece in.
| | 03:28 | Sometimes we get a fairly odd result
when I have adjacent edges like this.
| | 03:32 | In this case, this is a place to
switch to edge instead of face.
| | 03:36 | I will right-click and choose Edge.
| | 03:39 | Now when I select an edge its
counterpart is highlighted in blue.
| | 03:42 | I'll use the Stitch To Target
button and stitch them together.
| | 03:47 | I do have a little bit of
weave here but I can fix that.
| | 03:50 | Really the nice part is that I have an
interior scene that if I paint a texture
| | 03:54 | on the window, it will clearly
and cleanly lap onto the sill.
| | 03:59 | I'll finish this process on the window.
| | 04:01 | Zooming in and picking an edge, making sure
I am being consistent in which way I'm going.
| | 04:06 | For me in this case, I want to stitch from
the side, top and bottom, onto the window face.
| | 04:12 | I will click on Stitch To
Target and proceed around the window.
| | 04:19 | Now my UV element is stitched together, and I
am ready to do some aligning in the vertices.
| | 04:25 | For these vertices, I'll select them
all in a line and then use the Align
| | 04:29 | Vertical button to get them together.
| | 04:33 | I'll repeat this all the way around,
Aligning these as well as possible.
| | 04:38 | For the top and sides I will
use the Align Horizontal button.
| | 04:43 | Now my element is continuous.
| | 04:45 | I'll have to deal with the
texture span right here at the corner.
| | 04:48 | We have to make some allowances
in texture for things like that.
| | 04:51 | But I have the most continuity in
this element, from face to side, top, and
| | 04:57 | bottom across the longest edge.
| | 05:00 | This is an important principle in Unwrapping.
| | 05:02 | This way when I paint a texture such as
dirt or overlay Ambient Occlusion as a
| | 05:07 | light map, I can have as much
continuity in my pieces as possible.
| | 05:11 | What I would do on the rest of this
building is to finish stitching the windows
| | 05:15 | and doors and their
component sides and tops and bottoms.
| | 05:19 | That way instead of a spread of
elements all through here, I have a stack of
| | 05:24 | elements, one for the
doors and one for the windows.
| | 05:27 | I can then take those and fill
this UV space as big as possible.
| | 05:32 | Although it may sound odd, my door
and window elements will occupy as much
| | 05:37 | space as the wall, and the reasoning behind
that is because I stand to get close to them.
| | 05:42 | In fact, as we saw in the Walkthrough
Assistant video, I could stand right here
| | 05:47 | in the doorway and peek around the
corner, looking right at the dirt and
| | 05:51 | occlusion I'm going to put over.
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|
|
9. Ambient Occlusion and the Render to Texture DialogUnderstanding ambient occlusion| 00:00 | In a game we are telling a story. The
difference between a game and film is the
| | 00:05 | immersion in the narrative of the player.
| | 00:07 | As with any story there is
always a certain mood and look to it.
| | 00:11 | One of the tools we have to get a certain
look across in games is Ambient Occlusion.
| | 00:16 | The idea in Ambient Occlusion, as you can
see here on this model, is that adjacent
| | 00:20 | objects cast darkness on each
other or block bounced light.
| | 00:24 | This scene doesn't have any lights.
| | 00:26 | There is actually no lighting going on.
| | 00:28 | It just looks like this building has
well grunge or darkness up the sides and it
| | 00:32 | really grounds the model.
| | 00:34 | The idea in Ambient Occlusion is that
light bounces and at some point that light
| | 00:39 | has bounced enough it is ambient.
| | 00:41 | Ambient Occlusion then is the blocking of
general bounce light by adjacent objects.
| | 00:46 | For comparison I am going to switch
this out for a raw diffuse texture.
| | 00:51 | This is a straight texture on the building.
| | 00:53 | Notice how everything kind
of floats and it's very clean.
| | 00:56 | We can also use Ambient Occlusion
as a terrific foundation for dirt.
| | 01:00 | Ambient Occlusion and dirt, grunge,
darkness, and general brooding mood tend to
| | 01:06 | cluster in the same places.
| | 01:07 | It's a fantastic tool for adding
both a cinematic mood and realism.
| | 01:12 | We can even model things in high-
resolution and put Ambient Occlusion shaders on
| | 01:16 | them, such as this one here, and when
we render this image we'll see, well,
| | 01:21 | realism clustering in the corners.
| | 01:23 | We can then apply textures like this as
part of a diffuse map or also as a light
| | 01:28 | map in an engine, giving us what
looks like extra lighting in detail, which
| | 01:32 | really we're
accomplishing with a simple texture.
| | 01:35 | As part of this we'll use the Render to
Texture dialog in 3ds Max, which allows
| | 01:39 | us to use those UV sets we have so
carefully set up and render different
| | 01:43 | components into them, plus
some careful Photoshop work.
| | 01:46 | We can make Ambient Occlusion enhanced renders.
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| Assessing the quality of occlusion as a cinematic mood| 00:00 | Once we've decided to use Ambient
Occlusion and we've unwrapped our objects
| | 00:04 | thoroughly, it's time to actually bake
the occlusion and part of that is really
| | 00:08 | considering the cinematic mood that it provides.
| | 00:12 | I have two examples here:
Warehouse slight and Warehouse moody.
| | 00:16 | It's the same diffuse texture, the
brick and the rusty door, but they have
| | 00:19 | different qualities to the Ambient Occlusion.
| | 00:22 | Right now with Warehouse moody applied,
I have dark doors, dark corners, and kind
| | 00:27 | of a spreading grunge in
the lower part of the wall.
| | 00:30 | When I apply Warehouse slight,
that occlusion is much lighter.
| | 00:34 | The scene is brighter and the big
deal is that this affects the mood of the
| | 00:38 | player and the overall feel of the game.
| | 00:40 | What we need to think of then is not
only do we have occlusion but what color is
| | 00:45 | it and how are we using it?
| | 00:47 | In this case, I have two very different
outcomes, all with the slight change in
| | 00:50 | Ambient Occlusion parameters.
| | 00:52 | Again, with Warehouse moody my scene is
darker, the brick is muted, the windows
| | 00:57 | are heavier, the door almost
disappears in the darkness.
| | 01:01 | If the scene is supposed to be dark,
such as an alley at night, or the game is
| | 01:05 | supposed to be dark, we're running around a
dark city waiting for a hero to save us,
| | 01:10 | we may want a darker scene.
| | 01:12 | If you think in terms of film, we may be
looking at film noir or similarly dark genres.
| | 01:18 | If we are dealing in a lighthearted game
or maybe brightly lit and out in a city
| | 01:23 | where the sunlight really permeates
everything, we may want a far lighter
| | 01:27 | occlusion such as the slight.
| | 01:29 | In both of these, we can achieve this very
easily through the Render to Texture dialog.
| | 01:34 | The big deal is actually the artistic
planning in advance. Where do we want the
| | 01:38 | occlusion to sit and how deep should
it be, because that really affects the
| | 01:42 | overall mood of the texture.
| | 01:43 | This scene doesn't have any lights in it.
| | 01:45 | I'm just switching from texture to
texture and that really affects how it
| | 01:50 | feels as we run around.
| | 01:52 | Typically, what I'll do is bake the
occlusion, temporarily stick it in a texture,
| | 01:57 | like I've got where right now those
textures are basically merged down or all
| | 02:03 | the layers are combined.
| | 02:05 | If I view the image, we can
actually see the diffuse texture and the
| | 02:10 | occlusion laid right over.
| | 02:11 | As an example, this is the garage door
and we can see that shadow baked right in.
| | 02:17 | On the Slight texture I've done the
same thing, placing the occlusion into the
| | 02:21 | diffuse texture. Viewing that
image produces a different result.
| | 02:25 | If we zoom in we can see that the door
is much clearer, the rust is much more
| | 02:29 | colorful, and we can read the brick much better.
| | 02:32 | As with everything we are
doing, this is an artistic choice.
| | 02:36 | The big deal is to plan it out, and
think of really what is the mood in here.
| | 02:40 | What are we shooting for or what we'd
like the game to look like and how do we
| | 02:44 | want the player to feel
when they enter our world.
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| Overview of the Ambient Occlusion shader| 00:00 | When we are rendering ambient occlusion,
we want to keep several things in mind
| | 00:04 | so we get a successful bake of our occlusion.
| | 00:06 | The first part of successful ambient
occlusion actually starts with modeling.
| | 00:10 | Objects need to be in the real size
of the real world object. That is, this
| | 00:14 | door is 10 feet tall.
| | 00:16 | I model that as 10 feet tall in 3ds Max.
| | 00:19 | To tune occlusion, I'll take my
warehouse and for this example I have generated
| | 00:24 | some ambient occlusion
shaders here in the Material Editor.
| | 00:27 | For games, we would actually use the
Render to Texture dialog, but this allowed
| | 00:30 | me to render and show this
material a little more clearly.
| | 00:33 | To start, I have an AO moody
material I'll assign to this warehouse.
| | 00:39 | Ambient Occlusion can be placed in a
mental ray shell, which is what I've done
| | 00:43 | here for ease-of-use.
| | 00:44 | In the Ambient Occlusion shader, there
are several main factors we need to adjust.
| | 00:49 | The first of these is the Max distance.
| | 00:51 | Max distance in a scene is the
distance at which objects cast and then stop
| | 00:56 | casting occlusion on each other.
| | 00:57 | I will render this example.
| | 01:00 | In this rendering, that Max distance
of 90 produces deep spreading shadows in
| | 01:05 | the corners and on the base of the building.
| | 01:08 | Changing that distance to a Max
distance of 24 produces far softer occlusion
| | 01:13 | over a smaller area.
| | 01:15 | For comparison, I'll change my Area to
Render to a Region and make the region go
| | 01:19 | over part of the garage door, wall, and window.
| | 01:21 | When I hit Render again, we
will see a dramatic difference.
| | 01:26 | With the Occlusion Max distance at 24,
we get slimmer lines of darkness in the
| | 01:31 | corners and surfaces that were cloudier,
such as the slide of the window here,
| | 01:35 | are far clearer and brighter.
| | 01:37 | I will move the region over, just to be able
to show this a little closer to the camera.
| | 01:41 | Once we have decided on a Max distance,
which is really affecting how does the
| | 01:45 | gloom spread on the building,
we want to look at Spread.
| | 01:48 | For this comparison, I'll put
my Max distance back up to 60.
| | 01:52 | For the Spread, the higher that goes,
the more the darkness spreads into that
| | 01:57 | zone of occlusion
determined by the Max distance.
| | 01:59 | When I take the Spread down to say
0.3 and hit Render again, we will see the
| | 02:04 | darkness really cluster in the corners.
| | 02:07 | We get deeper, harder lines and not as
much darkness spreading on the surface.
| | 02:11 | If we look closely where the side wall,
the ceiling and the window intersect,
| | 02:15 | you can see this phenomenon.
| | 02:17 | The darkness is in the corners
and curves nicely up to meet versus
| | 02:22 | spreading across the wall.
| | 02:23 | In addition to Spread and Max distance, we
want to consider the Bright and Dark values.
| | 02:28 | They don't have to be the black
-and-white they start out as.
| | 02:30 | This is an artistic choice.
| | 02:32 | I will jump to Photoshop to illustrate this.
| | 02:34 | In Photoshop, it's very common to take
an occlusion map, such as I have several
| | 02:39 | of here, and layer it over a
diffuse map to get the proper darkness.
| | 02:43 | This is a raw diffuse map where the
color showing is really the raw diffuse
| | 02:48 | channel of that material.
| | 02:50 | When I lay occlusion over it, I will set
the occlusion as a Multiply blending mode.
| | 02:55 | We can do this either here in the
texture or in the game engine occasionally.
| | 02:59 | Depending on the blending mode we
choose and the Opacity, we get different
| | 03:02 | looks in the occlusion.
| | 03:04 | Changing that blending mode
across to Color Burn produces gloom and
| | 03:08 | spreading blackness.
| | 03:09 | We may or may not want this
so we need to play with it.
| | 03:12 | Part of that is determined by
what color that dark value is.
| | 03:16 | In these renderings, my dark
value started out as black.
| | 03:20 | Here's the raw occlusion.
| | 03:22 | So multiplying the color I have by this gray
and black produces that depth in the scene.
| | 03:27 | I will go back to 3ds Max
and make a change to this.
| | 03:31 | In 3ds Max if I take the dark color
from black and boost it up to a sepia tone,
| | 03:37 | adjusting the Hue and Saturation
to give me more of a warm brown.
| | 03:42 | In this case, this will produce that
brown in the corner as the maximum dark value.
| | 03:46 | I will hit Render to show this.
| | 03:52 | When this multiplies over a texture,
we will get a far different look and a
| | 03:56 | less heavy rendering than that black.
| | 03:58 | These are the three main things to
keep track of in the occlusion when
| | 04:01 | tuning the cinematic look.
| | 04:02 | What does the max distance or how much
does the occlusion spread across the objects?
| | 04:07 | Where does the occlusion go?
| | 04:08 | Clustered in the corners
or spreading into that zone?
| | 04:11 | And finally, what is the darkest color,
because this will lay over another color?
| | 04:15 | The samples in the ambient
occlusion shader determine the quality.
| | 04:19 | A low sample rate such as 16
produces dots in the occlusion.
| | 04:26 | We can start to see some
dots right below this sill.
| | 04:29 | We may not want that in our texture.
| | 04:30 | Increasing the samples produces a
better quality occlusion at a higher cost
| | 04:34 | and rendering time.
| | 04:36 | Upping the samples to 128
produces very smooth occlusion with an
| | 04:40 | increase correspondingly.
| | 04:42 | With samples of 128, the
occlusion is nice and smooth.
| | 04:45 | Ambient occlusion is a terrific
tool for us to add more detail.
| | 04:48 | What we need to do is to craft it.
| | 04:51 | It's never just set in stone.
| | 04:52 | We can always change things and
what we want to think of as part of our
| | 04:56 | conception or our thinking about the
cinematic mood of our imagery when we are
| | 05:00 | playing the game is how do we want to
tune the occlusion? Were does it go, what
| | 05:05 | color is it, and how do our corners look?
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| Baking maps using the Render To Texture dialog| 00:00 | In 3ds Max the Render to Texture
dialog is a powerful tool for rendering
| | 00:05 | textures out into the UV space of an
object. Rather than rendering out an
| | 00:09 | animation or imagery to be viewed,
this instead will produce a rendering late
| | 00:14 | into those carefully crafted UVs we have.
| | 00:17 | On this object, if we look in the UV
Editor for the warehouse, we can see I have
| | 00:21 | laid out the walls, doors, and windows
to use up this space as much as possible.
| | 00:26 | The first Unwrap modifier is actually
there just to show the tiling maps, which
| | 00:30 | we can see clearly here in the
viewport: the brick, the doors, the windows
| | 00:33 | etcetera, done with UVW maps
and Poly Selects previously.
| | 00:38 | I'll press 0 to access the
Render to Texture dialog.
| | 00:41 | With an object selected it shows
up here in the name field. Multiple
| | 00:44 | objects will list down.
| | 00:46 | In that, there are a couple of
key things I want to keep track of.
| | 00:49 | The first in here is what channel am I using.
| | 00:52 | I'm using Map Channel 2, which we can
see here on the Modifier panel and the
| | 00:56 | Channels rollout for the Unwrap.
| | 00:58 | That's the Unwrap where I
have laid out the whole building.
| | 01:01 | The second part is, well,
what we would like to render.
| | 01:04 | Right now I have this setup for an
Ambient Occlusion Render at 2048 on a side.
| | 01:08 | If we click on the Add button, we can
see that we have lots of options here in
| | 01:13 | terms of what we can do.
| | 01:14 | It's very possible to render out
everything in a complete map or to just
| | 01:18 | separate components to put them together later.
| | 01:20 | It's very common to render out multiple
layers and use them in conjunction with
| | 01:24 | painting to add to a texture.
| | 01:26 | Using occlusion as a foundation
for dirt is a great example of this.
| | 01:30 | With the occlusion set to render
I want to put in the right size.
| | 01:34 | Right now I've got this
specified at 2048 on a side.
| | 01:37 | This will give me a very high-
quality render with lots of depth or data
| | 01:41 | available around each window so that I
see a smooth shade in the Ambient Occlusion.
| | 01:46 | Finally, third element I have Unique Settings.
| | 01:49 | These settings Max Distance,
Spread, and Falloff along with Samples
| | 01:53 | concern Ambient Occlusion.
| | 01:54 | I want to tune these to think of the
cinematic mood we discussed previously.
| | 01:59 | I also have options as
to where to put this file.
| | 02:02 | Am I outputting it into a source,
meaning am I putting it into the base
| | 02:05 | material, or simply rendering out a file for
later use, which is the option I have checked?
| | 02:10 | Right now, if I press M for the Material
Editor, you can see that on this object
| | 02:14 | I have a Multi/Sub Object material.
| | 02:16 | The Multi/Sub has four sub-materials,
each one handling a different part of the
| | 02:19 | building: brick walls, dirty
windows, rusty doors, and so forth.
| | 02:23 | What I will do is render out both the
diffuse texture and an Ambient Occlusion
| | 02:27 | texture, and I will pull those up in Photoshop
to show some possible ways to put them together.
| | 02:32 | This is how the occlusion looks once
it's baked with the Render to Texture dialog.
| | 02:37 | We can see that the Ambient Occlusion,
with its darkness and mood, has baked
| | 02:41 | into the UVs I've laid out.
| | 02:43 | The gloom spreads cleanly up
to the side of the building.
| | 02:46 | This is an example of a diffuse texture.
| | 02:49 | With the scene lighting, of which
there wasn't any, plus the diffuse texture
| | 02:53 | showing the brick, the rust, and
the windows baked into those UVs,
| | 02:57 | this also provides a great opportunity
to use a procedural texture such as a
| | 03:01 | generated noise and bake it
into a set of UVs for later use.
| | 03:06 | When we combine these, we can produce
one texture that has multiple attributes
| | 03:11 | apparently, along with the
cinematic mood we want in our game.
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| Using occlusion as a foundation for dirt| 00:00 | One of the biggest uses for Ambient
Occlusion in a game aside from gloom and
| | 00:04 | spreading darkness is as a foundation for dirt.
| | 00:07 | In this video, I'll show how to take a
simple wall module and bake out a lower
| | 00:12 | size occlusion, or rather an
occlusion that doesn't spread as much.
| | 00:16 | This will be a foundation for
dirt in places like window openings.
| | 00:20 | As we can see in this example, the
window openings tend to be dark and grungy
| | 00:24 | with occasional grunge below on
the sill and on the wall around.
| | 00:28 | I'll paint a diffuse texture and
then lay the occlusion over it.
| | 00:31 | Here in 3ds Max I have a basic wall section.
| | 00:34 | It's got a large window opening that's
recess by 8 inches and at least the start
| | 00:39 | of a diffuse map unwrapped and placed on.
| | 00:41 | The windows will later go in this large gray
polygon. Now I'm ready to bake the occlusion.
| | 00:46 | Just to make sure the occlusion goes
smoothly, sometimes I'll put just a straight
| | 00:50 | standard gray material on.
| | 00:52 | Now I'm ready to bake.
| | 00:53 | I'll press 0 and pull up
the Render To Texture dialog.
| | 00:57 | With my objects selected,
it shows up here in the first field.
| | 01:00 | I'll scroll down, making sure to Use the
Existing Channel 1 for unwrapping, and in
| | 01:05 | the Output I'll Add an Occlusion element.
| | 01:08 | So I can find it later
I'll name this element wall section001dirt.
| | 01:14 | This will be a temporary working file,
so I want to make sure I can find it,
| | 01:18 | grab it, use it, and later delete it.
| | 01:20 | I'll make this occlusion 1024
square to match the size of my texture.
| | 01:24 | When you're baking occlusion for
dirt the big deal aside from getting the
| | 01:27 | Samples nice and high, say 128, is to
make sure that the Max Distance is lower
| | 01:32 | than you'd use for an overall cinematic mood.
| | 01:35 | I'm going to try an occlusion distance of 16.
| | 01:37 | I'll also pull the Spread back a
little bit reducing it down to 0.7 so the
| | 01:42 | darkness clusters more in the corners.
| | 01:44 | If you'd like you can tune the Dark
color to be more reflective of your dirt, or
| | 01:48 | you can leave it black and
adjust it later in Photoshop.
| | 01:51 | Finally, in the Baked Material rollout
I'll make sure I check Render to Files Only.
| | 01:55 | I don't need this to go into a shell
material; I'm going to use it in my diffuse
| | 01:58 | texture after I put in Photoshop.
| | 02:01 | I'll hit Render and pull up that file.
| | 02:04 | With my occlusion baked I'll show the
image, so we can see what it's doing clearly.
| | 02:08 | The occlusion with that Max Distance
being low leaves my sill and my header as
| | 02:13 | well as the side of the windows dark in
the corners but light at the edge where
| | 02:17 | it's on the face of the wall.
| | 02:19 | Additionally on the window I've
got a good spreading dirt in here.
| | 02:22 | This maybe less spread than I might
want in a more moody or darker rendering.
| | 02:28 | A higher occlusion setting would gray
all the way across the windows. I really
| | 02:31 | want the corner darkest most of all.
| | 02:33 | I'll pull into Photoshop and
layer it over my diffuse texture.
| | 02:38 | In Photoshop, I've opened up that
dirt image. I'll select all by pressing
| | 02:42 | Ctrl+A, Ctrl+C for Copy.
| | 02:44 | Then I've got my PSD which has my
diffuse texture and I'll paste that image in.
| | 02:49 | I'm going to drop mine in the Color group by
dragging it onto it. Then I'll open up the group.
| | 02:54 | I'll make sure that the occlusion
or the dirt image is up above the
| | 02:57 | brick diffuse texture.
| | 02:58 | Finally, I'll switch the blending
mode of the occlusion to Multiply.
| | 03:03 | I get dirt across my texture, in the windows,
on the sill, and generally grunging the wall.
| | 03:09 | As a possibility you can erase
pieces of this to make it less uniform.
| | 03:13 | Sometimes I'll use my eraser and set
the eraser to a large sponge brush.
| | 03:18 | I'll click on the Eraser button and
then right-click to choose a brush.
| | 03:22 | I'll pick one of the sponges and
use the square bracket keys to upsize
| | 03:26 | and downsize the brush.
| | 03:28 | With my Brush Opacity fairly low, 28,
I can start to take out pieces, dotting
| | 03:33 | out pieces, making sure I don't leave too many
streaks and making it spotted and, well, messy.
| | 03:39 | That's okay. We can even
erase parts of it completely.
| | 03:43 | In this case, I'm taking out some
of the top, but leaving occlusion and
| | 03:46 | grunge and general wear and tear down
in the lower corners, especially here on
| | 03:51 | the bottom by the sill.
| | 03:52 | I might remove some of the top parts entirely.
| | 03:55 | This may have a chance of staying the cleanest.
| | 03:57 | I'll also do this on the sill and the
header, just taking out little bits.
| | 04:02 | I don't mind if these are fairly dirty.
| | 04:04 | I remember that I've put the bottom
vertices of the side elements on the left
| | 04:09 | and on the left side of my header and
sill, the vertices correspond to the
| | 04:13 | left side of the image.
| | 04:14 | I'll take out some of the dirt there as well.
| | 04:16 | You can have some fun with this and
brush as you need it. Maybe trying it a
| | 04:19 | couple of times and experiment.
| | 04:21 | Finally, I'll save this image
out and load it back in 3ds Max.
| | 04:26 | Here in 3ds Max, I've put my new
diffuse image with the dirt into a blend
| | 04:31 | material. It's called wall sectionC.
| | 04:33 | This image once I've saved it out has my
occlusion and the dirt and the brick together.
| | 04:39 | I haven't added a dirt layer to the brick, it's
still fairly clean, but I want to do that later.
| | 04:45 | I'll put this material on my model and
we can see in this in no light, or rather
| | 04:49 | just the default lights in the scene,
without occlusion on in the Realistic
| | 04:54 | shading, checking under Lighting and
Shadows, that my scene is grounded.
| | 04:58 | I've got dirt and splash
stuff around the windows.
| | 05:02 | It's ready for more painting, diffuse
texture on the window, dirt on the brick
| | 05:05 | wall, and my wall looks, well, grungy and old.
| | 05:09 | Ambient occlusion is a great
foundation for things like dirt and rust.
| | 05:12 | A lot of times I'll model a high-res
piece, bake an occlusion on it, and
| | 05:16 | throw it on a low-res.
| | 05:18 | That will help me get detail on the
windows, which I'll show in the next video.
| | 05:22 | It's also a great way to gently ground
things and add in a realism that would
| | 05:26 | be difficult to paint.
| | Collapse this transcript |
| Using occlusion from detailed models for texture| 00:00 | In addition to baking ambient occlusion
on our basic polygons, we can also model
| | 00:05 | higher res objects, bake occlusion
from them, and then use that as part of the
| | 00:09 | texture on the lower res or low polygon pieces.
| | 00:13 | This'll help add additional
detail and proper shading.
| | 00:16 | In this example, I've modeled these
windows to fit in this opening, making sure
| | 00:20 | that I've deleted the back faces.
| | 00:22 | I've also mapped them straight on.
| | 00:24 | If we open their UV Editor, we can see
that they're basically straight on in the
| | 00:29 | windows. That is I've used a planar projection.
| | 00:32 | I've made sure that these are scaled as
close as possible to the original, that
| | 00:36 | they are at the correct proportion.
| | 00:37 | What we will do in here is add in the
natural dirt we see in all the corners and
| | 00:42 | crevices in the windows.
| | 00:43 | Here is some reference in
Photoshop as an example.
| | 00:46 | In this reference of the building we
modeled in previous chapters, we can see
| | 00:50 | that there is lots of detail in the
windows and that in the corner of the
| | 00:53 | window, we tend to get, well, a lot of dirt.
| | 00:56 | It also shows up as
darkness underneath the top window.
| | 00:59 | This is from years of sitting out here
in the city and also being touched by
| | 01:02 | people opening and closing it.
| | 01:04 | We want this realism in our model for a game,
but we don't want to model every window.
| | 01:08 | That would blow our polygon count.
| | 01:10 | Back here in 3ds Max, I am
set up to bake an occlusion.
| | 01:14 | I will bake these high-res windows
and then use that in the low res.
| | 01:18 | I will press 0 for Render to Texture.
| | 01:20 | For an object like this, making sure
it's selected in the Name field, I'll
| | 01:23 | add in an Ambient Occlusion element,
clicking on Add and then choosing Ambient Occlusion.
| | 01:29 | In the Ambient Occlusion,
I'll make this size 1024.
| | 01:32 | I would rather render
bigger and then scale down.
| | 01:35 | I will put the Samples up at 128
so my gradients are nice and smooth.
| | 01:39 | Finally, I'll reduce the Max distance.
| | 01:41 | Remember, 0 is a special case, meaning
everybody participates no matter how far apart.
| | 01:46 | I'll make my Max distance 5.
| | 01:49 | That way the darkness really clusters
in the corners nicely and doesn't spread
| | 01:52 | across the whole window.
| | 01:54 | I can adjust the Spread
and Dark color if needed.
| | 01:56 | For this example, I will leave them alone.
| | 01:58 | I will make sure that Render to Files
Only is checked and I also make sure I
| | 02:02 | name this file so I can find it
when I go hunting in Photoshop.
| | 02:06 | I am ready to hit Render.
| | 02:15 | This will take a minute, return the
diffuse color and bake an occlusion.
| | 02:22 | My occlusion is rendered.
| | 02:23 | I don't care really about the diffuse render.
| | 02:25 | What I want is the occlusion image.
| | 02:27 | I'll click on the three dots
for browse to file and view this.
| | 02:31 | I will select the file and
check View here in the Finder.
| | 02:36 | There is the occlusion for the windows.
| | 02:38 | It's got good darkness around the
corners and the outside and also really
| | 02:42 | highlights the detail,
giving depth to the window.
| | 02:45 | I can do some cleanup in Photoshop
and also I will make it less consistent.
| | 02:49 | I'll open up that image in
Photoshop and bring it onto my diffuse map.
| | 02:54 | Here in Photoshop I've opened up
my window ambient occlusion bake.
| | 02:58 | I will Select All by
pressing Ctrl+A and Ctrl+C for Copy.
| | 03:01 | Then I can close this image.
| | 03:03 | Here is the PSD with my
color and bump ready for windows.
| | 03:07 | I'll paste it into the color group.
| | 03:09 | Then I will scale it down, but first
I'll change the blending mode to Multiply.
| | 03:13 | That way I can see how I'm scaling.
| | 03:15 | You have got some options for scaling.
| | 03:17 | You can use the Scale tool or the Transform.
| | 03:19 | I will press Ctrl+T for Transform.
| | 03:21 | I will scale this down from the corner,
holding Shift to maintain proportion.
| | 03:25 | This will let me move and scale
this image to fit into those windows.
| | 03:28 | I will get this fitted as well as possible.
| | 03:31 | Occasionally, due to the irregularities
or the eyeballing of unwrapping, we need
| | 03:37 | to stretch it a little bit.
| | 03:38 | I will stretch mine horizontally,
just so it fits over that window polygon.
| | 03:42 | That looks pretty good.
| | 03:44 | I'll hit Enter to accept the transformation.
| | 03:46 | I'll zoom in and check.
| | 03:47 | Now I haven't added a diffuse color to
the windows, but this'll really add some
| | 03:51 | punch to them anyway.
| | 03:52 | I can nudge this back-and-forth if
needed and also I may stretch it out again.
| | 03:56 | Now I have got two parts to the occlusion.
| | 03:58 | I have the original dirt from the bake
of the low res, plus the high res model
| | 04:03 | forming an occlusion texture,
giving me what looks like extra depth.
| | 04:06 | When I combine this with a diffused map
and a bump, these windows will really pop.
| | 04:10 | I'll save this map out and put it
back on in 3ds Max to see how it looks.
| | 04:20 | I'll just update the map in the
diffuse channel of the material on this wall.
| | 04:23 | I will press M for the Material Editor
and there is my material, wall and windows.
| | 04:28 | Here's a large sample.
| | 04:29 | I will click on the diffuse map I have in
already and just swap it for the new one.
| | 04:33 | Alternately, I could've just saved over this
and 3ds Max would load it up automatically.
| | 04:37 | I'll pick wall section windows and hit Open.
| | 04:41 | As we can see, I have got what
looks like great depth in the windows.
| | 04:44 | I did make one minor goof.
| | 04:46 | My polygon was upside down.
| | 04:48 | This is an easy fix in Photoshop.
| | 04:50 | I'll do this, fix it, and reload.
| | 04:52 | We want to make sure that the
darkness is in the right direction.
| | 04:55 | Here in Photoshop, I can mirror this
over, because it's on its own layer.
| | 04:59 | Remember when you're working in
textures, always use another layer.
| | 05:03 | It's a better practice to do that than
to have a fix that is difficult because
| | 05:07 | you're trying to paint out little parts.
| | 05:10 | I'll choose Edit > Transform > Flip Vertical.
| | 05:14 | Now my occlusion is laid over correctly.
| | 05:16 | I can save this out again and if needed,
I can erode this occlusion so it's not
| | 05:21 | quite as consistent.
| | 05:22 | I may also want to erode it especially along
the glass so the glass doesn't read as dark.
| | 05:27 | I will save this and see how it looks.
| | 05:34 | Back here in 3ds Max, I've reloaded
the occlusion simply by refreshing the
| | 05:38 | screen once I have saved over the file.
| | 05:40 | My windows look like they have a lot
of extra depth. Maybe not as much as the
| | 05:44 | true geometry, but definitely good for game.
| | 05:47 | After all, it's the illusion of being
where we are and we need the details and
| | 05:51 | the dirt in the details to make that really pop.
| | Collapse this transcript |
| Baking lighting| 00:00 | In a game, dynamic lighting is difficult.
| | 00:03 | Dynamic lighting is the act of
having real geometry cast real shadows,
| | 00:07 | occasionally in motion and on static objects.
| | 00:10 | We try to reserve this for things that are
important, like the player or moving cars.
| | 00:15 | In our city there is going to be lots of
stuff that needs to look like it's shadowing.
| | 00:19 | That can be fairly static,
hence we can bake our shadows.
| | 00:22 | Additionally, we may want to model high
detailed stuff, like these windows you
| | 00:26 | can see on screen, and bake complex
shadows from them to put into our texture.
| | 00:31 | On the left side with the brick wall I
have an ambient occlusion bake, plus a
| | 00:35 | diffused map adding what looks
like great depth in that window.
| | 00:38 | When I had the shadow
detail in, those will really pop.
| | 00:42 | By doing this then I can put one large
light in my game that has dynamic shadows
| | 00:47 | only on select objects and impersonates
my sun. Everything else will look like
| | 00:52 | it's lit by it, as long as the angle matches.
| | 00:54 | To start, I'll take my high detail
windows, which I have already unwrapped, and
| | 00:58 | press 0 to go to the Render to Texture dialog.
| | 01:01 | Windows are selected up here in the top field.
| | 01:04 | I'll scroll down to the output and add elements.
| | 01:07 | I'll add in a ShadowsMap.
| | 01:09 | We can also add other maps in,
depending on what we need.
| | 01:12 | As an example, we could bake about a
NormalsMap, differentiating the height in the windows.
| | 01:17 | This could be handy.
| | 01:18 | We can output a LightingMap,
where are things bright and dark.
| | 01:22 | We can output SpecularMaps,
where are things shiny or dull.
| | 01:26 | And finally, we can output a CompleteMap.
| | 01:29 | A CompleteMap has everything altogether.
| | 01:32 | Essentially the whole look of
the game is baked into one texture.
| | 01:36 | I'll light in the ShadowsMap for now.
| | 01:38 | In this element, I'll run it at 1024.
Later I'll size it down to match over my
| | 01:43 | windows, in my diffuse texture in Photoshop.
| | 01:46 | I'll make sure in my source that
Rendered to Files Only is checked.
| | 01:51 | When I hit Render, this will take a sec,
render out a diffuse map, as well as the shadows.
| | 01:57 | My shadows are baked. I can see on screen in
the diffuse map what look like good shadows.
| | 02:02 | However, this isn't the true map.
| | 02:04 | This is a true shadow.
| | 02:06 | In a shadow map, things that
are not shadowed are white.
| | 02:10 | That way when I lay this over an image
in Photoshop, switching the blending mode
| | 02:13 | to Multiply, white is invisible,
essentially multiplying by 1.
| | 02:18 | I'll bring that image into Photoshop
and lay it over my existing diffused map.
| | 02:22 | Here in Photoshop, I've opened up my
shadows map, as well as my diffuse texture.
| | 02:27 | I'll select the shadow map.
| | 02:28 | In this case I'll use the Magic Wand
to select the black around my actual
| | 02:32 | object, then invert the selection by
pressing Ctrl+Shift+I. Finally, I'll copy
| | 02:37 | and paste over to my PSD.
| | 02:40 | I'll press Ctrl+C and
now I can close this image.
| | 02:43 | In this diffuse texture then,
I'll paste that into a new layer.
| | 02:46 | I need to downsize this to match my windows.
| | 02:49 | I'll press Ctrl+T to access the Transform tool.
| | 02:53 | Hold Shift and scale from one corner.
| | 02:56 | This will be a combination of moving
and scaling, to see if this really works.
| | 03:00 | However, I do have my occlusion render
already in to size to. I'll scale it in
| | 03:04 | as well as possible, and then see if I
need to widen it just a little bit to
| | 03:09 | match. Looks like it snaps right on.
| | 03:11 | I'll make sure that this snaps on all the sides.
| | 03:14 | Finally, I'll hit Enter to
accept the transformation.
| | 03:17 | The shadows look pretty good.
| | 03:19 | I'll change this layer's
blending mode to Multiply.
| | 03:22 | My shadows lay over my windows.
| | 03:24 | I may want to think about the order of
the shadows in the occlusion in here.
| | 03:28 | In this case I have my occlusion over my
shadows, giving me really nice darkness
| | 03:32 | up here at the top of the window
and the window looks like it's lit.
| | 03:35 | I'll zoom in and check and make sure
that my shadows are lined up correctly.
| | 03:39 | Looks like I'm in pretty good.
| | 03:41 | I may use the Nudge tool just a
couple of pixels to get that right on.
| | 03:45 | That looks pretty good there.
| | 03:47 | The neat part with crafting that high-
detailed geometry is that it shadows
| | 03:51 | onto the windows and the windows self shadow,
and they really look like they have some depth.
| | 03:55 | When I combine this with a normal map,
I'll get tremendous depth in the windows
| | 04:00 | on a single polygon all done with texture.
| | 04:02 | I'll save this out, bring it back
into 3ds Max, and show how it looks.
| | 04:06 | Back here in 3ds Max, I've saved
this ShadowMap out as a separate image.
| | 04:11 | I'll press M for my Material Editor
and in the Diffuse Color of the material
| | 04:15 | applied to that wall, I'll choose the new one.
| | 04:18 | Once that updates, I can see my shadows.
| | 04:21 | We can see that my free direct
light is casting shadows on my object.
| | 04:25 | Additionally, the windows have shadows.
| | 04:27 | It looks like I forgot to turn these over.
| | 04:29 | That's a quick fix in Photoshop.
| | 04:31 | I'll go back and do this
and then import it again.
| | 04:35 | The important thing to remember here as
well, as you can see, is that it doesn't
| | 04:38 | work the first time, and that's really okay.
| | 04:41 | It's perfectly fine to try something, say
it didn't work, come back, and try it again.
| | 04:46 | Even 3, 4, 5 times, until you get it right.
| | 04:49 | I need to flip my shadows around,
both horizontally and vertically, to get
| | 04:53 | them in the right place.
| | 04:54 | As my window polygon is upside down. I'll
choose Edit > Transform > Flip Horizontal.
| | 05:00 | Then I'll choose Edit > Transform > Flip
Vertical, and now they are in the right direction.
| | 05:06 | Alternately we can make sure that
everything in this UVW map is facing the right way.
| | 05:11 | I'll save this image out, bring
back into 3ds Max, and see how it looks.
| | 05:15 | Here in 3ds Max, we can see that fix in action.
| | 05:18 | My shadows are in the right direction
and using the realistic shading, really
| | 05:22 | simulates how it will look in game.
| | 05:24 | I have some minor inconsistency,
where the real shadow from the polygon
| | 05:28 | laps over the windows.
| | 05:29 | But in general, the windows look like
they have a tremendous amount of detail
| | 05:32 | and depth, all done with texture.
| | 05:35 | It's important to consider the Render
to Texture dialog and baking parts of the
| | 05:39 | texture in your arsenal of
tools for texturing in games.
| | 05:43 | We shouldn't just have to hand-paint everything.
| | 05:45 | There is a lot we can do with
rendering elements and using them, including
| | 05:49 | adding dirt, shadow, and high detail
pieces into our renders, getting the best
| | 05:54 | of both worlds, high detail, high
resolution renderings, and texture painting,
| | 05:59 | to add realism in our game.
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|
|
10. Preparing to ExportPreparing for Unity as a world builder| 00:00 | When we are finally ready to bring
our objects across into Unity we need to
| | 00:04 | consider exactly what we will be taking with us.
| | 00:07 | It's uncommon to take an entire
world out of 3ds Max and into Unity.
| | 00:13 | Much more commonly, we will take
pieces out, separate scenes, single objects,
| | 00:17 | single textures, and bring
them in and place them in Unity.
| | 00:21 | This will also allow us to take things
that maybe replicated many, many times
| | 00:26 | and package them in Unity.
| | 00:28 | A prefab then will allow us to take
one object and clone it and reference it,
| | 00:33 | thereby saving memory and overhead.
| | 00:36 | Additionally, with textures we want to
think about the size we drew them, the
| | 00:40 | size we mapped them, and how large
the resolution will be in game.
| | 00:45 | We have greater control over this in the
game engine than we do here in 3ds Max.
| | 00:50 | This is an example of a
prototype or a design model.
| | 00:54 | I laid out the streets here using my
various intersections and short and long
| | 00:59 | and wide narrow streets to make the
chunk of a city I needed, complete with
| | 01:03 | super blocks seen on the right and
bottom here. Where a block comes to a T it's
| | 01:07 | be blocked by a building.
| | 01:08 | I wouldn't bring this across into Unity,
and the reason is I can put this at
| | 01:13 | exact coordinates and space.
| | 01:15 | I also have repetitive elements such as
the small and large intersections, which
| | 01:20 | as long as I know a coordinate in
space,e I'd be better off cloning it there.
| | 01:26 | It's perfectly okay to
make a model here in 3ds Max.
| | 01:30 | Select elements singly and choose
under File > Save As and save the selected
| | 01:36 | object out as a separate scene.
| | 01:38 | That way we can bring one scene with one
object in Unity and have a cleaner project.
| | 01:44 | The same thing applies
in Photoshop for textures.
| | 01:46 | This is an example.
| | 01:48 | This street is drawn at 1024 square.
| | 01:50 | I like to draw things big so I can put
in the detail I need with the knowledge
| | 01:55 | that going into game I may reduce this.
| | 01:58 | I can specify in Unity that this
texture may max out at 512x512.
| | 02:03 | This won't affect things like the lines too
badly as Unity does a great job on compression.
| | 02:08 | We can also bring in
layered PSDs if we really need.
| | 02:11 | So we have some flexibility.
| | 02:13 | The important thing is to stay
organized and plan out exactly what will be and
| | 02:18 | won't be exported, and to make the
difference in your mind between a prototype
| | 02:22 | or design model and the final
piece to bring into the game.
| | Collapse this transcript |
| Importing into Unity and recognizing limitations| 00:00 | As part of our process of importing
into our game engine we need to consider
| | 00:04 | what will and won't come across.
| | 00:06 | Materials as an example are barely
there when they come in, allowing some
| | 00:11 | customization in the game engine for
better gameplay and a better look with a
| | 00:15 | graphics engine supported.
| | 00:16 | In 3ds Max if you have noticed I
haven't done much with materials.
| | 00:20 | As an example pressing M for the
Material Editor shows us basic Standard
| | 00:25 | materials with Blinn Shaders.
| | 00:27 | I haven't adjusted the
Specular Level or Glossiness.
| | 00:30 | Really, all I have done for these
roads is put the diffuse texture in.
| | 00:34 | The reason for this is that Unity is going
to bring this in as a basic diffuse material.
| | 00:39 | It has its own definitions for
materials and shaders and where the maps go.
| | 00:43 | I am using 3ds Max and the materials
here really to place the maps, figuring I
| | 00:48 | am going to tune the look, the
shine, and other things in the game.
| | 00:53 | I'll bring this file into
Unity and show how it comes across.
| | 00:56 | I will right-click in the
Project window and import a new asset.
| | 01:01 | I'll select the whole scene in
this case, which has all of my roads.
| | 01:04 | I would assume that I break out other
pieces in separate scenes for easier import.
| | 01:09 | This way I can select unique objects easily.
| | 01:14 | When my scene comes in, I have an overall
prefab or package here with all of the objects in it.
| | 01:20 | All of the objects have actually two nodes:
how they're brought in and they mesh itself.
| | 01:28 | Additionally, my materials came in from 3ds Max.
| | 01:32 | Here is my square intersection, but
it doesn't show anything on it yet.
| | 01:35 | It simply regarded this as a Diffuse
Shader with one map for the Main Color and
| | 01:41 | no other properties.
| | 01:43 | When I pick my mesh and drag it into
the Project window I can see it doesn't
| | 01:47 | have its textures associated either.
| | 01:49 | What I will do is bring
in the texture separately.
| | 01:52 | It's better to do that
and let Unity optimize them.
| | 01:55 | I will right-click and choose Import New Asset.
| | 01:59 | I will go find those textures,
browsing to the sceneassets images folder.
| | 02:07 | I'll bring in my textures, noting
that I can bring in a PSD if needed.
| | 02:12 | Here is my rectangular intersection.
| | 02:14 | I will right-click and choose Import
New Asset and bring in the square one and
| | 02:25 | finally I'll bring in the street.
| | 02:30 | Note in here in the Project
window that naming is very important.
| | 02:33 | Right now things are stacking up
alphabetically and if my names are all over the
| | 02:37 | place I may not be able to find my assets.
| | 02:40 | Always plan for several thousand assets
in a game, between textures, meshes, and
| | 02:46 | other objects, plus scripts and Unity elements.
| | 02:49 | Now I will select my
square intersection material.
| | 02:52 | And in the Texture selection I will
click on Select and scroll down and
| | 02:57 | pick that intersection.
| | 02:58 | I will pick the intersection color.
| | 03:04 | Notice here that Unity regards the size
and compresses it and note what it's doing.
| | 03:10 | Taking a texture which as a TIFF
is 3 MB and reducing it down to .7.
| | 03:15 | This is pretty good and
we can go further with it.
| | 03:19 | Now with this material as part of this
object I can scroll back and find any of
| | 03:23 | those intersections and we'll
see where that texture apply.
| | 03:29 | It looks like things came across nicely,
although I am missing some other pieces.
| | 03:34 | I'll repeat the process, choosing the
rectangular intersections and their
| | 03:37 | textures as well as the streets.
| | 03:39 | Eventually, I'll have my
whole street grid showing.
| | 03:43 | The lesson to learn here is to be
organized when you're ready to export.
| | 03:47 | We are going to deal in thousands of
assets, possibly hundreds of textures, and
| | 03:52 | having each one named in a way that we
can find it easily and know what we are
| | 03:56 | getting when it comes in is a big deal.
| | 03:59 | We have to recognize that some
things don't always transfer.
| | 04:02 | Meshes and UVs come across;
materials maybe not so much.
| | 04:06 | With a full expectation we are
going to customize them in Unity so it
| | 04:10 | looks right in the game.
| | Collapse this transcript |
| Importing elements with detailed materials| 00:01 | One of the neat things about
working in unity is we can take 3ds Max
| | 00:05 | scenes straight in.
| | 00:07 | However, that's a double-edged sword,
| | 00:09 | as occasionally we forget to clean
up a scene and we get things we don't
| | 00:13 | want coming into game.
| | 00:14 | In this example, I have a high res
window that I used to bake out ambient
| | 00:18 | occlusion and shadows.
| | 00:20 | I have a low res piece of a scene, a
wall with those windows in it that's
| | 00:24 | textured and ready to go.
| | 00:26 | I've also got a light and I was using
this to test out the shine in normal maps.
| | 00:31 | I've been playing with this
material a little bit too.
| | 00:34 | Pressing M for the Material Editor
shows that I have a Bump of Normal and in
| | 00:39 | that Normal, I've opted strength to 12.
| | 00:41 | When we are going into game, we want
to make sure that our materials work as
| | 00:47 | they're supposed to at a strength of 1.
| | 00:49 | That's very important as there is
not really a way to adjust the strength.
| | 00:53 | It's either there or not.
| | 00:54 | Additionally, we need to do some cleanup.
| | 00:57 | Just because we can bring an
entire scene in doesn't mean we should.
| | 01:00 | What I will start out with is
making sure I have the scene saved as a
| | 01:04 | working version with all its components,
in case I need to go back and revise
| | 01:08 | the bake or the shadows.
| | 01:10 | Then I will save a copy or do a Save As,
saving a selected object for export.
| | 01:15 | I'm going to start by deleting things I
don't need then I will save a copy of the scene.
| | 01:20 | The high res model will get deleted.
| | 01:23 | I'll take the light out as well.
| | 01:24 | I have lighting in Unity I can use.
| | 01:27 | I'll check my layers, looking on the Layer
menu and noting I have an extra layer in here.
| | 01:33 | This layer has nothing on it, but I can't
delete it because it's the active layer.
| | 01:37 | I will make the default layer the
active one, and now I can pick this layer
| | 01:41 | called high detail and delete it.
| | 01:43 | I will right-click and choose Unhide All,
making sure that there're no extra objects.
| | 01:49 | I will make sure I don't have any
cameras in the scene. That really all I've got
| | 01:53 | is what we can see right here.
| | 01:55 | One simple wall with its texture.
| | 01:58 | In the Material Editor, only
materials applied to objects come across.
| | 02:03 | I need to note which pieces to bring in.
| | 02:05 | The material will come in and I will
have to go get these maps and apply them.
| | 02:11 | Now I'm ready to save
this scene and bring it in.
| | 02:14 | I may want to move the pivot as well.
| | 02:15 | I'll go to the Pivots and
IK tab and Affect Pivot Only.
| | 02:21 | I may want to use the Align tool or the
Snap Settings and align the pivot down
| | 02:25 | to one of the corners for easy use.
| | 02:27 | I'll change my snap, pressing Shift and
right-click and choosing Pivot points.
| | 02:33 | Now with the 3D Snap on, I can select
the pivot and move the pivot down to snap
| | 02:38 | on a corner of the object.
| | 02:40 | Now when I rotate this, it will spin
cleanly and if I need to align the pivot
| | 02:44 | on a precise coordinate to match up
with something else, I can. I will turn
| | 02:49 | off Affect Pivot Only.
| | 02:51 | I'm ready to export this object out.
| | 02:55 | I'll choose File > Save As and
save the selected just to make sure.
| | 03:00 | When I save the selected object,
I will call this brick wall.
| | 03:07 | Now in unity, I can bring this in.
| | 03:10 | Here in Unity, under Project, I can
right-click and import a new asset.
| | 03:15 | I'll pick that 3ds Max scene.
| | 03:20 | Selecting my brick wall Max file allows
me to bring that in with its materials.
| | 03:28 | When this comes in, I have one scene
with one mesh and one material for it.
| | 03:33 | This is as clean as I can get it.
| | 03:35 | I will drag that brick wall into the scene.
| | 03:38 | Press F to focus or zoom in and
make sure I can see my object.
| | 03:43 | Notice I've also optimized it, that I've
made sure that the normals are facing in
| | 03:47 | the right direction.
| | 03:49 | Right now we're seeing the wall
from the back, where it's invisible.
| | 03:52 | It's important to check this.
| | 03:54 | Unity renders single-sided pieces as I've got.
| | 03:57 | I want the brick wall to face out.
| | 04:01 | Here is my material.
| | 04:02 | I may want to rename this or be
careful with it as I bring it in.
| | 04:06 | Alternately, I can skip the materials and
make Unity materials with correct names.
| | 04:11 | I'm going to change this shader over to
a Bumped Diffuse. That allows me to bring
| | 04:16 | in my normal map as well as my Base Color.
| | 04:19 | I'll import those in and
then show the selection of them.
| | 04:22 | I will right-click, choose Import
New Asset, and go pick those textures.
| | 04:31 | I've imported my images into Unity.
| | 04:34 | Notice that down here in the bottom of
the Preview, it's showing me how big that
| | 04:38 | texture is and also the
size and how it compresses.
| | 04:42 | The normals do the same.
| | 04:43 | But what we want to do is make sure we
test things out in 3ds Max, getting it
| | 04:48 | as close as possible.
| | 04:50 | We can see that Unity, in this material
I have very, very few properties to adjust.
| | 04:54 | I will choose Select in the Texture
for the Base Color and pick wall section.
| | 05:01 | There's my diffuse map.
| | 05:02 | I'll select now the normal map and put it on.
| | 05:05 | I need a light to be able to show this better.
| | 05:09 | Although it's not bad, I can see when
it comes in, my textures read nicely on
| | 05:14 | the wall. My object is clean.
| | 05:16 | I am going to mark this as a Normal
map, choosing Fix Now, and I should see
| | 05:22 | that lighting change.
| | 05:28 | We can just see a little bit of change
on the windows and also on the brick.
| | 05:31 | One of the things this tells me is that
I need to adjust this map and make it a
| | 05:36 | little stronger so it comes across.
| | 05:39 | Planning is very important.
So is having a clean scene.
| | 05:42 | It's very easy to have extra objects and
spend more time culling through rubbish
| | 05:47 | you thought you had left behind
than it is actually to make the game.
| | 05:51 | A little planning goes a long way and a
little scene cleanup and proper naming
| | 05:56 | will go very, very far.
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| Setting optimal texture sizes and resizing in Unity| 00:00 | When we are importing objects into Unity,
once you have cleaned up the scenes and
| | 00:04 | named everything properly there are
a couple of key things to consider.
| | 00:08 | One is how does the mesh come across?
| | 00:11 | You can see in this that
this mesh is composed of tris.
| | 00:14 | I didn't intend for it to
be that way out of 3ds Max.
| | 00:17 | If I look at the original in
3ds Max it looks far different.
| | 00:21 | This is the original mesh.
| | 00:22 | I constructed this out of rectangles,
converting one to a spline attaching
| | 00:26 | together making it into an editable
poly and then extruding the edges.
| | 00:30 | Finally, capping a border
to get the recessed window.
| | 00:33 | This could be done in any number of
ways, but how that edge flow works
| | 00:37 | depends on how it's made.
| | 00:39 | In this case, I haven't used the Cut
tool in the poly to put in any edge lines.
| | 00:44 | What Unity did for me is it triangulated it.
| | 00:47 | Those edge lines were already here,
but it turned them on and it may have
| | 00:51 | flipped one or two if I didn't define them.
| | 00:53 | The structure of the editable poly has
no interior edge lines until we need them.
| | 00:58 | Therefore, it's a good practice to make
sure that things are modeled in quads or
| | 01:02 | tris, four or three sided pieces, so
you have control over those interior mesh
| | 01:07 | lines when they come in.
| | 01:07 | I'll go back to Unity.
| | 01:10 | I will put a light in and look
at optimizing the texture size.
| | 01:13 | Here in Unity to put a light in, I can
choose GameObject > Create Other and
| | 01:19 | I'll put a Point Light in for
show to be able to see my material.
| | 01:22 | I will do this quite often.
| | 01:25 | When I bring in an object, rather than
bring it in light up everything, I will
| | 01:29 | put in one light that really shows
off the properties of that object.
| | 01:32 | In this case pulling this light back
and forth shows me pretty nicely that
| | 01:36 | my texture is working and my normal maps are
decent, although a little bit understrength.
| | 01:41 | Now I want to look at the maximum texture size.
| | 01:45 | In a game, if I'm going to get
this close to this mesh, I'll be fine.
| | 01:49 | As an example I might stand up on
that windowsill and try to grab some
| | 01:53 | cover behind that ledge.
| | 01:56 | If I'm going to stand back from it-- and
this will always be a background object.
| | 02:00 | Let's say things up on a ceiling on a
warehouse where I need them to be there,
| | 02:04 | but I can't really make out the detail.
Then I may want to optimize the texture.
| | 02:08 | Unity does a great job of this.
| | 02:10 | I will select my diffuse
texture, wall sectionC shadows.
| | 02:15 | Notice down at the bottom of the
previews it records the size, that it is an RGB
| | 02:19 | image versus a grayscale, and that
it is compressed down to 0.7 MB.
| | 02:23 | What Unity lets me do, if
needed, is put in a maximum size.
| | 02:29 | Therefore, I can use this many times
and expect different Maximum Sizes.
| | 02:33 | I will degrade this down to 512.
| | 02:36 | When I check Apply, it will reduce
this and my wall still looks pretty good.
| | 02:42 | Unity does a terrific job downraising
things, taking textures and reducing them
| | 02:48 | in size while preserving quality.
| | 02:50 | Therefore, when you're
painting textures, paint big.
| | 02:53 | I regularly plan to pay my
textures twice as big as the final.
| | 02:57 | In this case, my texture was painted at
1024 for final use at 512, introducing a
| | 03:03 | little bit of blur and softening the
look, giving me a nice overall look on the
| | 03:08 | wall while reducing the
memory footprint even further.
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| Setting up a naming convention and scene management| 00:00 | When you're working on a project
and especially in a game, proper naming
| | 00:04 | conventions are absolutely essential.
| | 00:06 | You may think it's not such a big deal,
it's only a few objects and we were just
| | 00:10 | dealing in a small scene.
| | 00:11 | But when you start work in thousands of
unique named assets in the game it's a big deal.
| | 00:17 | We might have hundreds of meshes,
hundreds of lights, animation clips, scripts,
| | 00:23 | and other in-game pieces like
skyboxes, all of which need a proper naming
| | 00:27 | convention so we can find them.
| | 00:29 | Remember also, we're going to use
things like scripts that look for either
| | 00:34 | variables or unique names.
| | 00:36 | So we need to have a naming
convention we can read easily.
| | 00:39 | And more importantly, we need to
have a naming convention we can share.
| | 00:43 | You might be in a studio
interfacing with the wetware as we call it.
| | 00:46 | You know what that is?
| | 00:48 | The other people. Who will be very mad at
you if your objects are not named well.
| | 00:52 | To start, I'm going to get this
building ready for bringing into Unity.
| | 00:56 | Right now it's a design model.
| | 00:58 | I've got it unwrapped, I've got my
textures on, there are two materials, a
| | 01:02 | Cornice and an Upper Floor,
and a bunch of objects.
| | 01:05 | I'll pick really any one of them, right-
click, and convert it to an editable poly.
| | 01:10 | This makes it no longer an
instance and bakes the UVs in.
| | 01:14 | Then I'll attach it to all the other
objects, right-clicking and choosing the
| | 01:18 | dialog next to Attach.
| | 01:21 | In the Attach dialog I'm going to filter,
turning off lights and cameras to make
| | 01:26 | sure I just have geometry.
| | 01:28 | I'll do a quick scroll down
the list and check as well.
| | 01:31 | Looks like its all geometry, so I can
pick the Select All button and attach
| | 01:36 | all the objects in.
| | 01:38 | Yes, in this case I'd like to match
the material IDs to the material.
| | 01:42 | Everything is in. I need to fix some
smoothing issues down there it looks like.
| | 01:46 | I know that part of the building is flat,
so I can pick all of its polygons and
| | 01:51 | just clear off the smoothing.
| | 01:52 | It looks like the problem is fixed.
| | 02:02 | Now for the Material IDs, because keeping it
clean is essential there too. In the Polygon:
| | 02:08 | Material IDs when I select Polygons I can see
I have 1, 1, 2 and 3, okay. That's little odd.
| | 02:17 | I should just have two materials.
| | 02:19 | I'm going to right-click and choose
Top Level and look at the naming in the
| | 02:22 | material first as part of sorting out the IDs.
| | 02:26 | In my Materials right now I have a material
called Cornice and one called Upper Floors.
| | 02:31 | That could be for any building.
| | 02:33 | I'm going to assign a naming convention
and make my Multi/Sub-Object material clean.
| | 02:38 | I've already started to do a name here.
| | 02:43 | In this case I've attached the letters
BLD or Building and then _Building01.
| | 02:52 | This would be building one of however many I do.
| | 02:54 | I've put in some shorthand that I think I'm
going to use repetitively. Upper Floor is UF.
| | 03:00 | I'll also see a CN for Cornice.
| | 03:02 | Lastly at the end of the name, I put a single
letter designation for the place of this map.
| | 03:07 | In this case C is a Color or DiffuseMap,
N is for Normal, S would be for Shine
| | 03:13 | or glossiness, and so forth.
| | 03:15 | This makes it easy to look down a
list and see where a map goes and also
| | 03:18 | what it's attached to.
| | 03:20 | I may have other prefixes in there,
such as STR for street, TRE for tree and
| | 03:26 | planter, all kinds of things
that are necessary in my city.
| | 03:33 | I'll make a Multi/Sub-Object
material and clean this up,
| | 03:36 | choosing of an empty slot
and clicking on Standard.
| | 03:39 | In the Standard Materials
I'll pick a Multi/Sub-Object.
| | 03:43 | I'll discard this one. That's okay.
| | 03:47 | And first I'll set the number.
| | 03:48 | I'll put the Number of Materials at 2.
| | 03:52 | I only need 2 in this building.
| | 03:54 | I'll name the first material as I create
it, clicking on the None slot in number
| | 03:58 | 1 and picking a standard material.
| | 04:04 | I'll name this standard material per its maps.
| | 04:08 | This again will be BLD so I know it's a
building material, _Building01_UF for Upper Floor.
| | 04:17 | That way the Upper Floor material
gets the upper floor maps and everything
| | 04:21 | works together. Into the Diffuse channel so I
can verify it works I'll put in the Upper Floor.
| | 04:28 | Going in my Maps I can see here in my
Scene Materials I have that map already.
| | 04:33 | I'll select it and in this case an
Instance or Copy doesn't really matter.
| | 04:38 | I'll choose Instance.
| | 04:40 | Now I need to add the normal map in,
just to check and make sure it also works.
| | 04:44 | I'll go into Maps, into the
Bump slot, and add a Normal Bump.
| | 04:49 | Here it is again in the Scene Materials,
Normal: Map #5 (BLG_Building01_UF_N).
| | 04:56 | I'll instance this and
put the strength up to 100.
| | 05:03 | I'll repeat this process with the
other material, making the same choices in
| | 05:08 | naming and placement.
| | 05:10 | When it's done I'll show how to
get the Material IDs straight.
| | 05:13 | Now that I've got my materials made,
with both standard materials having the
| | 05:18 | correct name, Building01_CN for
Cornice in this case, and the correct maps
| | 05:23 | with their designation.
| | 05:24 | I've named the Master Material BLD_Building01.
| | 05:28 | As the names get higher or more
towards the root object, they will get
| | 05:32 | shorter and shorter.
| | 05:33 | This is a root object, a root
material here, the Multi/Sub.
| | 05:36 | So Building01 is all I need.
| | 05:38 | Now I'll check the Material IDs.
| | 05:40 | I'll select my object and
assign this material to it.
| | 05:44 | I'll make sure that my materials in the
Material Editor are set to show in the view.
| | 05:48 | Clicking on the Material and turning on
the Show Shaded Material in Viewport button.
| | 05:59 | Looks like I'm in pretty good shape.
| | 06:01 | I need to fix a few material IDs.
| | 06:03 | It's important to streamline these, so we
don't see extra materials coming cross into Unity.
| | 06:08 | I'll work by polygon or by element and
select the middle elements on the top floor.
| | 06:16 | These will all get ID 2.
| | 06:18 | I'll scroll down in Material IDs
and change that. In the Polygon:
| | 06:23 | Material IDs I'll set their ID at 2.
| | 06:27 | And we can see a change, as the Cornice
material with the relief panels is applied.
| | 06:34 | The building is ready.
| | 06:36 | I'll name this object BLD_Building01,
and I'm ready to set the pivot and
| | 06:45 | bring it into Unity.
| | 06:47 | This is what I want to stress over-
and-over, and I tell my students this.
| | 06:51 | Proper naming is essential.
| | 06:53 | Searching through box 1 through box
of thousand for an object is a drag.
| | 06:58 | Trying to find something uniquely in a
script with the game engine, searching
| | 07:01 | through box 1 through 1000 is a nonstarter.
| | 07:05 | Your game is not going to work.
| | 07:07 | Everything needs a unique name and
everything needs to follow a naming
| | 07:11 | convention to the later. Even if you
pressed on time, follow the convention you set.
| | 07:17 | I personally like an Excel spreadsheet.
| | 07:19 | I'm going to list out all the possible
objects, their prefixes, and examples of the names.
| | 07:24 | That way if there's any question or
if I'm bringing somebody new on to the
| | 07:27 | project I can hand them a naming guideline.
| | 07:30 | Even if you're working in a solo
project, a naming convention is important.
| | 07:35 | Finding objects is what you want to
do, not hunting through a mass scene.
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| Renaming tools in 3ds Max| 00:00 | As we've discussed previously, naming
is absolutely vital when making a game.
| | 00:05 | We have a handy tool, the Rename
Objects tool, to be able let us rename mass
| | 00:09 | quantities of objects.
| | 00:11 | Picking an object and renaming it is
not a big deal. Picking dozens of objects
| | 00:16 | and renaming them is an enormous drag on time.
| | 00:19 | What I will do is select both
objects and choose Tools > Rename Objects.
| | 00:25 | This dialog lets me put in all kinds of
naming conventions, from a Base Name to
| | 00:30 | Prefixes and Suffixes and appending numbering.
| | 00:33 | I can either work from Selected
Objects or pick them in the scene.
| | 00:38 | I'll start out with a Base Name,
Building01. Ntice I am going put in just
| | 00:43 | Building, even though it's Building01,
because I want to use the numbering
| | 00:46 | system to get these right.
| | 00:48 | I'll put in a Prefix BLD_.
| | 00:53 | That's my general designation
for building objects in my scene.
| | 00:56 | Now I'll check numbering and I'm going
in a start the numbers at 1 and stepping
| | 01:01 | by 1, this will give me 1 and 2.
| | 01:04 | When I hit Rename the objects are
renamed and I can close the dialog.
| | 01:08 | It stays open, so in case you want to
pick other objects and prefix them or
| | 01:13 | append to the name or whatever
you need, it's easy to do that.
| | 01:18 | Here's the name of my objects, BLD_
Building02 and this one is BLD_Building01.
| | 01:27 | I can further customize this using
prefixes, suffixes or additional pieces in the
| | 01:32 | names to delineate what I need.
| | 01:34 | The important thing is I'm following
a naming convention and I shouldn't be
| | 01:38 | afraid of renaming mass objects
as an excuse for not naming things.
| | 01:42 | We have a tool for that and it
makes it very fast and easy to make
| | 01:46 | everything properly named.
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|
|
ConclusionWhat's next| 00:00 | I have finished the building, I have
added more detail to the relief panels and
| | 00:03 | the cornices, and I've included
these texture files for you to look at.
| | 00:07 | Along the way, we have looked at
techniques for low polygon modeling, so we can
| | 00:12 | model our buildings with a minimum of
geometry but still have them feel as if
| | 00:16 | they were crafted to be there.
| | 00:17 | We've also looked at ways to design
the city, exploring methods of making
| | 00:22 | streets, intersections, blocks and sidewalks.
| | 00:26 | We've looked at texturing techniques.
Ways to add realism in detail into a
| | 00:30 | texture without increasing polygon count.
| | 00:34 | We've looked at ways to bake shadows
and lighting, to get the most bang for our
| | 00:38 | buck, and not stress our game engine.
| | 00:41 | I've added a camera into the scene
so we can start to fly in our city.
| | 00:45 | We can see that the city still needs some work.
| | 00:47 | I've got one building in and
a bunch of empty blocks.
| | 00:50 | I need to continue developing buildings and
along the way add in the other parts of the city.
| | 00:55 | I need to streetlights, newspaper
stands, fire hydrants, cars, and people, all
| | 01:00 | the things that make a city,
well, feel like a city.
| | 01:03 | So go out, get some reference, use
street view and explore a city, then start
| | 01:08 | modeling, make the buildings, make parts,
make modules, and clone them. You would
| | 01:12 | be surprise to how fast the blocks
fill up and then think about the other
| | 01:16 | pieces, the everyday details
that make a city, well, a city.
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