IntroductionWelcome| 00:04 | Hi! I am Adam Crespi and welcome to
Creating Game Props in 3ds Max.
| | 00:08 | In this course, we'll look at
modeling large and small props for games,
| | 00:11 | starting out with the basic workflow;
cloning and instancing objects for ease
| | 00:15 | of modeling and unwrapping.
| | 00:17 | Then we'll look at unwrapping and
painting by hand textures in Photoshop.
| | 00:21 | We'll look at diffuse, normal and
specular textures, additionally using some
| | 00:25 | plug-ins to help us generate our normal maps.
| | 00:28 | Then we'll move into our digital sculpting
application Mudbox, and look at ways
| | 00:32 | to add realism detail to our objects.
| | 00:34 | We'll look at baking out normals from
there, and also in 3ds Max, working in high
| | 00:39 | poly to low poly workflow, baking out
normals and ambient occlusion for rust and dirt.
| | 00:44 | Lastly, we'll talk about best practices
for exporting out to Unity, the project
| | 00:48 | structure, and cloning and instancing
objects to get the best use of resources.
| | 00:53 | We'll put in some lights and be able
to test out our scene and see how it
| | 00:56 | should look in the game.
| | 00:57 | Now let's get started creating some game props.
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| What you should know before watching this course| 00:00 | This is an intermediate level course. A
basic working knowledge of Autodesk 3ds
| | 00:04 | Max and Adobe Photoshop is a prerequisite.
| | 00:07 | I'll be introducing Autodesk Mudbox
for digital sculpting as part of the
| | 00:10 | pipeline, and also Unity 3D as
the game engine to assemble this.
| | 00:15 | No knowledge of those is required as
I'll give you the tools you need to
| | 00:18 | get started.
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| Using the exercise files| 00:00 | If you're a Premium member of the
lynda.com online training library, you have
| | 00:04 | access to the exercise files
used throughout this title.
| | 00:07 | In 3ds Max, we use a project structure.
| | 00:10 | Choosing under the Max icon,
Manage and Set the Project Folder.
| | 00:14 | 3ds Max files reside in a project
folder, and this allows Max to maintain
| | 00:19 | relative paths to things like textures.
| | 00:22 | The exercises are in a Max project
called Game Props and in here the standard
| | 00:27 | 3ds Max files, such as export for
exported files, sceneassets with sub folders
| | 00:33 | such as images for textures, and
scenes for the actual 3ds Max scenes.
| | 00:38 | Make sure to set your project first,
and then open the scene, that way Max will
| | 00:43 | find all the textures correctly.
| | 00:45 | In addition to the 3ds Max project,
I've provided a Reference folder that has
| | 00:49 | images of the objects we'll be modeling.
| | 00:51 | Good reference is important, so there is
a selection in here to choose from, and
| | 00:55 | to note the certain details so that our
objects show up in the game correctly.
| | 00:59 | I've also included in the
scenes folder a version2010 folder.
| | 01:03 | In here are exercise files for 3ds Max 2010.
| | 01:06 | These will work with 2011 and 2012 as well.
| | 01:10 | Finally, there's a file called Texture Library.
| | 01:13 | It's a good idea to keep separate
files of textures ready for use in
| | 01:17 | a particular project.
| | 01:18 | And that's what I've got here,
starting out with the wood we would be
| | 01:22 | painting in Chapter 5.
| | 01:23 | If you're a monthly subscriber or
annual subscriber to lynda.com, you don't
| | 01:26 | have access to the exercise files, but you can
follow along from scratch with your own assets.
| | 01:31 | I want to talk about workflow briefly.
| | 01:33 | I'm going to use the default 3ds Max
user interface, and the default hotkeys.
| | 01:38 | If you like to find these or customize
them, they are available under Customize >
| | 01:42 | Preferences or Customize User Interface.
| | 01:45 | I'll also use the default user
interface in Photoshop as well as the default
| | 01:50 | hotkeys which are
available under Edit > Preferences.
| | 01:53 | Finally in 3ds Max, I'll try to keep
my workflow as transparent as possible.
| | 01:58 | I'm going to use the quad menu, right-
clicking and using that in combination
| | 02:02 | such as Ctrl and Alt to get to my
quad menus for speed while I'm working.
| | 02:07 | Remember that in 3ds Max there's
always a dozen ways of doing something.
| | 02:11 | So you may find the exact same way to
make something in a different place in the
| | 02:15 | user interface and that's perfectly fine.
| | 02:17 | I'll note multiple ways to
use things as they come up.
| | 02:20 | So let's get started.
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1. Modeling a Large Prop (Shipping Container)Overview of modeling a large prop| 00:00 | In this chapter, we'll look at
modeling large props for games.
| | 00:04 | We'll start with the basic
shipping container and look at methods for
| | 00:07 | constructing this out of multiple
objects, so that the construction is easier
| | 00:11 | and more streamlined.
| | 00:12 | We'll look at how to clone and use
instancing to help us unwrap and model.
| | 00:17 | Finally, we'll look at how to unwrap
and effectively use up our texture space.
| | 00:22 | What we're seeing more now in games,
is that the silhouette really matters.
| | 00:26 | Our processors have gotten more and
more powerful to the point where we're not
| | 00:30 | as restricted in polygon count as we used to be.
| | 00:33 | However, texture space still matters, and we
need to utilize our textures as well as we can.
| | 00:39 | We can apply these methods on lots of
other things; anything from trucks to
| | 00:43 | coaches to even cars. Anything that is
really a bunch of small things that make
| | 00:49 | up what we think is one larger object.
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| Laying out the overall form and planning for modular textures and models| 00:00 | In this video, we'll start to
build our shipping container.
| | 00:03 | As part of that it's important
to look at the reference first.
| | 00:07 | We can see that the shipping containers are,
well, as alike as we can mass produce them.
| | 00:11 | We can also see that they vary in color
and maybe just a little bit in surface
| | 00:16 | detail, but essentially
they're a modular construction.
| | 00:20 | They come in standard sizes; 8 feet wide,
9 feet tall, and 20, 40 or 53 feet long.
| | 00:27 | There are some variations with tanks
and so forth, but really what we're
| | 00:31 | concerned about here are
just making the boxy ones.
| | 00:34 | If we plan for a modular
construction it will let us make one model and
| | 00:38 | share textures around.
| | 00:39 | As we can see in this image,
although the containers are alike in
| | 00:43 | construction, they vary in color.
| | 00:46 | We have some kind of a logo on the side
often from the company that owns it, and
| | 00:50 | other markings at a non-door
end and also on the door side.
| | 00:54 | The other important thing when you're
planning this out, in terms of unwrapping
| | 00:58 | the container and building it, is
that it's very difficult to see more than
| | 01:02 | three sides of the container at any given time.
| | 01:04 | As you can see in this view, we can
see two sides of three of the containers,
| | 01:09 | and one side of the others.
| | 01:11 | In a game then obviously we're not
running around to simply tour the containers.
| | 01:14 | We are participating in the game.
| | 01:17 | We can say reasonably that a marking
might be mirrored from side-to-side on a
| | 01:22 | container, and being that the
player may be chasing something, avoiding
| | 01:26 | somebody, and seeing these in different
lighting, they're less likely to notice
| | 01:31 | that it's the same marking on both sides.
| | 01:33 | On smaller objects we may be
able to see more of it at once,
| | 01:37 | but on our containers, we can plan for
some modularity and overlapping textures.
| | 01:41 | We can also plan for some wear and tear.
| | 01:43 | As we can see on this container, the
outer shell is quite rusted through.
| | 01:47 | We can use this to our advantage in
randomizing rust and moving it around later.
| | 01:51 | Now I'll go into 3ds Max and
layout a bounding box for my container.
| | 01:56 | In 3ds Max, the default units are in inches.
| | 01:59 | We can change this under
Customize > Unit Setup.
| | 02:03 | Right now it's in Generic Units and
under the System Unit Setup the System
| | 02:07 | Unit Scale is in inches.
| | 02:10 | The neat part is you can work
in whatever units work for you.
| | 02:13 | If you want to go in Imperial, great! Metric?
Fantastic. Convert Between, not a big deal.
| | 02:19 | Unity is going to bring things in into meters.
| | 02:22 | So when we're ready, if we need, we can
re-measure things, not rescale them so
| | 02:27 | they come in correctly.
| | 02:29 | I'll start up by making a bounding box,
holding Ctrl and right-clicking and
| | 02:34 | choosing Box on quad menu.
| | 02:36 | I'll draw in a box, clicking and
dragging for the width, and releasing and
| | 02:40 | dragging for the height. Notice
that didn't put in my size exactly.
| | 02:44 | I'll close my Transform Type that I have
opened here and go to the Modifier panel.
| | 02:49 | On this box, we have our Parameters and we
can enter in specific dimensions if we need.
| | 02:54 | I'll put in a Length of 8 feet.
| | 02:58 | Notice that Max converts for me.
| | 03:00 | I put in 8 feet, and it
converted it over to inches.
| | 03:03 | I'll press Tab and put in a Width of
20 feet, and finally a Height of 9 feet.
| | 03:11 | My field for Height is highlighted,
so if I click and scroll in here it may
| | 03:15 | actually change that.
| | 03:16 | I'm going to make sure that I hit
Escape to get out of that entry field.
| | 03:20 | It's very easy to put in an exact number
and accidentally scroll and change that value.
| | 03:24 | Now I'm ready to position this.
| | 03:27 | It's a good idea when you're building
singular game assets, and these maybe in
| | 03:30 | multiple scene files, to position
them around 0, 0.
| | 03:34 | I'll press F12 to pull in my Transform Type-In.
| | 03:36 | In the Absolute World,
I'll put this at 0, 0 and 0.
| | 03:41 | That way the pivot is in the
center at 0, 0 down on the floor.
| | 03:46 | When I build my container within this
bounding box, it will sit on the ground.
| | 03:50 | So when I import it into my game engine,
it won't be floating up a couple of inches.
| | 03:54 | The idea is we're going to build one,
make multiple textures, import it in the
| | 03:59 | game, and swap around
textures and materials as we need.
| | 04:02 | We'll also be able to position and
snap these in the engine as part of our
| | 04:06 | layout, thereby saving on our resources in game.
| | 04:09 | I'm ready to start building my actual container.
| | 04:12 | The last step I'll do is to freeze this,
right-clicking and choosing Freeze Selection.
| | 04:18 | This way my bounding box will stay
in place. I can snap to it but I can't
| | 04:23 | accidentally move it and be off model.
| | 04:25 | It's important to do a bounding box for objects.
| | 04:28 | That way you can avoid model creep.
| | 04:30 | Where you start modeling something and
it's sort of grows in its dimensions as
| | 04:34 | you extrude, and suddenly you're off
proportion and your modularity, and your
| | 04:38 | planning and sizing is way off.
| | 04:41 | Starting out with the bounding box,
make sure that you're consistent in your
| | 04:44 | model and your size.
| | 04:45 | So when you're importing in
things fit together correctly.
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| Adding the framing components| 00:00 | Now that I've got my bounding box in, I'm going
to make the corner boxes as part of the frame.
| | 00:05 | I'll go back and look at the reference for a
sec and make sure I've got the right pieces.
| | 00:10 | As we can see in this image, these
corner boxes, which actually hold the mating
| | 00:14 | couplers for joining or stacking
containers, protrude a little bit and it's
| | 00:19 | important to make these, because they
affect the silhouette of the container.
| | 00:22 | Things like the corrugations and the
internal ribs on the structure can be
| | 00:26 | handled on a normal map, but
getting the silhouette right matters.
| | 00:31 | We can see in the other images, even
when the containers are stacked, that these
| | 00:34 | corner boxes do protrude.
| | 00:35 | These are about 6" x 6" x 4" and I'm
going to make them with an instanced workflow.
| | 00:41 | Here in Max, I'll make it a
little easier to see first.
| | 00:44 | I'm going to right-click and choose
Unfreeze All and then select my bounding box.
| | 00:49 | I'll right-click and choose Object Properties.
| | 00:52 | In the Object Properties,
I'll check Display as Box.
| | 00:56 | That way this displays as a wireframe
bounding box of a box. Being that the box and
| | 01:02 | the bounding box are actually a match,
I can snap to the bounding box and work
| | 01:06 | through it or see through it.
| | 01:08 | I'll right-click on it and freeze it again.
| | 01:11 | I'll also get my snap settings correct.
| | 01:14 | I'll hold Shift+Right-click and
make sure that Grid Points is not checked,
| | 01:18 | Vertex is checked, and that Snaps Use
Axis Constraints and Snaps To Frozen
| | 01:23 | Objects are checked.
| | 01:25 | Finally, I like to use the 2.5D
snap, that way I don't accidentally snap
| | 01:30 | something up on the Z axis when I
only want an X and Y. I'm ready to start
| | 01:35 | making my corner boxes.
| | 01:37 | I'll hold Ctrl+Right-click, choose
Box, and land a box in the scene.
| | 01:42 | It is black and I'll deal with that in a minute.
| | 01:45 | I'll go to the Modifier panel and
I'll put in my length, width and height;
| | 01:48 | 6 for the length, 6 for the
width, and 4 for the height.
| | 01:53 | Now about that black display;
| | 01:54 | it's shading correctly, it's inside our box.
| | 01:58 | We can see as I bring it out,
it turns into the right color.
| | 02:02 | I'll click on Realistic and changeover
to Shaded for now and it won't be lit.
| | 02:07 | Now I'm ready to snap this.
| | 02:09 | What I'll do first is to zoom in.
| | 02:12 | It kills me to see people working like this.
| | 02:14 | You can't tell what you're doing. Zoom
in close so you can see what's going on.
| | 02:19 | I'll press Spacebar for selection lock
and make sure my move is on the X and
| | 02:24 | Y. I'm going to register the snap
down on the corner of the box and snap it
| | 02:30 | into the right place.
| | 02:31 | If you're having trouble seeing the snap,
orbit around. Move around as you need
| | 02:35 | to get things on right.
| | 02:37 | Now I'll snap this in.
| | 02:38 | I will now switch over to a top view,
hit Z to zoom extents, and make sure I
| | 02:44 | register the snap and put it in the right place.
| | 02:49 | With one box in, I'm ready to clone it.
| | 02:51 | What I'll do is Shift+Clone it, in this case,
on the Y axis, holding Shift and dragging.
| | 02:58 | I'll pull it over and make it an instance.
| | 03:01 | That way when I get to unwrapping, I
unwrap one and they all unwrap correctly.
| | 03:06 | As part of this, I'll click OK, go in
the top view, hit Z to zoom extents and
| | 03:12 | rotate this 90 degrees.
| | 03:14 | I'll press A for Angle Snap.
| | 03:16 | Notice up at the top, my snaps are on.
| | 03:18 | The Angle Snap allows me to snap this rotation;
| | 03:21 | in this case, every 5 degrees as the default.
| | 03:24 | I'll press W for Move, make sure I'm on
the X and Y axis, Spacebar for selection
| | 03:28 | lock, register the snap, and pull it into place.
| | 03:33 | I'll repeat the process, cloning and
rotating these over all the other corners
| | 03:38 | and then I'll snap the frames into place.
| | 03:40 | I've cloned all of my corner boxes out,
rotating them or mirroring them, so
| | 03:44 | that from the original, the corners rotate
around 90 degrees and mirror from top to bottom.
| | 03:51 | Any number of ways of doing this will work.
| | 03:53 | They are all cloned as instances
and we can tell that's an instance by
| | 03:57 | having four objects selected, the
text box is bold, and the Make unique
| | 04:02 | button is available.
| | 04:03 | This way if I unwrap one, they all unwrap.
| | 04:06 | I'll press Spacebar to release the
selection lock and G to turn off the Grid;
| | 04:10 | sometimes I like to have the Grid
off so I can see what I'm doing.
| | 04:13 | Now I'm going to start on the frame
elements and I'll begin with one, holding
| | 04:17 | Ctrl and right-clicking, choosing Box
and clicking and dragging from the inside
| | 04:22 | of a corner box to the inside of the
corner box, and dragging up for the height.
| | 04:28 | I can come back and put the height in later.
| | 04:30 | I'll go to the Modifier panel, make sure
the dimensions are right on, 6 x 228 x 4,
| | 04:38 | and I'm ready to continue modeling.
| | 04:40 | I do want to make sure my
silhouette works. It shouldn't be 6;
| | 04:44 | it should be 5 inches deep and then I
can use my snapping and aligning to get
| | 04:48 | these in the right place.
| | 04:50 | I'll finish out the corner elements and
then start to look at the side panels.
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| Adding the side panels| 00:00 | I finished adding in the frame
elements adjacent to the corner boxes.
| | 00:04 | I've put in the long top and bottom
frame members as well as the ends, and the
| | 00:08 | vertical supports on the corners.
| | 00:10 | As you can see in these, they are all
held back from the corner boxes by an inch.
| | 00:14 | That gives me that silhouette and
the space between the boxes correctly.
| | 00:18 | Now sometimes folks have a question on this.
| | 00:21 | Why does it look like this box actually
sticks down into the corner box? I know I
| | 00:25 | put that in the right place. Well here's why.
| | 00:27 | I'll press F4 to go to a wireframe
on shaded or shaded with edged faces.
| | 00:31 | What we're seeing here is that the selection
brackets go a little bit beyond the object.
| | 00:36 | In Wireframe the object looks right.
| | 00:38 | But when it's selected and
shaded, they go a little outside.
| | 00:42 | As long as it looks right in Wire
frame and is snapped, you are good.
| | 00:45 | Now these are all instanced
side-to-side and top and bottom.
| | 00:49 | The few variations are from the
top sides to the bottom sides.
| | 00:53 | As the top sides are an inch lower,
so again, the corner boxes stick out.
| | 00:58 | What this will let me do is add in Edit Poly
Modifiers to start to reduce the polygon count.
| | 01:04 | First, I'm going to put
the sides in before I reduce.
| | 01:07 | I'll go into our Left View by hitting L and I'm
going to make either the door or non-door side.
| | 01:13 | I'll hold Ctrl and right-click
and choose Plane. My snap is on.
| | 01:18 | I'm going to register the snap in a corner,
drag down and land it inside that door.
| | 01:23 | Now as I spin around here, holding
Alt and the mouse wheel, we can see that
| | 01:27 | this created on zero.
| | 01:28 | This is because my snap is at 2.5D.
That's fine, I'm going to move it over and
| | 01:34 | put it where I want it.
| | 01:35 | As a side note on the geometry here,
I'll jump to the Modifier panel and make
| | 01:39 | sure those Length and
Width segments are 1 and 1.
| | 01:42 | A quick way to do this is to right-
click on the Spinner and it resets that
| | 01:46 | spinner to the lowest value, in this case 1.
| | 01:48 | Now I'll press W for Move,
and click on the X axis.
| | 01:53 | Then register that snap on a
corner and pull that plane over.
| | 01:58 | I'm going to land this just on the
edge of the purple post, and then I'll
| | 02:02 | move it in precisely.
| | 02:04 | Down at the bottom here in 3ds Max, we
have two ways of dealing with the Transform.
| | 02:08 | I just switched over to
Relative or here is back to Absolute.
| | 02:13 | It's also called Offset Mode Transform Type-In.
| | 02:16 | Now what I can do is move this door or other
panel in by 2 inches and it moves precisely.
| | 02:23 | This lets me get the extra
shadow line right here on the corners.
| | 02:27 | I can fill in the rest of my panels
and I'm ready to start optimizing and
| | 02:31 | unwrapping my shipping container.
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| Unwrapping the sides| 00:00 | I finished modeling the sides, tops
and bottoms of my shipping container.
| | 00:04 | Notice that one side, the big side here,
is actually an instance of the other side.
| | 00:10 | Because it's very difficult, as I've said
previously, to see all of the container at once.
| | 00:15 | We're on one side, we walk around and we
can forget what the other side looked like.
| | 00:19 | This is going to help me in my unwrapping.
| | 00:22 | We can unwrap multiple
objects in Max very easily.
| | 00:25 | I'll pick one end, one side, the top
and the other end, and I'm holding Ctrl to
| | 00:34 | add to the selection.
| | 00:35 | By turning on the wireframe on shaded
or shaded with edged faces I can see
| | 00:39 | the selection here.
| | 00:41 | The two ends are not instanced, because
one has doors and one doesn't, but the
| | 00:45 | sides and top and bottom are.
| | 00:48 | Now in the Modifier List I'll choose Unwrap UVW.
| | 00:52 | We can unwrap multiple objects and
it shows up as an instanced modifier.
| | 00:56 | I'll open up the UV Editor. These are
flat objects but their default mapping
| | 01:01 | is a square, which means it would stretch
the texture as we know them to be rectangles.
| | 01:04 | What I'll do a lot of times here is to
quickly flatten out all the mapping, so
| | 01:09 | they all stay in the same proportion,
because they're sharing an unwrap they
| | 01:13 | will all flatten together.
| | 01:14 | I'll press 3 for faces, Ctrl+A to Select All,
and under Mapping, choose Flatten Mapping.
| | 01:23 | Flattening has a threshold and
spacing. This allows us to detail how do
| | 01:28 | we flatten objects.
| | 01:29 | In this case, this will work just
fine because I'm flattening flat things.
| | 01:33 | I'll click OK and there are all of my
objects laid out. Here are both sides, the
| | 01:39 | top and bottom and
uniquely the end and the doors.
| | 01:44 | And I have leftover space here for
either scaling my UVs or fitting in my other
| | 01:48 | frame elements in my unwrap.
| | 01:50 | I'm stacking textures here and it's a
very quick way to handle boxy objects like
| | 01:54 | this while maximizing that texture space.
| | 01:58 | I'll close this and now I'm ready to start
working on the corner elements and posts.
| | 02:02 | I'll use the same approach to those but I
need to modify their polygons a little bit.
| | 02:07 | We have a few polys we can
optimize in the next video.
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| Unwrapping one corner box| 00:00 | With my panels unwrapped, I'm
ready to start tackling frame elements.
| | 00:04 | I will look first at one of my corner
boxes. I'll select it and press Z to
| | 00:08 | Zoom Extents on it.
| | 00:10 | Remember that I had
instanced these and rotated them.
| | 00:12 | So they do actually rotate 90 degrees around
from each other, and flip from top to bottom.
| | 00:18 | These are used for mating containers
together, and there are actually pins that
| | 00:21 | will go into the holes on these, which
we're going to draw, that help lock them
| | 00:26 | in so we can stack them.
| | 00:27 | In this case, the default Unwrap
coordinates are not going to work.
| | 00:31 | I'll going into the Modifier List
and put an Unwrap UVW Modifier on.
| | 00:36 | I'll open up the Editor and see what
I've got, and we can see that the defaults
| | 00:40 | are square mapped in the zero to one space.
| | 00:43 | I'm going to unfold this object so
that I can paint the sides uniquely.
| | 00:47 | As although they're small, we can
actually see all of the six sides of this
| | 00:51 | depending on where we're standing.
| | 00:53 | I'll press 3 for Faces, Ctrl+A to Select
All and under Mapping I'll choose Unfold.
| | 01:00 | Because it's a box, I can walk it
to the closest face and get a pretty
| | 01:04 | good unwrap quickly.
| | 01:05 | An unfolded box looks like a T. This
will work fairly nicely as we've got top,
| | 01:11 | sides and bottoms all joined.
| | 01:13 | The last thing I'll do is just to
verify as I select by face which is which.
| | 01:18 | You may want to turn off the Active
Map dialog, the checkers here, to see
| | 01:22 | which one is showing.
| | 01:23 | It looks like this worked nicely, as the
most exposed face of this, the top, is
| | 01:28 | centered and the sides all joined.
| | 01:31 | So this corner right here, if it has rust on
it, will spill over and I can paint it nicely.
| | 01:37 | The underside of my box, under here,
which may be in shadow, joins onto the side
| | 01:42 | and so I can paint that
transition between those two edges.
| | 01:46 | This is a good unwrap and
now I'm ready to scale it.
| | 01:51 | One last piece on this,
remember these were instances.
| | 01:55 | I'll right-click and choose Top
Level and we can see here in the Modifier
| | 01:58 | panel that the Unwrap UVW and Box are both
bold, and the Make unique button is available.
| | 02:05 | With one operation I've actually
unwrapped all eight of my corner boxes.
| | 02:10 | Because they're rotated, the textures will
be in the right place when I paint them.
| | 02:14 | Now I'm ready to start unwrapping the
frame elements in the same way, working in
| | 02:19 | instance pairs, or instance quads as
needed, and unfolding these for positioning.
| | Collapse this transcript |
| Unwrapping one of each frame member| 00:00 | With my corner boxes unwrapped and my
side panels unwrapped, I'm ready to start
| | 00:04 | on the other frame elements and I'd
like to optimize them a little bit.
| | 00:08 | Poly counts still does matter, although not
as much as in the early days of gaming.
| | 00:12 | Really were after is silhouette, but
any chance, I can take to optimize or
| | 00:16 | reduce my poly count, I should.
| | 00:18 | Here's what I'll do to make sure they
stay as instances for the unwrapped.
| | 00:22 | I've selected one of my vertical
elements and under the Modifier List, I'm going
| | 00:26 | to choose an Edit Poly Modifier.
| | 00:30 | This Edit Poly instance is between all of them.
| | 00:33 | Now I can go into the Polygon
submenu and select my end polygons.
| | 00:39 | I'll press F2 to Shade Selected Faces
and F3 to go into Wireframe. I can toggle
| | 00:46 | back and forth on these display modes
to let me see easier what's going on;
| | 00:50 | whichever way works is fine.
| | 00:52 | I'm going to pick all the phases and
hold Alt and deselect all the middle ones.
| | 00:58 | Notice that my window
crossing toggle is set to Crossing.
| | 01:01 | That's why I selected in the deselected.
| | 01:04 | The other option here is to set it to
Window and simply window around the end faces.
| | 01:09 | Anyhow, I'll pick both of the ends,
which are completely obscured by other
| | 01:13 | geometry and delete them.
| | 01:15 | This change is now applied to all four
corner posts because they're instances.
| | 01:20 | I'm ready for an unwrap.
| | 01:21 | I'll drop down on the Modifier List,
hit U to go down to the use section,
| | 01:26 | and pick my Unwrap UVW.
| | 01:29 | In here, once I'm unwrapping one,
the unwrap will instance to the others.
| | 01:33 | I'll open up the Editor and see how this looks.
| | 01:36 | Again, I'm faced with the
default squares and that's fine.
| | 01:39 | I'll press 3 for Face, Ctrl+A to
Select All, and under Mapping, I'm going to
| | 01:46 | unfold it and see what it looks like.
| | 01:49 | My unfold worked nicely.
| | 01:51 | The last piece I'll verify here is
which poly is which. Did I get the seam
| | 01:55 | in the right place?
| | 01:57 | I'll deselect and pick one
and just see what it adjoins.
| | 02:00 | This looks pretty good.
| | 02:02 | Right in the middle here, this poly I
have selected is one of the primary ones
| | 02:06 | we're going to see, which means to the
side is one side, and adjacent to it is
| | 02:11 | the other primary polygon we're going to see.
| | 02:14 | So these two that are right in the
middle of this UV shell allow me to
| | 02:18 | paint texture continuity across
and this joint right here on the edge
| | 02:23 | actually is inside the box.
| | 02:25 | Although we need the
polygons, we can't see the joint.
| | 02:27 | So when I paint my textures, I'm safe.
| | 02:30 | I'll right-click and pick Top-level and now
all four of my corner posts are unwrapped.
| | 02:36 | I'll do the same thing;
| | 02:37 | optimizing out the end polys and
then unwrapping the top, bottom, and end
| | 02:42 | framing members, and then I'm ready to
start laying out the texture elements
| | 02:46 | for my texture sheet.
| | Collapse this transcript |
| Laying out the UV coordinates| 00:00 | I've modeled and unwrapped the
separate elements of my shipping container,
| | 00:04 | and now I'm going to bring them together as
one object for texture painting and import.
| | 00:08 | First, I'm going to pick one of my
elements, and really anyone will work.
| | 00:12 | Right now this is a box with an Edit
Poly and an Unwrap UVW modifier onto it.
| | 00:18 | I'll right-click and convert this to a Poly.
| | 00:22 | The texture coordinates, or
the UVs, are now baked into this.
| | 00:26 | So I'm going to right-click and
attach it to the other objects.
| | 00:30 | Once you've unwrapped an object
those texture coordinates are applied.
| | 00:34 | You can collapse it or attach it to
things, or whatever you need, and those UVs
| | 00:38 | are still there until you change them.
| | 00:40 | I'll attach by using the dialog here,
and picking the other objects in the list,
| | 00:45 | picking the top holding
Shift and picking the bottom.
| | 00:49 | This attaches all my objects together,
although it shows as just an editable
| | 00:52 | poly. When I put it an unwrap UVW
modifier on, I can see cleanly in the Editor
| | 00:57 | there is all of my shells.
| | 00:59 | Now I'm going to arrange them.
| | 01:01 | I'll turn off the checkers and
start to move some things around.
| | 01:05 | Notice I'm scrolling back and panning
over, so I have some additional real
| | 01:09 | estate here to play with.
| | 01:10 | What I'd like to do first is turn on
the Select By Element Toggle and start to
| | 01:15 | grab all the stacked elements I've
made and pull them out of the way.
| | 01:19 | I want to get a clear
picture of what's going on.
| | 01:22 | There is my long sides and here's my
short sides and tops, and I'll leave that
| | 01:26 | side where it is, and now I've got
my elements pretty nicely stacked.
| | 01:31 | Over here on the left side I have my
top frames and vertical posts. On the
| | 01:36 | bottom, those are all of my long frames,
and this giant plus; those are actually
| | 01:41 | the small corner boxes.
| | 01:43 | When I'm getting UVs in, what matters
is that I'm utilizing this zero to one
| | 01:47 | space as effectively as possible.
| | 01:49 | If you're loading an image in that is
1024 pixels on a side, whether or not
| | 01:54 | you're using those pixels in the texture,
you are still loading them into RAM.
| | 01:58 | Memory is crucial in games and so
we have to optimize our UV layouts.
| | 02:03 | This is pretty good so far. These
elements, my sides, top and bottom and door
| | 02:09 | end and flat end, are
about as big as I can get them.
| | 02:13 | I may want to use the Freeform Mode and
scale them just a little bit, to see if
| | 02:17 | I get them any bigger.
| | 02:18 | I'll hold Ctrl while I scale,
| | 02:20 | to make sure that I don't distort my
elements I've so carefully unwrapped, and
| | 02:24 | then start to pick the pieces, and see if I
can slide them a little closer to each other.
| | 02:29 | This is also a good place to make sure
in the Move tool, you constrain down to
| | 02:33 | one axis, that way when painting a
texture, you can slide things vertically in
| | 02:38 | Photoshop or horizontally
and not the off alignment.
| | 02:41 | I'll pull these in and
put them as close as I can.
| | 02:45 | I want to make sure that my edges don't
touch, that is, I don't have overlapping
| | 02:49 | UVs where they shouldn't be overlapping,
and also that the UVs are not touching
| | 02:54 | the edges of that zero to one space.
| | 02:57 | Now I'll start to bring in my other pieces.
| | 02:59 | First, I'll take my longest
elements which are my long sides here, I'll
| | 03:04 | rotate them 90 degrees and I'll move
them into the right place. I'll switch
| | 03:08 | my Move tool back over to two
directions, and I'll pull them in and stack
| | 03:13 | them as well as I can.
| | 03:15 | It looks like I need to scale these
down just a little bit, don't be afraid to
| | 03:18 | really zoom in and see where you need to go.
| | 03:21 | I need to come off that edge just a bit.
| | 03:23 | So I'll scale these, holding Ctrl
again to maintain proportion, zoom out to
| | 03:28 | check, and pull them into position.
| | 03:32 | That's pretty good.
| | 03:34 | What I'm planning on is, in the
overlapping of these elements, I'm going to paint
| | 03:38 | general grunge and rust along the length of it.
| | 03:40 | These will simply share across all the
elements and I'm banking on not being
| | 03:44 | able to see all four long frame
pieces at once, as part of my reasoning in
| | 03:50 | simply stacking those UVs.
| | 03:52 | Now I'll put in the other pieces.
| | 03:54 | Again, selecting all the short frame
elements, pulling them over into the
| | 03:58 | best space possible, scaling down while
holding Ctrl and moving them off my sides here.
| | 04:05 | This may take a little time to do, but
it's working pretty nicely, and I've got
| | 04:10 | a place here where I'm using my
texture space fairly decently.
| | 04:14 | I don't have much more I can really scale.
| | 04:17 | Lastly, I'll look at my corner boxes.
| | 04:20 | I'll take them, pull them over and rotate them.
| | 04:26 | How you rotate these is up to you.
| | 04:28 | I don't mind that it's actually upside
down here, because really what I care
| | 04:31 | about is that, this is rusty
and that is probably as well.
| | 04:35 | I can paint this scene to match, so as
long as I can see it, I can paint to it.
| | 04:40 | I'll pull these into place, scale them
down, and my UVs are ready for texture.
| | 04:50 | With my corner pieces in place I can
see I've got a little space left over.
| | 04:54 | I do have the option here of taking one of
those corner elements and pulling it off the others.
| | 05:00 | That way I can paint separate textures
for those to add a little more variety.
| | 05:04 | It's always good to look for places
where there are repetitive elements where
| | 05:08 | you may want the texture to vary.
| | 05:09 | As an alternate, if the bottoms are more
rusted than the tops, I may want to pull
| | 05:14 | the bottom corner elements off.
| | 05:16 | Looking at the selection here in the
Editor and looking over in the view to
| | 05:19 | see what's selected.
| | 05:21 | I can space these out, use up the rest
of this space, and again I'm ready for
| | 05:25 | painting, maximizing my UV layout.
| | 05:28 | I'll right-click, choose Top-level
and I'm ready to export out or render
| | 05:33 | that UVW template.
| | Collapse this transcript |
|
|
2. Texturing the Shipping ContainerOverview of the texturing process| 00:00 | In this chapter, we'll look at
adding diffuse and a normal bump to our
| | 00:04 | shipping container.
| | 00:05 | We'll start out with a blank template,
exported from the unwrap in 3ds
| | 00:09 | Max, and layer on things like a basic color and
company logos and markings on the containers.
| | 00:16 | Then we'll start to add in layers of rust.
| | 00:18 | First, some general rust, some
streaks, and finally bubbles on the surface.
| | 00:23 | We'll also look at ways of
constructing a bump so that we can add more detail
| | 00:27 | into our container than is actually
there, because we kept our model fairly
| | 00:31 | spare just for the silhouette.
| | 00:33 | Finally, we'll look at how to make
normal maps, taking them straight out
| | 00:36 | of Photoshop from the grayscale, using both
ex-normal and an NVIDIA normal map filter.
| | 00:41 | Lastly, we'll test these out and see
if our layered workflow worked in Unity.
| | 00:46 | Did we get the container, one
container across, and do the materials swap out
| | 00:50 | easily, so it looks like multiple containers?
| | 00:53 | All along, I'll be stressing a layered,
organized workflow, so you've got easy
| | 00:57 | changes and easy iterations and
variations because we may see 20 or 30 of these
| | 01:03 | in a given scene, and we want to be able
to change them easily without making a
| | 01:07 | unique map for each one.
| | Collapse this transcript |
| Creating a bump map for the corrugated sides| 00:00 | In this video, we'll export the UVW
template from our shipping container we've
| | 00:05 | unwrapped previously, and then bring
that export into Photoshop to start to
| | 00:09 | paint the bump map for the corrugated sides.
| | 00:11 | What I will begin with is selecting
this shipping container, opening up the UV
| | 00:16 | Editor, and exporting out or
rendering the UVW template.
| | 00:19 | I will select all of my UV's and
choose Tools > Render UVW Template. I want to
| | 00:26 | paint twice as big as I'm going to use.
| | 00:28 | I'd like this map to be
1024 in the final version.
| | 00:32 | So I am going to paint at 2048 square.
| | 00:35 | It's always good to paint big and
then reduce down if needed, or mipmap.
| | 00:39 | I am going to leave the Options at the
default, giving me green lines with white
| | 00:44 | edges where they adjoin over a black background.
| | 00:47 | I'll click Render UVW
Template and there's my template.
| | 00:51 | Now there aren't missing lines,
it's just simply a magnification.
| | 00:54 | As I zoom in, you can see
the lines are all there.
| | 00:57 | I'll click on the Save Image
button, and save out this image.
| | 01:00 | I'll call mine container template.
| | 01:03 | I like to put template in the name of
my temporary working files, so that if I
| | 01:07 | need I can purge a directory and
take out anything with that name.
| | 01:11 | It also lets me know I should not
load this in as a working texture.
| | 01:14 | I am going to save this out as a TIFF image,
| | 01:17 | avoiding compressed formats such as JPEG,
because they may reduce or compress any fine detail.
| | 01:23 | In this TIFF, I'll save it without an alpha
channel, as I don't need the alpha on the lines.
| | 01:28 | Now I'll pull this up in Photoshop
and start to paint my bump map in.
| | 01:32 | Once I have opened up my container
template TIFF, I need to get it ready to use.
| | 01:36 | One of the things I like to do is
press Ctrl+I to invert those colors.
| | 01:41 | So instead of black, it
gives me white with pink lines.
| | 01:44 | Then I'll desaturate, Ctrl+Shift+U. So now
I've gray lines over white. Easier on the eyes.
| | 01:51 | Finally, I'll double-click on the
Background layer and rename this to
| | 01:54 | template that way I know when I am
saving out my final flattened image, I
| | 01:59 | should turn this off.
| | 02:00 | I'll make its blending mode Multiply and
I'll click OK and then lock this layer.
| | 02:06 | The reason to chose Multiply is that
Multiply multiplies together the over
| | 02:11 | and under color and divides by the color
space, therefore the result is always darker.
| | 02:16 | Multiplying by white is like
multiplying by one. There's no effect.
| | 02:20 | Now I'll make another new layer, slide
it under my template and I'm ready to
| | 02:24 | start painting my bump.
| | 02:26 | I'll zoom in on one of my container
ends first, and I'll start to make a
| | 02:30 | marquee, that's going to
be one piece of corrugation.
| | 02:34 | I'll make this marquee fairly skinny,
dragging it in and pressing Ctrl+0 to zoom
| | 02:39 | out and see if I'm in the right place.
| | 02:42 | As you can see, I had to zoom a little
bit to get this to show all the lines.
| | 02:45 | That's not a problem, it's just a
reflection of the magnification we're working with.
| | 02:50 | First I'll fill this in light gray.
| | 02:52 | This will be my up color in the
corrugation, the farthest out but they protrude.
| | 02:56 | I'll like to reserve white in my bump
maps for things that stick out further,
| | 03:00 | such as bubbled rust.
| | 03:03 | I'll click on the Paint
Bucket and fill that marquee.
| | 03:06 | I'll press Ctrl+D to deselect, V for Move, and
hold Alt while I clone this layer to the side.
| | 03:13 | Shift will help me constrain direction.
| | 03:16 | Now I've got two of the
same layers next to each other.
| | 03:19 | I'm going to hold Ctrl and click on
the layer thumbnail of that new layer.
| | 03:23 | Now the selection is constrained to that layer.
| | 03:26 | Finally, I am going to make a gradient,
found here under the Paint Bucket tool.
| | 03:30 | I am going to take my gradient, which goes
from foreground to background, and go across this.
| | 03:35 | But I need to make that
black a little bit lighter.
| | 03:37 | I'll click on black and pull
this us up into a medium dark gray.
| | 03:42 | Again I like to reserve black for
deeper pits in the surface or dents.
| | 03:46 | I'll click on the left side, hold
Shift and drag that gradient across that
| | 03:50 | marquee. That's the first
part of the corrugation.
| | 03:54 | Now I can clone this in the same
way and make one zig, we'll call it.
| | 03:58 | I'll right-click on the original, choose
Layer 1, hold Alt and clone that over, X
| | 04:05 | swaps the colors and G for the Paint Bucket.
| | 04:08 | Well actually, here it is
under my gradient again.
| | 04:10 | And I'll fill that marquee with my lower color.
| | 04:13 | Now I'll right-click on that gradient
section, choose it, Alt+Clone it over,
| | 04:19 | and rotate it around.
| | 04:21 | I'll press Ctrl+T to get to the
transform, flip it around holding Shift,
| | 04:26 | and Enter to finish.
| | 04:27 | That's one corrugation.
| | 04:30 | I'm ready to flatten these layers by
pressing Ctrl+E and Alt+Clone these
| | 04:34 | along, snapping onto the other layer
and repeating the process, cloning the
| | 04:39 | corrugations along the container.
| | 04:41 | Once I've got a few, I can press Ctrl+E to merge
them down, and Alt+Clone four or five at a time.
| | 04:48 | I'll tab out the menus, press
Spacebar to pan over, and Alt+Clone another
| | 04:52 | section of corrugation.
| | 04:54 | Looks like I need a piece of one to finish
and I will let it just run right off the edge.
| | 04:59 | Then I'll use my marquee to select and
delete any pieces that overlap other UV shelves.
| | 05:04 | There is the start of my corrugations.
These are very wide corrugations on this
| | 05:09 | container, but when they're put into a
normal map, it's going to look like it
| | 05:12 | has a lot of detail.
| | 05:14 | I'll finish this for the other sides,
and then I'll start to do the bump on the
| | 05:18 | doors and other unique components.
| | Collapse this transcript |
| Adding more details to the bump map| 00:00 | Now that I've got my corrugations on
the main sides and end of my shipping
| | 00:04 | container, I'm ready to put other bump parts in.
| | 00:07 | I'm going to look first at the corner boxes
here. I'll press Z to zoom and zoom in on them.
| | 00:14 | We've unfolded these boxes and we
can see the UVs are overlapped here, as
| | 00:18 | there's only two of these pluses available.
| | 00:21 | What I'm going to do is use a circle in
here to simulate the depth in the hole;
| | 00:26 | in reality, it's going to be
just black in the diffuse texture.
| | 00:29 | First, I'll put a new layer in.
| | 00:32 | My general rule in Photoshop is
when in doubt use a new layer.
| | 00:36 | If you are thinking about putting
something else in, use a new layer.
| | 00:39 | Keep this flexibility going all the way through.
| | 00:42 | What I've also done is to save this as a PSD.
| | 00:45 | What I like to do is to save
this in a working directory.
| | 00:50 | I've put a directory called working in
my images folder in the 3ds Max project.
| | 00:56 | That way when I'm browsing for
textures, all these working PSDs are down a
| | 01:00 | directory and don't show up on the list;
| | 01:02 | only the finished textures are in images.
| | 01:04 | In working then that's where I'll
keep working PSDs with all their layers
| | 01:08 | and extraneous parts.
| | 01:10 | For this texture then, I'll rename
that layer and I'll call it holes.
| | 01:15 | I'll press M for marquee, but I'm going
to switch over from a rectangular marquee
| | 01:20 | to an elliptical marquee.
| | 01:22 | I'll click and drag and hold
Shift while I do to draw a circle.
| | 01:26 | There is a circular marquee and I can
move it around little bit if needed.
| | 01:30 | I'm eyeballing the size so I can also
take this marquee, and once it's filled,
| | 01:35 | clone it over to the sides of this box.
| | 01:38 | Now I'll fill this in my deep gray.
| | 01:40 | Then I'll press Ctrl+D to deselect.
| | 01:43 | Here's an option, deselecting, and then
pressing V for Move, and Alt+cloning this
| | 01:50 | piece produces another layer.
| | 01:52 | However, the layers can be snapped together.
| | 01:55 | Alternately, we can not release the marquee,
so my hole is still selected in the marquee.
| | 02:01 | Alt+clone it and it stays on the same layer.
| | 02:05 | I'm making a modular map where I've
got like elements here that are getting
| | 02:09 | cloned around and I'm going to take
all of these holes once they're done, and
| | 02:13 | clone them down to the next
collection of corner boxes.
| | 02:18 | I've done this actually on the
corrugations where I made one set of corrugations
| | 02:22 | and cloned it along.
| | 02:23 | Then I took that whole set, cloned it
down to the next large panel, in this
| | 02:28 | case the sides, and stretched it using
my Transform tool by pressing Ctrl+T.
| | 02:33 | I took that same modular element, cloned
it and rotated it, to go up here on the
| | 02:38 | end without the doors.
| | 02:41 | I'll finish out these corner boxes,
V for move and holding Alt to clone.
| | 02:46 | Now I'll hold Shift to come straight
down on a diagonal to match in with the
| | 02:50 | box in the middle here.
| | 02:52 | I'll clone this up one more time.
| | 02:55 | As I'm not really sure which end is
where, although I could find out, I'm going
| | 02:59 | to put holes all over this.
| | 03:00 | Now I'll press Ctrl+D to deselect and zoom out.
| | 03:04 | With the holes layer whole, I'll
hold Alt and Shift+clone or clone while
| | 03:09 | constraining all the way down.
| | 03:11 | So I get these holes to
match up in the same place here.
| | 03:14 | I'll press Ctrl+E to merge down the
layer and there is all the holes in their
| | 03:19 | bump on the corner boxes
for my shipping container.
| | Collapse this transcript |
| Drawing the bump map for the door| 00:00 | Now that I've got the corrugations in on
the sides, and top, and one end of my
| | 00:04 | shipping container, I'm
going to add in the door panels.
| | 00:07 | As we can see in the reference image
here, we have a lot of variation in
| | 00:11 | how the doors look.
| | 00:12 | They almost all have some kind of
locking mechanism and some kind of
| | 00:16 | hinges visible on the side, but
how they're corrugated varies widely
| | 00:20 | between manufacturers.
| | 00:22 | Some have closely space thinned
corrugations, some have more corrugations and
| | 00:26 | a pattern, some have just a couple that are
fairly spaced out, and some look more solid.
| | 00:32 | I'm going to make some that are
fairly recessed panels in here.
| | 00:35 | I've zoomed in on my template and I'll
first make a new layer. Remember the rule;
| | 00:40 | if you think about it, make a new layer for it.
| | 00:43 | What I'll do is fill this in my light gray,
because that way I have latitude in the bump.
| | 00:47 | I can use white for the locking
mechanism so they protrude out of the surface
| | 00:51 | and with the corrugations go darker.
| | 00:53 | If it's not already in the foreground
color, press I to eyedropper the bump
| | 00:57 | color, that light gray.
| | 00:59 | Then G takes you to the Paint Bucket.
| | 01:01 | But how do you fill it evenly? Here's a trick.
| | 01:04 | I've got my template layer
and I'm going to select it.
| | 01:07 | I'll present W for Magic Wand.
| | 01:10 | If you don't see the wand, click and
hold and flyout the Quick Selection tool.
| | 01:14 | In the Wand, I'll leave
Contiguous on and anti-alias is off.
| | 01:19 | When I click in the middle of the
template, there is that selection.
| | 01:22 | I'll expand this out, choosing Select >
Modify > Expand and I push it out by
| | 01:28 | three or four pixels.
| | 01:30 | This way, in case there's any overlap
in the polygons over the texture,
| | 01:34 | I have an extra covering color there.
| | 01:37 | Now on this new layer, I'll press G and
fill that selection in. I'll deselect by
| | 01:42 | pressing Ctrl+D and I'm ready to
start lining in the places where my
| | 01:47 | corrugations will be.
| | 01:49 | What I'll do is press M for Marquee.
| | 01:51 | Make sure you switch your marquee back
to a rectangular, as it may still be in the
| | 01:55 | elliptical from earlier.
| | 01:56 | I'll start out with my marquee
going cleanly inside, roughly diagonally
| | 02:00 | from the corner, and I'm going to get it
as close as I can and do kind of a wide
| | 02:05 | panel recessed door here.
| | 02:07 | With a marquee, you can always use the
arrow keys to nudge it over or move it
| | 02:11 | before you actually fill in a color.
| | 02:13 | I'm going to put this temporarily on
a new layer and fill this new layer in
| | 02:17 | something, any other color.
| | 02:18 | There is my filled square.
| | 02:21 | I'll press Ctrl+D to deselect, V for
move, and now I'm going to Alt+clone
| | 02:26 | this so it looks right.
| | 02:28 | There is 1, 2, and 3.
| | 02:32 | These cloned out nicely.
| | 02:34 | If they don't clone or if the spacing seems
a little off, now is the time to adjust it.
| | 02:39 | Here's how I'll make this work.
| | 02:40 | I'll press Ctrl+E to merge down the layers.
| | 02:43 | So now Layer 2 has all of
these deep gray recesses.
| | 02:47 | I'll press Ctrl+T for Transform and I
can scale this up and down as needed.
| | 02:52 | I am going to pull mine in a little
bit so that there is a little more solid
| | 02:56 | steel at the top and bottom.
| | 02:58 | I'll press Enter when I'm done and
I'm almost ready to put the panels in.
| | 03:02 | Now I'll use my marquee again, clicking
and dragging as close to the middle as I
| | 03:07 | can get and deleting a section.
| | 03:10 | Looks like I need to move this down
just a little bit and I'll press Delete.
| | 03:14 | There are my four-panel doors, ready
for some additional work and gradients to
| | 03:19 | make this look more stamped.
| | 03:21 | I'll press Ctrl+D to deselect.
| | 03:23 | Now I can leave this on
one layer or merge it down.
| | 03:26 | I'm going to leave it alone and I'm
ready to start doing some beveling and
| | 03:30 | gradients on the corners.
| | Collapse this transcript |
| Adding details to the doors| 00:00 | With my basic panels in place on the
door, now I'm going to make some gradients
| | 00:04 | that slip nicely over.
| | 00:06 | They give me the idea that
these are pressed or stamped doors.
| | 00:09 | Rather than having just straight edges here,
they'll have beveled or chamfered edges.
| | 00:14 | I'll zoom in on one to start.
| | 00:16 | I'm going to work on a new layer,
pressing Ctrl+Shift+N. Then I'll press M for
| | 00:21 | Marquee and I'll start out
with a marquee over part of this.
| | 00:25 | It actually doesn't have
to go all the way across.
| | 00:27 | We can clone and overlap
these ones they're done.
| | 00:30 | I'll make sure that my foreground
color is set to my deeper panel and my
| | 00:34 | background is set to my
lighter section of the door.
| | 00:37 | I'll press G for Gradient and see
if Reverse needs to be off or on.
| | 00:42 | In this case, I think I can turn a Reverse
off and I will click and drag my gradient down.
| | 00:50 | Notice when I made the gradient I
held Shift, and that constrained the
| | 00:53 | direction straight.
| | 00:54 | Now do I need to redraw this?
| | 00:56 | Not necessarily. I'll press Ctrl+T
and rotate this around, holding Shift to
| | 01:02 | constrain on the 45 degrees degrees.
| | 01:04 | Pressing Enter accepts the
transformation and I'm ready to make my miters.
| | 01:08 | I'll zoom in on one of the corners, press
Ctrl+D to deselect and press E for Eraser.
| | 01:15 | I've set my eraser to a pencil, and I
made the brush size 1, so I'm actually
| | 01:19 | erasing 1 pixel at a time.
| | 01:21 | I'll take out the first one of my miter and
start to line out pixel by pixel the diagonal here.
| | 01:28 | It's worth it to take the
time to make a perfect miter.
| | 01:31 | That way everything seams together
perfectly and you don't get a repeating
| | 01:34 | error in the corners.
| | 01:37 | We want to have it be perfect at a
large res, so that when were downsizing
| | 01:41 | for bitmaps or for smaller props or
smaller implementations, we don't see errors
| | 01:46 | that are compounded and blurred.
| | 01:48 | Now I'll press V for selection and
because this is on a separate layer, I can
| | 01:53 | move that miter around cleanly.
| | 01:55 | I'll lap it over the gray, press Ctrl+- to
zoom out a little bit and Spacebar to pan over.
| | 02:02 | I'll hold Alt and clone this layer.
| | 02:05 | I need to mirror it over.
| | 02:06 | So I'll choose Edit >
Transform > Flip Horizontal.
| | 02:10 | There is my miter in the right place.
| | 02:13 | I'll take this miter, I'll pull it in
right onto that gray, and then I'll press
| | 02:18 | Ctrl+E to merge down those layers.
| | 02:21 | I'll zoom out, zoom in on that panel,
press V for move, and Alt+Clone this miter
| | 02:27 | right down to the other side and
look how it snaps onto that layer.
| | 02:31 | I can use my transform, pressing Ctrl+T
to spin this around, holding Shift to
| | 02:36 | snap on the 45 degrees.
| | 02:38 | Enter accepts the transform and I'm ready
to clone and rotate to make the longer sides.
| | 02:45 | I'll finish this, cloning, rotating and
cloning the whole miter on all eight of the panels.
| | 02:51 | Then I'll start on the door
lock mechanism in the next video.
| | Collapse this transcript |
| Painting the diffuse texture: planning the layers| 00:00 | I've completed the edge gradients on the
doors as well as the corrugations for the sides.
| | 00:04 | I am going to organize my PSD a little bit
and plan out my layers for the diffuse map.
| | 00:09 | First, I'll select all of the bump
layers which I've named here according to
| | 00:13 | what they are and I'll
press Ctrl+G to group them.
| | 00:17 | I'll double-click on this
group and rename it to bump.
| | 00:21 | I personally like to keep things
grouped and layers separate within the groups,
| | 00:25 | so I have maximum editing flexibility.
| | 00:27 | If my art director were come back and
say change the panels on that door, that
| | 00:32 | would be a relatively easy change.
| | 00:34 | Now we'll work on some colors.
| | 00:36 | I'll make a new layer and double-
click and rename this one to Base color.
| | 00:41 | It's important to get a base color
in so that if there is any accidental
| | 00:44 | transparency or slip in the edge, that
it's a color in there you want instead
| | 00:49 | of just default white.
| | 00:51 | I'll pull this down under the Bump and
I'll make another new layer while I'm here.
| | 00:55 | I'll double-click on the
name on this and call it Logo.
| | 00:59 | Finally, I'll make one more in here,
double-clicking on it for the name
| | 01:03 | and calling it Rust.
| | 01:04 | Now I may end up with multiple rust
layers as I start to age these, but what I
| | 01:09 | am trying to think through in the planning
is this container was new and it was painted.
| | 01:13 | Then a Logo was applied and finally
after much wear and tear, it started to Rust.
| | 01:19 | Part of texturing is a little bit of
planning in the layers before you paint.
| | 01:24 | In case somebody says change the rust
or change the color of the container, we
| | 01:28 | have easy flexibility to go back and do that.
| | 01:31 | We reference back to this image, we
can see that this stack of containers is
| | 01:36 | different colored with different
markings and in various states of rusting
| | 01:40 | slightly too quite a bit.
| | 01:42 | Being able to go in and change this
easily is a big plus in texturing.
| | Collapse this transcript |
| Painting the base coat and logo| 00:00 | With my basic bump in place, I'm
going to add the diffuse colors onto
| | 00:04 | my shipping container.
| | 00:05 | Then I'll start to refine with logos and rust.
| | 00:08 | I'll start out with the base color and I'm
going to flood this entire texture with it.
| | 00:13 | That way in cases any accidental
overlap in the polygons on the texture, it's a
| | 00:17 | color that I want versus the default white.
| | 00:20 | I'll start out by choosing my base color.
| | 00:23 | I'm going to borrow the blue by pressing I
for eyedropper and clicking on this image.
| | 00:28 | Then I'll press G for Paint Bucket and it
may be under the Gradient tools, so you may
| | 00:32 | have fly it out instead.
| | 00:33 | I'll fill my base color and I'm
also going to hide my bump group.
| | 00:38 | Organizing things like this makes it very easy.
| | 00:40 | I can turn off the layer visibility
for the bump group and now I'm left with
| | 00:44 | just my template and my base color.
| | 00:46 | I'll zoom in down on the side and
I'm ready to add the logo on the side.
| | 00:51 | I've got a Logo layer and I may
make other layers using some text.
| | 00:56 | I'll start out by keeping that blue,
hitting X to swap the colors and changing
| | 01:01 | my foreground color up to white.
| | 01:03 | I'll click T for text and I'm
going to use the Bauhaus 93 font.
| | 01:08 | I put my size up to 200 pixels,
I can always scale if needed.
| | 01:12 | And now I'll put in that logo and position it.
| | 01:15 | I'm going to use an all caps logo here.
I'm going to name my shipping container
| | 01:19 | line KINETECO, and press
Ctrl+Enter when I'm done.
| | 01:23 | I can take this logo and
position it on that side.
| | 01:26 | Remember that this polygon actually
represents both sides, so we're applying the
| | 01:30 | logo to both sides of the container.
| | 01:33 | This is a text layer.
| | 01:35 | So if there is another logo that needs
to go here, we need to make a new layer.
| | 01:39 | I'll put a layer in and I'm going to
say that they have a white circle next to
| | 01:44 | their name and that's their logo.
| | 01:46 | I'll click and hold on a Marquee and
flyout and choose the Elliptical, and I'll
| | 01:50 | click in and drag in a circle.
| | 01:52 | Then I'll fill this with white, press
Ctrl+D to deselect, and move it until it's
| | 01:59 | in the right place, and
there's my KINETECO logo.
| | Collapse this transcript |
| Adding tracking labels and other markings| 00:00 | With the main logo on the side of the
container, I need to add in tracking
| | 00:04 | labels and tare weights on the front.
| | 00:06 | I'll zoom in up on the front doors, and
there is the polygon where those belong.
| | 00:11 | Now this is rotated 90 degrees
to fit better in the texture.
| | 00:15 | I'm going to draw the texture
straight and then rotate it into place.
| | 00:18 | As an alternate, we could also rotate
the canvas or the image and draw it
| | 00:23 | straight and then flip it back.
| | 00:24 | I'm going to turn of my Bump group
and turn off some of the layers so I can
| | 00:28 | see what's going on.
| | 00:30 | What I like to do sometimes temporarily,
is also screen back layers, so that for
| | 00:35 | placement I can start to line up writing on
the bump and still see where I am on the blue.
| | 00:41 | I'll take this door panels
layer and pull back its Opacity.
| | 00:44 | I'll do the same with the door frame,
that way I can kind of see the blue
| | 00:49 | through but I still have panels visible.
| | 00:51 | Now I'm going to make text for the markings,
and really these just need to have stuff there.
| | 00:57 | I don't think the texture is going to
be a good enough resolution to be able
| | 01:00 | to let us read the text exactly, as much
as having the things we expect to be there.
| | 01:05 | If we look at the reference, from
fairly far back, back enough to see a few
| | 01:09 | containers, that text really kind of
becomes a block that we recognize as text
| | 01:15 | somewhat but can't make
out the letters particularly.
| | 01:18 | I'll press T for Text, and
I'm going to switch fonts over.
| | 01:22 | In this case, I need a much more straight font.
| | 01:24 | I'm going to use Arial here and I'm
going to work in all caps and reduce
| | 01:29 | that point size down.
| | 01:31 | We can always come back
and change this if needed.
| | 01:34 | I'll start out by typing Tare and put some
numbers in for the tare or unladen weight.
| | 01:39 | I'll go down on another line
and put a few more pieces in.
| | 01:43 | Finally, I have just got some numbers
going on in here that represent something
| | 01:47 | or other on the container,
and the occasional letter.
| | 01:51 | One or two more pieces of text
completes it and I've got the start of
| | 01:55 | markings for my container.
| | 01:57 | I'll press Ctrl+Enter to finish.
| | 01:58 | Now we'll take this text block
and press Ctrl+T to Transform.
| | 02:03 | I'll rotate it holding Shift and press
Enter to release it once I've hit 90 degrees.
| | 02:09 | Now I can take this and
line it up on my door panels.
| | 02:12 | I may want to shrink it down slightly
and I can use the Arrow Keys to nudge, but
| | 02:17 | I'm positioning this neatly in that panel.
| | 02:20 | I can also slide it over as needed
to stay away from the door locks.
| | 02:24 | I'm going to put it here, use the Arrow
keys to nudge, and I'll turnoff that bump.
| | 02:30 | I realize that Photoshop has
stuck this layer in my Bump group.
| | 02:33 | It's a simple matter to
just grab it and pull it out.
| | 02:37 | Now I can roll up the Bump group,
turn it off, and there is the start of the
| | 02:41 | markings on the door.
| | 02:43 | So I can finish out putting in the
different markings on the door side and any
| | 02:47 | other extraneous text, or logos, or
warnings that need to be on this container.
| | 02:52 | That way it looks like a real
shipping container and has the appropriate
| | 02:55 | things we need to see there. Not
that we can necessarily read them, but
| | 02:59 | there's stuff in the right place.
| | 03:01 | Then I can start to take this now
perfectly clean container and apply rust. I'll
| | 03:07 | do this in the next video.
| | Collapse this transcript |
| Adding soft rust| 00:00 | Now that I've got my base color, my
logo, and my tracking labels on my
| | 00:04 | shipping container, I am going to start to add
rust. I have added in a few more layers in the Color
| | 00:09 | group and adjusted the bump just a little bit.
| | 00:12 | As you can see in the bump, I had to
push the luminance on the door down because
| | 00:15 | I wanted to add in the hinges.
| | 00:17 | It's okay to do that and the reason I
set this up on a layered workflow is so
| | 00:22 | that I could easily grab
the door color and lower it.
| | 00:25 | And that let my hinges
stick up from the surface.
| | 00:27 | Remember I said I don't want to
start my bump at white because I want some
| | 00:31 | latitude to go higher, and in this case, the
hinges pop out from the surface. They go higher.
| | 00:36 | Now I am going to add rust in, and for me
rust occurs in two different layers usually.
| | 00:41 | The first, which I already have a rust
layer in, is this soft general skim of
| | 00:46 | rust. The second will be
bubbled or pitted rust on the surface.
| | 00:50 | I'll start out at in some rust along the
main long side. I'll zoom in on it so I
| | 00:55 | can see my template.
| | 00:56 | What I like to do, because I have this
template layer available, is press W for
| | 01:00 | the magic wand and magic wand inside that show.
| | 01:04 | That way I can keep that rust only
inside that side and not accidentally paint
| | 01:09 | over something else, where I
would see a mismatch in my texture.
| | 01:12 | Now on the Rust layer I am going to paint.
| | 01:15 | I'll switch my color over to well,
rust, sort of a deep red orange here. That'll
| | 01:20 | work, and I'll now press B for my paintbrush.
| | 01:22 | I like to use a very soft brush for
this initial pass; fairly big, couple of
| | 01:27 | hundred pixels is just fine.
| | 01:29 | And I'll paint this in a Multiply
blending mode with a very low opacity, maybe
| | 01:33 | in that 15 to 20 range.
| | 01:36 | Now as I start to rust
over this, the rust builds up.
| | 01:39 | I am going to lay some on and let it go,
right up the side here, as if this has
| | 01:43 | been sitting out for a while.
| | 01:45 | The neat thing with Multiply is that
multiplies the over and under color together.
| | 01:49 | So as I keep adding to the
rust it's going to get deeper.
| | 01:54 | With the first initial piece of rust in,
I'll change that color. I'll go just a
| | 01:58 | little darker by using the Brightness slider.
| | 02:00 | When I adjust colors, I like to use
HSB personally, as I feel this gives me
| | 02:04 | more control over where the black sits in
the image and simply pushing around the RGB's.
| | 02:09 | I'll make this rust a little deeper and
up-size the brush using my square brackets.
| | 02:14 | Now I'll paint some deeper rust along it,
as if the rust has really started to eat
| | 02:19 | in to the bottom of it, and we can see
because I am painting in Multiply at a
| | 02:24 | low opacity, and I'm
building up that rust very nicely.
| | 02:26 | I'll press Ctrl+0 to zoom out, go back to my
Template layer, and magic wand the next piece.
| | 02:32 | The next show here is the top and bottom.
| | 02:34 | So want to be careful how I
rust this. I'll zoom in on it.
| | 02:38 | As a quick workflow note in
Photoshop, F takes away the Windows UI.
| | 02:42 | Hitting F again takes away the Photoshop
UI and Tab brings those back and forth.
| | 02:47 | When you're working,
especially in color work, or painting,
| | 02:51 | it's a good idea to zoom in as much as
possible and see it without the clutter, the UI.
| | 02:55 | So can tell is the color is reading correctly.
| | 02:58 | Now I'll press B for my brush. F7 pulls my
Layers palette back so I can switch back
| | 03:03 | to my Rust layer, tab out the
menus and start to rust the bottom.
| | 03:09 | When you're painting in rust like
this, you want to remember that it's
| | 03:12 | accumulated, that this container
started out clean and rusted over time.
| | 03:17 | So we need to build up that rust.
| | 03:20 | It's okay to take a few minutes, and
really layer it on changing colors and
| | 03:23 | adjusting blending modes if needed to
make it deeper and darker in some places.
| | 03:28 | I'll more rust in on the corner
and this is looking well rusty.
| | 03:32 | I'll continue with this, painting the rust
onto the door, onto the end, and onto the sides.
| | 03:38 | The corner blocks where the holes are,
are probably all rusty, as they've had
| | 03:42 | years of abuse being lifted off and on
and slamming against other containers.
| | 03:46 | So the paint has probably scratched off.
| | 03:48 | After I have got the soft rust in,
then I'll go add some streaks in.
| | 03:52 | I'll finish up my soft rust, come back
and show bit of the streaking on here.
| | Collapse this transcript |
| Adding rust bubbles | 00:00 | With the soft rust added over the
container, now I am going to add in some
| | 00:04 | bubbling, kidding and streaks.
| | 00:06 | I also need to deal with the rust where
it passes over the painted logo, as this
| | 00:10 | may need to appear a little differently.
| | 00:11 | I'll zoom in on the logo, and see how
I can erase the rust out of here a bit.
| | 00:16 | One of the reasons I have everything on
separate layers is so I can select easily.
| | 00:20 | The Logo, KINETICO, was actually
on this Text layer called Logo.
| | 00:25 | I can magic wand it by clicking on
that O. Now I can switch over to the Rust
| | 00:30 | layer and using my eraser set to a
very soft brush, I can erase some of the
| | 00:35 | rust, as if the logo
paint was little more sturdy.
| | 00:38 | I have my eraser set as a brush, and
I'm going to use a low opacity, rather than
| | 00:42 | fully erasing it, I'll
just take out some of it.
| | 00:45 | I'll use my bracket keys to upsize that
brush going fairly big, enough to cover a
| | 00:50 | good chunk of the letter, and I'll
start to erase out some of it. We can see
| | 00:54 | that brush is initially too hard.
| | 00:56 | I'll right-click and pull up the Brush
palette and make sure I take the Hardness
| | 01:00 | on the brush way down.
| | 01:01 | That way I am erasing with a very soft
brush, and can take out some of the rust.
| | 01:06 | The selection is helping the
constrain where I'm erasing, as if that paint
| | 01:11 | was slightly different.
| | 01:13 | Now when I press Ctrl+D to deselect, we
can see that some of the logo is rusting,
| | 01:17 | but some of it is still staying fairly clean.
| | 01:20 | I can use the same technique on the
other markings, making sure that some of
| | 01:24 | them stick through the rust while some don't.
| | 01:26 | When I am ready to add in bubbles and
streaks, I am going to do it on a new
| | 01:29 | layer. I want the
flexibility in here to alter things.
| | 01:33 | I may want multiple rust maps that I
can throw on different containers along
| | 01:37 | with different colors and logos,
| | 01:39 | so that with a couple of images I can
really vary the look of these in case I am
| | 01:41 | dealing I'm dealing in dozens.
| | 01:43 | I'll zoom in down on a
heavily rusted area on the side.
| | 01:46 | I'll rename this new layer Rust
bubbles and I'll switch Brushes.
| | 01:51 | I'll press B for brush and right-click.
| | 01:54 | Photoshop comes with some fairly amazing
brushes and there are zillions more available.
| | 01:58 | You can load in a brush as you need.
They are ABR files and on your Brush palette
| | 02:02 | you can load in a new brush.
| | 02:04 | I'm going to use some of the standard
Splatter brushes that come with. I'll pick
| | 02:08 | this one, it gives me a nice big splatter.
| | 02:11 | I don't have any Hardness controls,
as it simply exist as a Splatter brush.
| | 02:15 | I'll up-size this brush and rather than
clicking and dragging to make streaks, I
| | 02:20 | am just going to click with this brush
in place and it's going to give me bumps.
| | 02:24 | It's going to add in rust bubbles, as if
that rust has bubbled through the paint.
| | 02:29 | After every few clicks, I'll up-size the brush,
| | 02:32 | move over and click again.
| | 02:34 | I want to avoid making large dots that
are visible, and instead say that this
| | 02:38 | rust has bubbled through the surface gently.
| | 02:41 | I'm still painting in a
Multiply at a lower opacity.
| | 02:44 | I'll move into the top and do
some more bubbling to show it.
| | 02:47 | Now this bubble is a stand-alone here.
| | 02:49 | What I may want to do to keep the
bubbles from running into another area, is use
| | 02:53 | the selection technique
again on my template layer.
| | 02:56 | I'll select the template layer in the
Layers palette, press W for wand, and
| | 03:00 | magic wand inside that top UV shell.
| | 03:03 | Now when I'm go back to the Rust bubbles
layer, press B for brush, I can bubble
| | 03:08 | right over the edge of that but those
rust bubbles wont leak into an adjacent UV
| | 03:12 | shell giving me a lack of continuity.
| | 03:16 | As I am adding those in, we can see that,
that rust has really come through the surface.
| | 03:21 | I can continue to rust the surface
of this, adding in layers of wear and
| | 03:24 | rust and dirt over time.
| | 03:26 | I'll use multiple layers to keep
these all separate for easy editing.
| | 03:29 | The way we want to think of it, is
that this container was made clean, and
| | 03:33 | over many years of weather, water,
dirt, decay, being on a ship and the salt
| | 03:38 | water, et cetera, this container has rusted
and we need to plan it to layer on and
| | 03:43 | the way we paint it, so it looks right.
| | Collapse this transcript |
| Setting up a library of shipping container textures| 00:00 | I've got my first container complete.
It's painted, logoed and rusty. It's been
| | 00:05 | out in the weather for a while.
| | 00:07 | Now I'm ready to build up a library of
these. I've got one set of geometry I am
| | 00:11 | going to bring across,
and I am going to reuse it.
| | 00:14 | In Unity then, I'm going to swap out
those materials and make new containers.
| | 00:19 | As we can see in this reference image,
it's very easy in a scene to see 18, 20,
| | 00:23 | 24 containers at a glance, and they
should have some variation between.
| | 00:28 | Some of them may be from one
company and some from another.
| | 00:32 | The layered workflow here in this
document allows me to make textural
| | 00:35 | variations very easily. I'll add in a few.
| | 00:38 | What I may want to do is divide out
the Color group between color and rust,
| | 00:44 | leaving the wear and tear as separate
group, so I can swap out colors easily.
| | 00:48 | I'll pick my Base color, my Logo, the
Logo dot and the markings on the end. I'll
| | 00:54 | press Ctrl+G and put them in a new group.
| | 00:57 | I'll drag this new group out of Color.
| | 01:00 | I use groups a lot in
Photoshop as way to organize layers,
| | 01:03 | so they can all move together
and say stacked in the right order.
| | 01:06 | I'll rename this group to Base colors.
| | 01:09 | I'll also rename the other Color group
to Rust, that way I've got Rust separate.
| | 01:15 | Now I will add in variation on the Base colors.
| | 01:18 | Holding Alt, I'll click and drag
the Base color group and rename it.
| | 01:22 | I'll call this one, Base green. I'll
turn off the initial base color, go in to
| | 01:28 | Base green, select the
Base color layer and adjust.
| | 01:32 | I'll press Ctrl+U for Hue/Saturation
and move that hue around.
| | 01:35 | I am going to say that this particular
company likes a deep, desaturated green and
| | 01:41 | that their logo is not KINETECO anymore.
| | 01:44 | I'll click on the Logo layer, press T
for type, select that text and change it.
| | 01:53 | instead of KINETECO this
is now a SPACECO container.
| | 01:57 | Once I have entered the type and
changed the font, I'll press Ctrl+Enter to
| | 02:00 | leave the Type tool.
| | 02:01 | I think for SPACECO they don't
have a logo next to their name.
| | 02:05 | It's simply their name on
the side of the container.
| | 02:07 | I'll take my Logo layer, drag it
down to the trashcan and it's gone.
| | 02:11 | I may want to take the SPACECO Logo
and nudge it over just a little bit.
| | 02:15 | For nudging, I use the arrow keys a lot,
up, down, left, right, and that let's me
| | 02:19 | really position things as I want them.
| | 02:21 | Finally, I can go in and
change those markings on the end.
| | 02:24 | Although, if you remember when we talked
about greeking text, those are going to
| | 02:27 | reduce down to basically fuzzy blocks of white.
| | 02:30 | So as long as we can still perceive
that their text and there is a slight
| | 02:33 | variation, is pretty good.
| | 02:35 | Along those same lines, I can start to
add in rust clones and vary that rust.
| | 02:40 | So I can make combinations of base
colors and rust, and from two of each, I can
| | 02:46 | make four different containers.
| | 02:48 | Really quickly, we can build up a library
like this through some careful layer management.
| | 02:52 | Now I can see I've one other issue
on the rust here and this is why I
| | 02:55 | keep things in layers.
| | 02:57 | Down here on the SPACECO Logo side, we
can see we have eroded that rust and there's
| | 03:02 | an erosion that doesn't match.
| | 03:04 | To change this, we can go back to
that Template layer, Magic Wand that
| | 03:09 | particular shell, and on the Rust layer
either delete, or erase and re-rust it.
| | 03:14 | I'm going to delete it, the bubbles
look okay, zoom out, eyedropper one of my
| | 03:19 | rust colors for continuity, press B for
brush, right-click and switch back to my
| | 03:25 | Soft brush, Hardness at 0, low opacity,
painting as a Multiply and I'm going to
| | 03:30 | add in some different rust along here.
| | 03:32 | As you can see, it's very easy to get a
library built up very, very quickly, just
| | 03:37 | by some good layer management.
| | 03:39 | As possibly we can see
a lot of these on screen.
| | 03:42 | It's a good idea to think through how many
different permutations can we make quickly.
| | 03:47 | In game, if we need, and more advanced
workings, we can actually start to swap
| | 03:51 | out colors and rust independently using masks.
| | 03:54 | So keeping it in a way that's easy to
separate makes it very easy to populate a
| | 03:58 | game with like large objects like this.
| | Collapse this transcript |
| Painting dirt and rust variations| 00:00 | I'm building up my library of
container pieces and skins here, adding in
| | 00:05 | different logos and also different
colors and different rust if needed. Some
| | 00:09 | careful grouping of my layers is
helping me keep very organized.
| | 00:12 | Now I may need some other rust.
| | 00:14 | The rust I've got so far is the kind of
rust we see from generally sitting out,
| | 00:19 | especially sitting out in salt
water, air, or near the ocean,
| | 00:23 | where the airborne rust simply caused
parts of the container to rust in big patches.
| | 00:28 | I also may need rust from dripping
water or something similar or accumulating
| | 00:33 | water up on the top and bottom.
| | 00:34 | I'm going to use some
different selections to do this.
| | 00:37 | First I'm going to make a new layer.
I'll take this layer, drag into my Rust
| | 00:41 | group and rename it. I'll call this Rust
streaks. I'll take my Rust streaks and
| | 00:47 | move it above my Rust, either
under or above my Rust bubbles.
| | 00:51 | I have some flexibility in that.
| | 00:53 | I'm going to use my Bump group as a way
to kind of gauge and draw in the rust.
| | 00:58 | What I'm going to say is that maybe
along this big side, water has been running
| | 01:02 | down the corrugations.
| | 01:04 | And so I want to use this dark value
in here as a guideline for painting.
| | 01:08 | Here's how I'll make this work.
| | 01:10 | In the Bump group I have a separate
layer for my corrugated sides. I'm going
| | 01:15 | to use my Magic Wand, turn on anti-alias,
and take the Tolerance down, maybe 12 or 15.
| | 01:21 | I'll try this out and see how it works.
| | 01:23 | I'll Magic Wand in the middle of the gray
and I get a pretty clear selection here.
| | 01:27 | This is the indent or the
down part of the corrugation.
| | 01:31 | Now I'm going to take the selection and
feather it out, choosing Select > Modify > Feather.
| | 01:38 | Feathering fades out that selection, here is
a 5 pixel feather and it gets kind of fuzzy.
| | 01:43 | What that means is, as I start to
paint that rust, it will fade up the side
| | 01:47 | of that corrugation.
| | 01:48 | Now I'll switch back to my Rust streaks,
press B for brush, and switch to a different brush.
| | 01:54 | I'll right-click to bring up my Brush
palette and scroll down into my Texture
| | 01:58 | brushes. There is any number of them we can use.
| | 02:01 | I'm going to actually use a Sponge brush here.
| | 02:04 | You may look and say,
wait a sec, why a sponge brush?
| | 02:06 | But here's why. As I start to brush,
again in a Multiply at a light opacity, I can
| | 02:12 | make the streaks run down here.
| | 02:14 | And I'm actually going to let them
fade right across that selection,
| | 02:17 | as if the rust stopped flowing because
the water wouldn't go uphill or across
| | 02:22 | it, it went in the easiest place.
| | 02:24 | And I'm going to add in those
streaks right up through the top.
| | 02:27 | When I deselect and turn off that Bump
group, we can see the rust streak running
| | 02:32 | down the piece of that corrugation.
| | 02:34 | I'll add in a few more of
these and deepen that color.
| | 02:37 | I'll turn back on the Bump group, pick
my corrugated sides, press W for wand and
| | 02:43 | pick the next indent over.
| | 02:45 | I'm going to leave this selection a
little bit crisp, choosing Select > Modify >
| | 02:50 | Feather and I'll try 3 pixels.
| | 02:53 | Now I'll go back to the Rust streaks
layers. An important safety note here in
| | 02:56 | Photoshop; be conscious
of which layer you're on.
| | 02:59 | Its very easy to accidentally paint rust into
the Bump layer and have to do some cloning
| | 03:04 | and undoing. It gets messy.
| | 03:07 | So one of the things I always do, even when
I tab out my menus like this, is press F7.
| | 03:12 | I bring back on my Layers palette so
I have of a clear visual of where I'm
| | 03:16 | painting. Also remember when you're
painting, when in doubt, use another layer.
| | 03:20 | If you think about painting
something else use another layer.
| | 03:23 | If something crosses your mind and
you want to paint it use another layer.
| | 03:27 | You can always combine layers back
together but having things in separate layers
| | 03:30 | allows you flexibility and recovery for mistakes.
| | 03:33 | I'm going to add in some streaks on
this side, streaking down right along that
| | 03:38 | selection and building up that rust a little
more at the top where the water has kind
| | 03:42 | of flowed from the capillary action
along the surface, and streaking right down
| | 03:46 | through that corrugation.
| | 03:48 | When I deselect, I've got flowing rust,
as if something had dripped down.
| | 03:53 | What I may want to do as a final kind
of flourish on this, is use my marquee.
| | 03:57 | I'll press M for marquee and drag
that marquee right along the side of that
| | 04:02 | rust, right up to the corner of that
corrugation. Without feathering it then,
| | 04:06 | I'll press Delete. That gives me
a nice crisp edge along that rust,
| | 04:11 | as if it had flowed down and not gone
around the corner. Part of what we'll do is
| | 04:16 | akin to actually painting.
| | 04:18 | It's very rare to paint a straight
line on the wall. It's much more common to
| | 04:22 | mask out straight area, paint
it, and pull off the masking.
| | 04:27 | That's what I just did there. I masked it,
I painted it and then I cleaned up
| | 04:32 | afterwards and I have rust streaks.
| | 04:33 | So I can go back through here and now
add in gravity-based wear, where the water
| | 04:38 | has dripped down the surface and flowed
along it in all the cracks and crevices.
| | Collapse this transcript |
| Transferring wear from the diffuse texture to the bump map| 00:00 | With my diffuse painting completed
and my bump ready for a clean container,
| | 00:04 | now I need to transfer some of the
wear across those layers. As that paint
| | 00:09 | bubbles from the rust, we're going to
see that the surface changes a little
| | 00:12 | bit. That beyond simply the
corrugations we need to see a little bit of
| | 00:16 | variation across there.
| | 00:18 | Having a good layer
structure makes this very easy to do.
| | 00:21 | In my Rust group, I have three
separate layers bubbles, streaks and rust.
| | 00:26 | The general rust is flat.
| | 00:28 | It's not going to affect the bump, but
what I want is to take the rust bubbles
| | 00:32 | across into the bump just a little
bit, as if that paint had bubbled.
| | 00:36 | I'll take that Rust bubbles
layer, hold Alt and clone it down.
| | 00:40 | Then I'll turn off the original. I'll
pull this up to where I need, just above
| | 00:44 | that blue and desaturate it. I'll
press Ctrl+Shift+U or choose Image >
| | 00:50 | Adjustments > Desaturate.
| | 00:53 | A bump is a grayscale, white is high
and black is low, and it's a relative. It
| | 00:58 | doesn't actually equate to a fixed
number, like an inch high, it's more that the
| | 01:01 | surface appears to stick out or dish in.
| | 01:04 | Now I'll take this Rust bubble's
copy and drag it into my Bump group.
| | 01:09 | I'll turn off my overall rust, turn
off my blue base and turn on the Bump.
| | 01:14 | In the Bump group then, I'm going to
take this Rust bubbles copy and put it all
| | 01:18 | the way up above my clean bump. There
is that bubbled rust on that surface. It's
| | 01:24 | working but it's in the wrong
direction, I need to invert it by pressing
| | 01:28 | Ctrl+I. So now the rust bubbles are
lighter as if that surface had bubbled out.
| | 01:33 | This is a good place to
adjust the luminance as well.
| | 01:36 | I'll choose Image > Adjustments >
Brightness/Contrast from the top menu and
| | 01:40 | probably dial back the
brightness just a little bit.
| | 01:43 | We don't want gigantic pits as much as
we want a little bit of rust bubbling.
| | 01:49 | I can also take this layer and change its
blending mode to let it soften a little bit.
| | 01:54 | Right now it's a normal layer at a
100% and so I've got some pretty fierce
| | 01:57 | bubbles going on in this gray area.
I'll switch this over to a Soft Light, and
| | 02:02 | those bubbles get a lot more relaxed, as if
they softly bubbled the surface just a little bit.
| | 02:07 | What we want to avoid is the
surface looking completely textured.
| | 02:11 | Rather we want some bubbles that just
make the shine a little bit different.
| | 02:16 | At the end of this chapter, I'll take
this into a game engine and show how
| | 02:19 | this bump really works.
| | 02:21 | We can do this easily because of
the layered structure we have setup.
| | 02:24 | Any layer that--in the diffuse colors
should affect the surface in the bump, as
| | 02:29 | if the rust had bubbled the surface
or there's other pieces in there that
| | 02:32 | need to stick out or push in, we can
clone that layer across, desaturate and
| | 02:37 | change the blending mode, so that
we get rusty, bubbled surfaces in our
| | 02:41 | corrugated containers.
| | Collapse this transcript |
| Converting bump maps to normal maps| 00:00 | My working container is done.
| | 00:02 | I've added in variations in color and
bump, and also rust, and I've set myself
| | 00:06 | up for not only easy editing but
making a bunch more container skins,
| | 00:10 | so I can have lots of containers in a
game without any obvious repetition.
| | 00:14 | I'm ready to make a normal map and
I'm going to use two different filters
| | 00:17 | to show a workflow.
| | 00:19 | First, I need to clone my Bump group.
| | 00:21 | I'll select the Bump group, hold Alt
and drag it down in the Layers palette.
| | 00:25 | Then I'll turn off the original.
| | 00:27 | Ctrl+E merges layers, when you press
Ctrl+E and have a bump selected, it merges
| | 00:33 | that bump into one layer.
| | 00:34 | I will flatten it, and now under Filter,
I'll choose xNormal > Height2Normals.
| | 00:41 | There're a lot of different
normal map filters available.
| | 00:44 | I'm going to show a couple of them
here and there are many more depending
| | 00:47 | on what you're after.
| | 00:49 | Really what we care about is,
does it look right in game?
| | 00:52 | I'll choose Height2Normals and
it pulls up the xNormal dialog.
| | 00:56 | In this case, I've got fairly simple controls.
| | 00:58 | I can see the Preview on the right.
| | 01:00 | A normal map should be rainbow colored,
blue is strength, and red and green give
| | 01:05 | you surface direction.
| | 01:06 | So we can see the
corrugations in red and green along here.
| | 01:10 | I may want to play with the smoothing.
| | 01:12 | Normal maps may need to be less
crisp than you'd expect to look right.
| | 01:16 | If they're too crisp, we start to
see some pixelation and odd edges.
| | 01:20 | I'll pull this smoothing down just a little bit.
| | 01:22 | Here is .3 and I'll hit Update.
| | 01:25 | My corrugations get a little bit crisper.
| | 01:28 | I can also take this Source in different
places, in this case the red channel is fine.
| | 01:31 | 4SAMPLES and the sampling methods under
it, cover anti-aliasing and sampling, or
| | 01:37 | smoothing on fine detail.
| | 01:38 | I'm going to leave mine alone.
| | 01:40 | We can Swizzle X, Y, and Z if needed.
| | 01:42 | Different programs may want a flip of
the red and green or X and Y direction.
| | 01:47 | When I've got it all looking right,
I'll make sure I hit Update and Continue.
| | 01:52 | There is my normal map.
| | 01:54 | I can see in here the corrugations in
there are red and green, as if that surface is
| | 01:58 | going to rise and fall.
| | 01:59 | I'll zoom in on the door and I can see
the hinges and their bolts looking like
| | 02:03 | they pop out of the surface.
| | 02:05 | The extra work I did on the beveling of the
edges looks really good on the door panels.
| | 02:09 | Finally, down where the rust has
bubbled this surface, I can see those bubbles
| | 02:13 | showing over the corrugations, so that
should look really nice when it starts to shine.
| | 02:17 | I'm going to show a variation on
this using the NVIDIA Normal Map Filter.
| | 02:20 | I'll repeat this process.
| | 02:23 | Taking my Bump group, holding Alt
and cloning it down, and pressing Ctrl+E
| | 02:28 | to flatten the group.
| | 02:29 | I'll turn off the original, and I'll
run the NVIDIA Filter choosing Filter >
| | 02:34 | NVIDIA Tools > NormalMapFilter.
| | 02:38 | It works much the same way.
| | 02:39 | We have a Preview and a 3D
Preview available if needed.
| | 02:43 | I need to switch this around a little bit.
| | 02:45 | One of the clues it's not working right
is it's all blue. It should be rainbow color.
| | 02:50 | I'm going switch over in my Height, so
that instead of coming from the alpha
| | 02:54 | channel, which I haven't
painted, I'm running a Max (R,G,B),
| | 02:57 | so I get good value in it.
| | 02:59 | I'm going to change the Alpha Field
to Unchanged, as I haven't painted in
| | 03:02 | an alpha channel for this.
| | 03:04 | I've got the same kind of
filtering available and a Scale.
| | 03:07 | What this lets me do is
describe how strong that normal map is.
| | 03:11 | I'm going to leave it at
5 and see how this looks.
| | 03:14 | It's perfectly okay to do it, try it,
bring it into the game engine, test it out
| | 03:19 | and say, hmm that needs a little work.
| | 03:22 | The layered workflow here in
Photoshop allows me to very quickly make a new
| | 03:26 | copy, export a normal map, see how it
looks and verify if it shows up correctly.
| | 03:32 | Is that corrugation bumpy enough?
| | 03:33 | If needed, there is a 3D Preview.
| | 03:36 | I'll turn that on and this is going to
let me orbit around on a plane and see if
| | 03:40 | this normal map works.
| | 03:41 | We can see here as that light moves,
that my surface does recess nicely.
| | 03:45 | And as I move I move around and
then the light changes, we can see
| | 03:49 | those corrugations.
| | 03:50 | I'll click OK when I'm done, and I
should have a normal map ready to use.
| | 03:54 | The big difference with
these is, how does it look?
| | 03:58 | So test it. Did it work right? Do we need
to Swizzle, or flop X and Y, or red and green?
| | 04:04 | We'll take it in.
| | 04:05 | We'll see how it behaves.
| | 04:06 | Now what I'll do is save this out.
| | 04:08 | I really don't want to take a
layered PSD into my game engine.
| | 04:13 | They tend to be very big.
| | 04:15 | What I'm going to do is take
out a flattened image as a copy.
| | 04:19 | I'll choose Save As, and
save out the right format.
| | 04:23 | I usually run out TIFFs to go into Unity.
| | 04:25 | Although other engines may like Targa
or DDS or other formats. Look at what
| | 04:29 | your game engine needs.
| | 04:31 | I'll save out a working copy of this,
pull it into Unity, put on the color
| | 04:35 | and see how it looks.
| | Collapse this transcript |
| Testing the maps| 00:00 | Once I've got all my layers made,
I'm ready to save out different parts.
| | 00:04 | As I've said, I'd like to save out as
TIFFs, so I don't get digital fuzz or
| | 00:08 | compression artifacts
from other formats like JPEG.
| | 00:11 | I'll choose File > Save As.
| | 00:14 | In this case, I'm going to
save out my green diffuse color.
| | 00:17 | In the Save As, I'll choose as a TIFF.
| | 00:20 | Turn off Layers and make sure As
a Copy is on. Then I'll name it.
| | 00:25 | What I've done, is I've put these into
my images folder in the scene assets.
| | 00:29 | I tend to name stuff with the tag at
the end so I know what it is, unless I
| | 00:32 | have an alphanumeric from a project manager
for a game, and games can have a lot of assets.
| | 00:37 | So a naming convention is very important.
| | 00:39 | I'm calling mine Container
and B for blue and C for color.
| | 00:44 | I'll use C or D for color or diffuse,
N for normal as I've saved out down here,
| | 00:49 | S for specular, and so forth.
| | 00:51 | I'll save it out and I'm ready to bring it
into 3ds Max to test it and also in Unity.
| | 00:57 | Over here in Max, the
testing environment is pretty good.
| | 01:00 | They've done a lot of work in the
viewport to let us see things fairly close to
| | 01:04 | game, without having to export to an engine.
| | 01:07 | I'll press M to pull up my Material Editor.
| | 01:10 | I can work in either Slater Compact;
really doesn't matter for this round.
| | 01:13 | It's up to you what you'd like to use.
| | 01:15 | I'm going to pick a new material,
leaving my testing checkers alone.
| | 01:19 | Into the Diffuse color, I'll put in a
bitmap, into the bitmap we'll go my
| | 01:25 | blue container to start.
| | 01:27 | I'll go up to the parent, scroll down
to the maps, and into the Bump map, I'll
| | 01:32 | click on the None slot and add a Normal Bump in.
| | 01:35 | This tells Max to regard it
correctly as a normal versus a standard bump.
| | 01:40 | I'll double-click on Normal Bump and
in the Normal slot, clicking on None
| | 01:44 | and adding in a bitmap.
| | 01:46 | In this bitmap, we'll go my
normal I've exported from xNormal.
| | 01:50 | I'll click Open and go up to the parent,
go to the parent one more time and now
| | 01:57 | I'm in the root material.
| | 01:59 | I'll turn on the Show Shaded Material in
Viewport button, that way I can see all the
| | 02:03 | properties of this material in the view.
| | 02:05 | I'll select my container and assign it.
| | 02:09 | Always name your materials. I'm going
to call this one ContainerBlue, so I've
| | 02:14 | got some continuity here.
| | 02:15 | This will come across into
Unity when I export.
| | 02:19 | It's ready, I'm going to choose in
here Realistic and under Materials > Realistic
| | 02:24 | Materials with Maps.
| | 02:25 | It will take a sec,
refresh, and show me my materials.
| | 02:30 | I can see my normal map is working.
| | 02:32 | What we may want to do in this case
is to put a light in just to test.
| | 02:37 | I'll choose Create > Lights and I'm
going to use a standard Omni light.
| | 02:41 | I'll put it in the scene,
press W for move and pull it up.
| | 02:45 | And we can see clearly in here, as I move
this light around, the normal map is working.
| | 02:50 | We can see the corrugations on the side,
the bumpiness in the rust, and up on
| | 02:55 | the top here, the other corrugations.
| | 02:58 | I may want to make these stronger, but
the real test is to pull it into Unity.
| | 03:02 | I've made up a simple scene and
brought it in and I'll show how this looks.
| | 03:06 | Here in Unity, I've brought in my
containers, I've also made a new material and
| | 03:10 | added those maps into it.
| | 03:12 | I've put my containers around and a
directional light and a couple of point lights
| | 03:16 | just to show off how it shines.
| | 03:17 | I've added in a player controller, and
now I'm going to maximize this and play it.
| | 03:26 | I'll go to the Game tab, choose
Maximize on Play and hit Play.
| | 03:30 | There's not much we can do in the
scene, other than run around it.
| | 03:34 | I'll use my standard WASD
keys and navigate around.
| | 03:38 | It's working pretty nicely.
| | 03:40 | Remember that that this build is a
working build, so we don't have an option
| | 03:43 | unless we set in the project
for the different display modes.
| | 03:47 | This is merely good.
| | 03:48 | So we're seeing some aliasing artifacts.
| | 03:50 | But my normal map is working very nicely.
| | 03:52 | There's a little difference here and
how it displays in the game versus the Max
| | 03:56 | viewports, that's why I
want to come over and test.
| | 03:58 | We can see on the side of this
container the rust has bubbled the surface,
| | 04:02 | the corrugations are showing very well.
| | 04:04 | We can see where the rust has streaked down the
corrugations and there is the logo painted over.
| | 04:09 | We can also see where that extra effort
in the silhouette really paid off; that
| | 04:12 | the corner boxes stick up nicely and
if I'm casting dynamic shadows, I've got
| | 04:16 | shadow lined areas right under that frame.
| | 04:19 | I can see I have some work to do;
| | 04:21 | it looks like I may need to Swizzle one
of my directions, because my holes are
| | 04:26 | popping out instead of sticking in.
| | 04:28 | I'll also need to go back and color them.
| | 04:30 | That would be very easy as it's a
matter of copying from one layer to another.
| | 04:34 | But overall, it's working very well.
| | 04:37 | I'll go around to this
side here and show the doors.
| | 04:40 | Again, I may want to work a little bit
on the strength of that normal and add in
| | 04:43 | some more detail, but there is the
doors and the hinges and the panels and all
| | 04:47 | the markings, it's working nicely.
| | 04:50 | Finally, the framing pieces are simply rusty.
| | 04:54 | I've done them in such a way in the
unwrap and the painting that they're simply
| | 04:58 | allowed rusting and we can't
really tell which rust is where.
| | 05:02 | It's just all nicely rusty as if this
was gently weathered and we can't tell
| | 05:07 | that it's actually overlapping completely.
| | 05:10 | I've gone through pains to avoid
places in the painting where I can see an
| | 05:14 | obvious seam and it's paying off.
| | 05:16 | I could go through and further refine
this or add in things like we'll cover in
| | 05:19 | other chapters, such as
ambient occlusion or specularity.
| | 05:23 | My container is working and jumping up on
top, I can even see the top holds up nicely.
| | 05:28 | I'm ready to run around this in my game.
| | 05:30 | Remember that with large props, the
silhouette really counts. That we can add a
| | 05:34 | lot of detail in the middle of things,
through normal maps, diffuse textures and
| | 05:39 | even blending between them, but having
the silhouette in place and then getting
| | 05:43 | a good texture on that is part of a
library that we can change easily, will help
| | 05:48 | us flesh out a game environment and
make lots of stuff with relatively few
| | 05:52 | pieces in our kit of parts.
| | Collapse this transcript |
|
|
3. Modeling Tools and Small PropsOverview of modeling small props| 00:00 | In this chapter, I'll look at
modeling small props for games such as this
| | 00:03 | sledgehammer here.
| | 00:05 | I'll also look at how to model a ladder,
and as part of that, I'll use instanced components,
| | 00:11 | that way I can make things like
rungs once and have the changes ripple
| | 00:15 | through all of them.
| | 00:16 | As part of this, I'll look at
stacking UVs and having multiple objects
| | 00:20 | reuse texture space.
| | 00:22 | I'll work in Editable Poly in 3ds Max,
exploring quick ways of making and
| | 00:26 | mapping props, and finally I'll wind up
with having textures not only span over
| | 00:32 | multiple objects, but adding in dirt
overlays, reusing those UVs and altering
| | 00:37 | the tiling of that dirt.
| | 00:38 | For games, being able to reuse UVs
and reuse textures is important.
| | 00:44 | We may end up with a lot of small props,
and so we want to minimize the amount
| | 00:48 | of resources those take because very
quickly it get very expensive and drag down
| | 00:52 | game play, but we want to
maintain a certain level of realism.
| | 00:55 | So stacking UVs and texture sheets versus unique
textures are a great way to do this.
| | Collapse this transcript |
| Modeling a sledgehammer| 00:00 | In this video I'll start to
block out my sledgehammer.
| | 00:03 | These kinds of tools show up
all over the place in games;
| | 00:06 | sledgehammers, crowbars and so forth,
and we may be able to pick them up
| | 00:10 | and interact with them.
| | 00:11 | What counts really for us is the silhouette.
| | 00:14 | Does it have that sledgehammer look, that
large blunt head and fairly straight handle?
| | 00:20 | We want to make sure this is different
from a claw hammer, or a wooden mallet
| | 00:23 | or something similar, that if we are making
a sledgehammer it reads as a sledgehammer.
| | 00:29 | I'll start out at Max with a cylinder.
| | 00:31 | I'm going to work in my Perspective
View initially creating the sledgehammer
| | 00:34 | standing straight up.
| | 00:35 | It doesn't really matter which way it's
facing as we can reorient it as we need.
| | 00:40 | I'll choose Create and under
Standard Primitives, there is my cylinders.
| | 00:43 | I'll click and drag out a Cylinder.
| | 00:47 | Then I'll jump to the Modifier panel, hit Z
to Zoom Extents and adjust its parameters.
| | 00:53 | I'm going to make the Radius on this 0.75 or
three quarters of an inch and a Height of 15.
| | 00:58 | I'm going to put my Height
Segments at 3 and my Sides at 6.
| | 01:02 | Now you may look at this and say,
hmm, that looks kind of chunky.
| | 01:07 | But I'm going to employ some smoothing
groups later, so it looks pretty well
| | 01:10 | round unless we get close
to the end and look at it.
| | 01:13 | But I'm economizing on my polygon usage.
| | 01:16 | Now I'm going to give this a little
bit more contour, a little more curve.
| | 01:21 | On my Scale tool, I'll flyout
the scale and choose non-uniform.
| | 01:25 | I'm going to scale this on the Y axis,
so it becomes an oblong, that way it fits
| | 01:29 | in the hand a little better.
| | 01:31 | Then I'll right-click and
convert this to an Editable Poly.
| | 01:35 | Sometimes what I'll do for modeling is
actually start scaling sub-objects. I'll
| | 01:39 | press 2, which takes me to the edge sub-
object, and I'll double-click on the edge
| | 01:45 | loop that runs around the middle.
| | 01:46 | Now we'll take this and scale it on
the X axis just a little bit to give this
| | 01:51 | hammer a little taper in the handle.
| | 01:53 | I'll do the same at the next edge loop up.
| | 01:56 | Remember your edge loops run parallel
around an object; edge rings travel around
| | 02:01 | an object with the edges
perpendicular to the selection.
| | 02:05 | I'll make sure I'm scaling on the right
axis, going in on the Y just a little bit.
| | 02:09 | So now my sledgehammer in the middle has
a decent curve, ready for somebody to grip.
| | 02:14 | Finally, I may go into the top of the
head and scale this in, although our
| | 02:18 | steel head will sit up here, so I'm
going to leave it alone so it meets with a
| | 02:22 | little bit of a flair.
| | 02:24 | When we're making an object like this,
we want to keep it as low poly as
| | 02:26 | possible while maintaining silhouette.
| | 02:29 | From the front, or from the side, our
hammer needs to have that curve and the
| | 02:33 | smoothing groups will help make it look round.
| | 02:35 | From the bottom, we have to get really
close to really perceive this as a hexagon.
| | 02:41 | Most of the time in a game if we see
the bottom, it'll be about here, so we
| | 02:45 | perceive this as round.
| | 02:47 | Next I'll start in making the
steelhead and finally adding in some detail.
| | Collapse this transcript |
| Adding detail and smoothing groups| 00:00 | I've blocked out the basic
form for the sledgehammer handle.
| | 00:03 | Now I'm going to check and clear and
reapply the smoothing groups and bevel the
| | 00:07 | bottom of it for a little extra detail.
| | 00:09 | First I'll spin underneath and
there is the bottom polygon on it.
| | 00:14 | I'll select it and press 4 to go into Polygon.
| | 00:18 | I'll pick the bottom poly. We can
either Chamfer edges or Extrude this.
| | 00:22 | I'm going to right-click and choose Bevel.
| | 00:25 | I'll pull this polygon out slightly
and then use bevel to bring it in.
| | 00:30 | This gives me, if I need, a little bit of
a beveled edge, so it will shine nicely
| | 00:34 | instead of being perfectly crisp at the bottom.
| | 00:36 | It's not a real round but
it will look pretty good.
| | 00:40 | Now for the smoothing groups. This had
smoothing groups applied so as a cylinder
| | 00:44 | it looked fairly round, but once I
throw that bevel on we can see I've got some
| | 00:48 | odd issues going on down at the bottom.
| | 00:50 | Here's how I'll handle it.
| | 00:52 | With the object selected I'll press 4
and I usually select all my faces and
| | 00:57 | clear off the smoothing groups first.
| | 00:59 | On the Modifier panel, I'll
scroll down to the smoothing groups.
| | 01:03 | In the Polygon Smoothing groups, I'm
going to clear them all off first.
| | 01:07 | Now it's faceted. I'm going to select
all the polys on the shaft, or the straight
| | 01:12 | part of the handle, but not
the top and not the bevel.
| | 01:15 | And I'm going to put those in Group 1.
| | 01:18 | This way it forces Max to interpolate
curves around that handle, so it looks round.
| | 01:23 | And in a Front view I still got
my slightly curved silhouette.
| | 01:27 | On the bottom where I've just put in
that beveled end, the bottom polygon will
| | 01:32 | not have any smoothing applied, but
the other six around here will have it.
| | 01:36 | I'm going to smooth them together, so
that they start to look like a round
| | 01:40 | bevel on the end of this.
| | 01:43 | I've got those six polys
selected and I'll put them in Group 2.
| | 01:47 | Here's what that does for me.
| | 01:49 | Anything in Group 2 smoothes together;
my bevel will look rounder but where that
| | 01:54 | group hits another group I have a hard edge.
| | 01:57 | So I'm adding in detail on this.
| | 01:59 | When I scroll back and zoom out and look
at the handle it looks like a bevel on it.
| | 02:05 | Yes it is still six sided, and I may
want to pull in these bottom vertices a
| | 02:08 | little bit, just to make the silhouette work,
| | 02:11 | but in a game, when we see it
about here, this will hold up nicely.
| | 02:14 | Now to block out the head I'm going to
start out in the Top view using a box.
| | 02:19 | I'll T for top and Z for zoom extents.
| | 02:23 | The T silhouette is the
really important piece here.
| | 02:26 | I'll hold Ctrl and right-click and choose Box.
| | 02:30 | I'll land the box roughly over
it and drag up for the height.
| | 02:33 | I'm going to say this is a
fairly decent sized head.
| | 02:36 | Here is a Length of 2, a Width
of 5 and a Height of 2 as well.
| | 02:42 | Now yes it is at the bottom of my
hammer, but that's okay, I can fix this now
| | 02:46 | or can fix it later.
| | 02:47 | At the moment I'm going to make
this head and then get it positioned.
| | 02:51 | I'm also going to add
into this, 3 width segments.
| | 02:56 | I'll press F4 to turn on my Wire on Shaded
or my Edged Faces, so I can see it clear.
| | 03:01 | Now working by edge I'm going to
bevel in these sides so it's got
| | 03:05 | that eight-sided shape.
| | 03:07 | I'll right-click, Convert to an
Editable Poly, press 2 for Edge, and select one
| | 03:14 | edge, hold Ctrl, pick another.
| | 03:17 | I can either press Ring over here on
the Modifier panel in the Selection rollout,
| | 03:21 | or the hotkey is Alt+R. I'll ring
that selection and right-click and choose
| | 03:27 | Chamfer, and I'm going to
use the dialog next to it.
| | 03:30 | This pulls up my tool caddy and
there is the dimension on the Chamfer.
| | 03:34 | I'm going to pull this down a
little bit until I get my sledgehammer.
| | 03:39 | There is that typical silhouette emerging,
with a straight section in the middle
| | 03:43 | to accommodate the handle and an
eight-sided face on both sides.
| | 03:48 | I'll check this or say it's OK when I'm done.
| | 03:51 | Now I'm going to pull this up on top.
| | 03:53 | I'll turnoff Edge so I'm back in the
whole object, zoom out and I can either
| | 03:58 | move and snap or align.
| | 03:59 | I'm going to use my Align tool here to
make sure it's all in the right place.
| | 04:03 | I'll click on the Align tool
and then go over the handle.
| | 04:08 | The mouse shows yes, you're
going to align to Cylinder1.
| | 04:11 | I'll click on it and first I'm going to
align these Center and Center on the X,
| | 04:16 | Y, and Z to make sure the
head sits centered on handle.
| | 04:19 | I'll check Apply and now I'm going to turn
on Z Position and try Maximum to Maximum.
| | 04:28 | This works nicely.
| | 04:29 | The handle goes cleanly through the head.
| | 04:31 | As long as I cleanup where the geometry is
fighting up there, I'll be in good shape.
| | 04:35 | I'll click OK and my head is aligned
nicely, ready for a little bit of cleanup
| | 04:40 | and the start of my unwrap.
| | Collapse this transcript |
| Unwrapping as part of a texture sheet| 00:00 | In this video, I'll take the
hammer that I've modeled and unwrap it.
| | 00:04 | I'm going to use this as part of a
texture sheet, so at least I'll get the
| | 00:08 | objects flattened out and
the proportion correct first.
| | 00:10 | Then I'll go in later and position
it once I have my other objects unwrap.
| | 00:14 | I'll start by unwrapping the handle.
| | 00:16 | I've optimized this a little bit,
taking out the top polygons, and making sure
| | 00:20 | that the handle looks good especially
from the bottom and it doesn't show as
| | 00:24 | terribly faceted unless we get fairly close.
| | 00:26 | I've also added some extra detail on
the head, giving it a little bit of
| | 00:30 | roundness so it shines nicely.
| | 00:32 | I'm figuring this is a tool
we're going to pick up and use.
| | 00:34 | So I need to see it fairly close.
| | 00:36 | Now I'll start out by adding an
Unwrap UVW Modifier on to the handle.
| | 00:40 | Remember that we can unwrap multiple
objects, combine them or attach them, and
| | 00:45 | those UVs will still be there.
| | 00:47 | I'll open up my Editor, and I'm
going to work in two views here.
| | 00:50 | We can see that the original UVs are
messy and what this is reflective of is
| | 00:55 | that it starts out with UVs and I've
extruded and changed the geometry, which
| | 00:59 | gives me spaghetti over here.
| | 01:01 | I'll press 3 to switch over to Face,
and I'll select all the faces, and then
| | 01:06 | deselect the bottom.
| | 01:07 | But there's an issue here.
| | 01:09 | The default settings when working by
Face and the Unwrap, is to have Backface
| | 01:13 | Culling on or Ignore Backfacing when selecting.
| | 01:17 | I'll go up to the top of my selection
rollout and the Unwrap UVW Modifier, and
| | 01:21 | turn off this option.
| | 01:23 | With Ignore Backfacing off, now I can
select the whole handle, deselect the
| | 01:28 | base, and there is all of
that cylindrical mass selected.
| | 01:34 | Now I'll scroll down to the
Projection section in the Unwrap UVW Modifier.
| | 01:39 | In the Projection rollout, I'm
going to use a cylindrical projection.
| | 01:43 | I'll click on the cylindrical map,
and I can align it in various ways.
| | 01:47 | The easiest here is on the Z axis,
and the reason why is that I made this
| | 01:52 | cylinder with its height going up on the
Z. So picking Z gives me a near perfect
| | 01:56 | unwrap as we can see here in my editor.
| | 01:58 | Choosing X or Y gives me
awkward polygons at best.
| | 02:03 | Now I need to get the scale right.
| | 02:05 | I'm going to close my unwrap for a
minute and right-click and choose Top-level,
| | 02:09 | and I need to get a material on.
| | 02:11 | I'll press M for my Material Editor.
I've already made a material in here, and
| | 02:15 | this one, all it has is a
checker pattern and the Diffuse.
| | 02:18 | I've made this, and included it in the
sceneassets > images folder in the 3ds Max project.
| | 02:24 | What this is, is a gradient applied
across checkers with gray between, and
| | 02:29 | letters that repeat through.
| | 02:31 | This allows me to see where a map
tiles or repeats as red will match up with
| | 02:35 | green or yellow, and also, because of
the letters, see which way it's facing.
| | 02:40 | And finally, because of the letters
being smaller detail, I can see if there is
| | 02:44 | distortion within each square.
| | 02:46 | I know some folks like to use just
black and white or something similar, but
| | 02:49 | black stretching to black is still black,
and white stretching to white is still white.
| | 02:53 | So I like to have a
little more detail in my map.
| | 02:56 | You're free to use this one, and there
is lots of others available out there;
| | 02:58 | whatever works is fine.
| | 03:01 | Now with this material applied, I'll
make sure that I show it in the view, and
| | 03:05 | there is those checkers.
| | 03:08 | They work, but they're a little stretchy.
| | 03:10 | So I'm going to fix this.
| | 03:12 | I'll go back in my Editor.
| | 03:15 | In the UV Editor, I'll press 3, and
there is those faces still selected.
| | 03:20 | I'm going to use the scale and scale
those selected sub-objects on the horizontal.
| | 03:25 | As I start to scale these back down, we can
see that those squares return back to square.
| | 03:31 | The idea is that these started out as square.
| | 03:33 | So if they are undistorted,
they should be square again;
| | 03:37 | this Unwrap then may be fairly skinny.
| | 03:40 | I don't mind a little distortion along
the sides to keep these edges straight,
| | 03:43 | as I'm going to put this on a straight
wood grain and it'll look pretty nice.
| | 03:46 | This will also allow me to
camouflage that texture seam.
| | 03:49 | I'm going to show it a little easier by
pressing F2 to turn off Shading Selected Faces.
| | 03:55 | As I scroll or orbit around this handle,
I can see where there's a seam, but
| | 04:00 | I'll have wood grain there, and so
it should be pretty well camouflaged.
| | 04:03 | That's one element.
| | 04:05 | Now for the bottom.
| | 04:06 | I'll spin underneath, select those
bottom faces, and hit them with a planar map.
| | 04:11 | I'll scroll down to the Projection, and
choose Planar Map, and that worked nicely.
| | 04:17 | The bevel is slight enough that I can
really flat map them, and I'll just put
| | 04:20 | where it looks like an end
grain across and it will work well.
| | 04:24 | What I'm setting up here for as I turn
off the Planar Mapping is taking these UV
| | 04:28 | shells, stacking together, and scaling them.
| | 04:32 | So once I get the head done, I'll
have all the UVs in this 0 to 1 space.
| | 04:36 | Then I'll stack in other objects
right over it, reusing let's say a long
| | 04:41 | chunk of wood grain here for both the
hammer and the ladder I'll do in the next videos.
| | 04:46 | That way I can have one texture as
part of all of my materials for all of
| | 04:51 | my different props instead of loading
multiple images in and using up a lot
| | 04:55 | of memory.
| | Collapse this transcript |
| Modeling a ladder| 00:00 | In this video, I'm going to add to
my small props by modeling a ladder.
| | 00:04 | We've got different kinds of ladders we can do;
| | 00:06 | aluminum extension ladders, we can
look at other ladders that are parts of
| | 00:10 | scaffolds, and even site-built
ladders like this wooden one.
| | 00:13 | I'm going to make a single wooden ladder,
so I can reuse some wood texture I'm
| | 00:18 | going to use on the sledgehammer, and
put in places to put a metal so it has
| | 00:23 | some variable shine.
| | 00:24 | Here in 3ds Max, I'm going to work in
the same file I made my sledgehammer in.
| | 00:29 | It's okay to do this and then
export out things separately if you need.
| | 00:32 | First, I'll hold Ctrl and right-click
and choose Box from my creation quad.
| | 00:37 | I'm going to try to make this around 0, 0,
although I can always move things later.
| | 00:41 | I'll start out by making the sides of
the ladder, clicking and dragging for a
| | 00:44 | box and jumping to the Modifier
panel to put in an exact size.
| | 00:48 | I'm going to give this a width of 1,
so it's fairly slim, and a length of 3.
| | 00:53 | Finally, I'm going to
make this an 8 foot ladder.
| | 00:55 | I'll put the Height at 96.
| | 00:57 | Notice I've got my Length, Width and
Height segments down to 1, 1, and 1 as
| | 01:01 | this box is straight, so I
don't need to spend any extra polys.
| | 01:05 | I'll take this element and clone it.
| | 01:07 | I'll press Ctrl+V to clone,
and I'll clone it as an instance.
| | 01:11 | I'll press W for move, and down in the
Offset Transform type-in at the bottom on
| | 01:15 | the X axis, I'm going to move
this clone over by 16 inches.
| | 01:20 | There are the sides of my ladder.
| | 01:21 | Now I'll go in a Left View and press
F3 to go to a wireframe and G to turn off
| | 01:27 | the Grid so I can see what I'm doing
easier, and I'm going to make the rungs.
| | 01:31 | I'll zoom in on it so I can see what I'm doing,
and in the Creation menu, choose Cylinder.
| | 01:36 | I'm going to make a cylinder.
| | 01:37 | And actually the 6-sided cylinder I
started out with will work very nicely.
| | 01:41 | I'll go to the Modifier
panel and give this a Radius of
| | 01:44 | three-quarters-of-an-inch, 0.75.
| | 01:47 | The Height I don't know about yet.
| | 01:49 | The Height Segments, I'm going
to leave at 1, and Sides at 6.
| | 01:52 | I'm going to come back and
deal with those in a minute.
| | 01:55 | I'll zoom in, right-click, and
convert this to an Editable Poly.
| | 01:59 | Because this rung intersects the
sides of the ladder, I don't actually need
| | 02:02 | the end polys on it.
| | 02:04 | I'll go into Polygon,
select them, and delete them.
| | 02:08 | Now here's how we reduce the polygon even
further and really make it look like a ladder.
| | 02:12 | Climbing on the ladder with
round rungs is doable but difficult.
| | 02:16 | I'm going to flatten this out.
| | 02:18 | I'll press 2 for Edge and
pick one of these side edges.
| | 02:21 | I'll scroll down to the Edit
Edges rollout and there is Remove.
| | 02:25 | Now Remove doesn't take out the vertices.
| | 02:28 | I want to do what's called a clean
remove by holding Ctrl and clicking Remove.
| | 02:33 | The edge is gone and so are the vertices, and
I've got now a 5-sided rung with a flat top.
| | 02:39 | I'll press E to rotate, right-click and
choose Top-level and make sure my Angle Snap is on.
| | 02:45 | I'll rotate it on the X axis by 90 degrees.
| | 02:48 | And once I get the smoothing groups on,
it will look round, but be flat on top
| | 02:53 | and shine correctly.
| | 02:55 | I'll go into a Front View, press W for
move, and move this into the right place.
| | 03:00 | I'm going to use my snapping tools;
| | 03:02 | pressing S for Snap.
| | 03:04 | I had already configured
snap to work on vertices.
| | 03:06 | I'll press Spacebar for Selection Lock,
register the snap, and pull it over.
| | 03:11 | Now I'll press 1 for Vertex, release
the Selection Lock by pressing Spacebar,
| | 03:16 | select the vertices, press it again,
and slide these over right on that X axis
| | 03:23 | until that rung matches up.
| | 03:25 | I can use the Align tool to
get this in the right place.
| | 03:29 | I'll click on the Align tool with
the rung selected, and pick the box.
| | 03:34 | It seems to jump out, and that's because I
had my align on something else previously.
| | 03:39 | What I want to do is make sure this is
on the Y Position only from Center to
| | 03:44 | Center, and the rung centers on the ladder.
| | 03:47 | I'll hit Apply, and now I'm going to
position it on the bottom, going from on
| | 03:51 | the Z Position, the Minimum to the Minimum.
| | 03:56 | Now the rung is snapped to the bottom
of the ladder, I can click OK, and move
| | 04:00 | it up a precise distance as I want.
| | 04:02 | I'm going to move this up on the Z by 12.
| | 04:05 | Finally, I'll clone this out.
| | 04:07 | I'm going to use my Shift+
Clone to start to clone this.
| | 04:11 | And here's a neat technique.
| | 04:13 | I've hit my Spacebar, so
my Selection Lock is on.
| | 04:16 | I'm going to make my snap 3D instead,
and on the Z axis, I'm going to register,
| | 04:22 | hold Shift, and click and
drag up one rung spacing.
| | 04:27 | Because it's snapping only on the
Z axis I can put my mouse anywhere.
| | 04:30 | I'll let it go, make sure it's an
instance, and give myself 7 copies.
| | 04:36 | I'll click OK, and zoom out to see my handiwork.
| | 04:39 | One rung, too many, I'll
select it and delete it.
| | 04:42 | Now what I've done is created my
ladder and its rungs, ready for use.
| | 04:47 | When I unwrap one or play with the
smoothing groups on it, it will affect all of them.
| | 04:52 | Likewise, on the boxes on the side, if
I pick one and unwrap it, or deal with
| | 04:57 | the smoothing, or model in some other way, the
instance will reflect those changes as well.
| | 05:02 | I'm ready to refine, add detail,
and unwrap in the next video.
| | Collapse this transcript |
| Adding detail and smoothing groups| 00:00 | With my ladder blocked out I'm ready
to start adding detail and getting the
| | 00:04 | smoothing groups right.
| | 00:05 | Because I've got the instanced objects, I
can work on one and the others will all change.
| | 00:09 | First I'll look at the rungs. I'll pick
one of them and press Z to Zoom Extents.
| | 00:14 | It's already an Editable Poly, and I rotated it
before I cloned it, so it's got a flat side up.
| | 00:19 | I'll play with the smoothing groups first.
| | 00:21 | I'll press 4 for Polygon
and Ctrl+A to select all.
| | 00:25 | What I'd like to do as I've shown, is to
clear off the smoothing groups and then
| | 00:30 | reapply them as I want.
| | 00:31 | I'll scroll down to the smoothing groups first.
| | 00:34 | In the Polygon Smoothing Groups we can
see that all the faces here are entirely
| | 00:38 | in group 4, that's what that
means when it's lit and depressed.
| | 00:42 | If smoothing groups are blank, it means
some but not all of the polygons are in
| | 00:47 | that smoothing group.
| | 00:50 | Here's how that looks.
| | 00:53 | In this case the way we read it, is
some but not all of those polygons are in
| | 00:57 | group 1 and all of them are in group 4.
| | 01:00 | What I usually do is to clear off
the smoothing groups so it's faceted,
| | 01:05 | apply it as I want, here they are in group 2.
| | 01:08 | And then I'm going to take the top of the
rung, which should be flat, and pull it out.
| | 01:12 | So that when I look at this turning
off my edged faces and deselecting and
| | 01:17 | zooming back, my rung looks basically round.
| | 01:22 | It's only when I get really, really
close that I start to see some faceting,
| | 01:26 | but when I look at the top of the ladder, I can
also see that it is flat on the top of the rungs.
| | 01:32 | So it can be climbed.
| | 01:33 | I may want to go in and just adjust where
those vertices are, that's a possibility.
| | 01:37 | We can always look at round objects
and see is there a way we can disturb any
| | 01:42 | possible flat spots.
| | 01:44 | I'll go in a left view, press
F3 for Wireframe and zoom in.
| | 01:51 | There is one of my rungs, and in
order to kind of counter that flat spot,
| | 01:56 | I'm going to select the bottom pairs of
vertices here, and pull them up a little bit.
| | 02:01 | Now notice it jumped there. I left my
snap on and it gave me some odd results.
| | 02:07 | I'll undo that and make sure I hit S to
turn that snap off, and now I am going
| | 02:12 | to pull these up and then press R to
scale them out slightly on the X. So that
| | 02:17 | when I see the wood rung against the
side of the ladder, in good light, there is
| | 02:22 | not a perfect vertical edge here,
and I'll believe it to be round enough.
| | 02:27 | Remember also that because we're
working in a game, there is a distinct
| | 02:30 | possibility that we need to see that
it's a ladder, and then run away from
| | 02:34 | somebody or we're chasing after something else.
| | 02:37 | Will we actually spend the time to
look at the pieces and say, well gee, that
| | 02:42 | ladder rung isn't perfectly round, probably not.
| | 02:45 | As long as from a game view about this
distance it seems to work, we're in good
| | 02:50 | shape, and we believe it is a round
object with a purposeful flat spot.
| | 02:54 | Smoothing groups are a terrific way to
add more detail to an object by distinctly
| | 02:59 | setting apart round and flat
objects so there are creases on the edges
| | 03:03 | correctly, that way it looks like
things have more detail even though you
| | 03:08 | haven't added in the extra polygons.
| | Collapse this transcript |
| Unwrapping for the ladder| 00:00 | With my ladder blocked out, and some detail
added on the rungs using smoothing groups,
| | 00:04 | I am going to start in on the unwrap.
| | 00:06 | What I'll do first is add a
little more detail up at the top.
| | 00:10 | It's a wood ladder, but I'd
like to have metal caps up here.
| | 00:13 | I'm going to zoom in and on the
Modifier List, I'll dropdown add an Edit Poly
| | 00:17 | Modifier on to the side.
| | 00:20 | The Edit Poly instances across to
the other side, so any changes I make
| | 00:24 | here show up over there.
| | 00:26 | I'll press 4 for Polygon
and pick that top Polygon.
| | 00:30 | I'll right-click and choose Extrude.
| | 00:31 | I'm figuring I want to Extrude these
out a little bit first, so I can put it
| | 00:36 | different material on there.
| | 00:37 | And then I'll right-click and choose Bevel.
| | 00:41 | I'll Bevel this up and pull it in a little bit.
| | 00:45 | I want to make sure when I Bevel,
that I avoid something like this;
| | 00:48 | this is called an irrational object,
where it crosses over itself and leads to
| | 00:53 | rendering issues, and failing imports.
| | 00:55 | I'll make sure that Bevel
just goes in a little bit.
| | 00:58 | What this gives me is an extra place to shine.
| | 01:01 | So when this has a little specularity
on it, I get a little shine at the top,
| | 01:05 | makes it look better than
a perfectly crisp object.
| | 01:08 | I'm ready to unwrap. I need to get
some material on to show how this looks
| | 01:12 | as I'm unwrapping it.
| | 01:13 | I'll press M for my Material Editor
and then select both sides, picking one,
| | 01:19 | holding Ctrl and picking the other.
| | 01:21 | I've already got my checkers I've made,
and I'll assign that material onto it.
| | 01:25 | We can see in that those UVs are
fairly distorted and that's okay.
| | 01:29 | It's part of the modeling process.
| | 01:31 | Now I am going to unwrap and smooth it out.
| | 01:33 | My thought is that as I'm unwrapping
this, I'd like to have a piece of wood
| | 01:37 | about two or three rungs tall
rather than a full ladder side worth,
| | 01:42 | as I can paint greater
detail in a smaller area of wood.
| | 01:46 | That way, I can use the
same wood for my sledgehammer.
| | 01:49 | I'm going to use these checkers to
get the wood grain the right size.
| | 01:54 | I'll dropdown under the Modifier List
and an unwrap UVW Modifier on to this side.
| | 02:01 | I'll press 3 to go into face and in the
unwrap, in the Select By section, I'll
| | 02:06 | make sure I uncheck Ignore Back Facing,
| | 02:09 | that way, I can select all the way around.
| | 02:12 | I'm going to use a Cylindrical unwrap on
these, so I've continuity on that texture.
| | 02:17 | I'll select the Polygons and then hold Alt
and deselect the top and bottom.
| | 02:22 | So it's just the four wrapping around here.
| | 02:24 | I'll scroll down to the Projection section and
apply a cylindrical projection to those faces.
| | 02:29 | I'll put a cylindrical projection ON,
and make sure it's on the Z axis.
| | 02:33 | Remember, I modeled this straight up
and down with the height of the box on the
| | 02:37 | Z, so aligning a mapping to it gets very easy.
| | 02:41 | I'll zoom in, press F2 to turn off
Shading Selected Faces and I can see I've
| | 02:46 | got some distortion.
| | 02:47 | This is a place to scale
that UV projection down.
| | 02:51 | I'll press R for scale and F3 for a
wireframe so I can see it better.
| | 02:55 | We can just see the projection cage in
yellow inside. As I scale that cylinder
| | 03:00 | down we'll see those
squares come back to square.
| | 03:04 | Somewhere in here is a balance; too
small and I'm going to see the same wood
| | 03:07 | grain repeat too often, too
big and I'm painting too much.
| | 03:12 | But here is a couple of
rungs worth looking pretty good.
| | 03:15 | So that means this texture
will repeat four times over.
| | 03:19 | I'll go to the Projection, turnoff of the
Cylindrical Map and check this out in my UV Editor.
| | 03:27 | In the Editor I'm in pretty good shape.
| | 03:28 | What we're seeing here is a tiling set
of UVs where that map, that 0 to 1
| | 03:34 | space, is applied over a portion of
them and those actually extend pretty far
| | 03:38 | beyond, about four times as tall.
| | 03:40 | That means whatever is in that 0 to
1 space will tile or repeat over the
| | 03:45 | course of that side.
| | 03:46 | As I'm dealing in straight wood on a 3
inch wide object, as long as that map
| | 03:51 | tiles nicely, I'm not going to
notice a real difference in there.
| | 03:54 | Now I am going to get distortion out.
| | 03:56 | It looks decent on the sides but the fronts,
those skinny faces, are really squished.
| | 04:02 | Rather than scale faces, what I'll do in
cases like this is move vertices or edges.
| | 04:08 | I'll press 2 for Edge and I'll pick one
of the outside edges and see where it is.
| | 04:14 | It looks like this edge is on the inside.
| | 04:16 | So once I take this and start to move
it using my Move tool on the Horizontal,
| | 04:22 | I'll get some distortion out.
| | 04:24 | I'll drag this in and make sure I
am on the right sides. There it is.
| | 04:28 | As I pull this edge back and forth, we
can see those UVs distorting and I can
| | 04:32 | stretch that back out.
| | 04:33 | That means that the next polygon is
actually the inside, and the middle here is
| | 04:39 | the other skinny side.
| | 04:41 | I'll spin around and select those edges.
| | 04:44 | Now when I take these edges and start
to pull them in, we can see I am taking
| | 04:48 | the distortion out of that middle section.
| | 04:51 | Finally, this last poly is the outside.
| | 04:55 | This is the one I really
want to make sure looks right.
| | 04:57 | I will work by vertex or by edge in
this case, pick those vertices and slide
| | 05:03 | them over, getting the
distortion out as much as I can.
| | 05:08 | That's one side of a ladder and we will see
this applied to the other side as an instance.
| | 05:13 | This is also a nicely tiling texture.
| | 05:16 | That means of course that that wood
would repeat along here and I've got the
| | 05:19 | distortion out and I've even got a
good place in here if there is a kind of
| | 05:23 | fastening on the side for the rungs.
| | 05:26 | So I can make one fastener on my 0 to 1
space and have it repeat up that ladder.
| | 05:32 | I'll right-click, choose Top-Level
and use the same kind of cylindrical
| | 05:36 | unwrap on the rungs.
| | 05:38 | Overlapping those UV's as much
as I can to save texture space.
| | 05:42 | I'll finish this and then move on to
adding the sledgehammer into that unwrap
| | Collapse this transcript |
| Placing the clean texture| 00:00 | With my ladder unwrapped in a tiling
texture and the rungs unwrapped and hammer
| | 00:05 | handle unwrapped as well, I'm ready to
start getting a wood grain on and seeing
| | 00:09 | if I have enough wood to go on that ladder.
| | 00:12 | I've created in Photoshop some wood and I'm
going to bring that in and see how this looks.
| | 00:17 | In Photoshop I've made some straight
grain wood so this should tile fairly
| | 00:22 | nicely from top to bottom.
| | 00:24 | As an option for creating tileable
textures we can use the Offset tool. I'm going
| | 00:29 | to take my layers, group them by
pressing Ctrl+G, hold Alt and clone that group
| | 00:35 | down and then flatten the group by
pressing Ctrl+E. Now I am going to use the
| | 00:39 | Offset tool choosing Filter > Other > Offset.
| | 00:44 | This wood will tile side-to-side
nicely, but it's really the Vertical
| | 00:47 | tilling that I care about.
| | 00:49 | This map is about 3000 pixels square.
I'm going to reduce it, but I need to get
| | 00:54 | that tiling right first.
| | 00:55 | I am going to move this down
by 600, and see how it looks.
| | 00:59 | Am I getting any obvious repeats or any issues?
| | 01:03 | Some, so this is a place to make sure
I've got some straight grain wood, or if I
| | 01:07 | need to do any erasing or cloning.
| | 01:09 | I'm going to say OK to the move but put
it at 1500 so that line goes in the middle.
| | 01:15 | Then I'll take this texture and clone
it over itself and finally I'll move the
| | 01:20 | clone up slightly, and on the over
layer, erase, and with that eraser I am going
| | 01:27 | to use a very big, very soft brush
and Hardness is all the way down.
| | 01:32 | I'll run this at about a 30%
Opacity and start to brush out that line.
| | 01:37 | As I brush out that line, because I've
got an under layer there, I'm starting to
| | 01:42 | see the tiling go away.
| | 01:44 | It's becoming a repeatable texture.
| | 01:47 | Now here's the other
thing I have to my advantage.
| | 01:50 | This is going to reduce down. I'm
going to press Ctrl+Alt+I and take it down
| | 01:55 | from its working size of 3000 pixels,
which is far too big, down to 512, this is
| | 02:01 | reasonable for a game.
| | 02:03 | We often see textures that
are 512 square, or at most 1024.
| | 02:08 | Now although we can see some skip in
the texture, it looks like I've got fairly
| | 02:12 | straight grain, and this should work nicely.
| | 02:15 | It's good to paint big and then reduce down.
| | 02:18 | We can reduce here or we can
also reduce in Unity if we need.
| | 02:22 | I'll choose File and Save As.
| | 02:24 | I'll save this out as a TIFF
image with no Layers and no Alpha.
| | 02:28 | I'm going to put this over in my Game
Props project in my sceneassets > images
| | 02:34 | folder. This is where we put
working textures, and I'll call this wood.
| | 02:38 | I'll go back over to 3ds Max, bring this
in and see how it looks in the ladder.
| | 02:45 | In 3ds Max, I'll press M for
materials, and I'll make a new material.
| | 02:49 | If you notice I'm working in just
standard blends and that's because I'm going
| | 02:53 | to do custom materials in my game editor.
| | 02:55 | So really I just need materials here
that display the texture correctly.
| | 02:59 | I'll name this material wood and into the
Diffuse channel I'm going to add that bitmap.
| | 03:05 | I'll click on the Diffuse box, choose
Bitmap in the Standard maps, and browse
| | 03:11 | right to my sceneassets > images folder,
and there is that wood. I'll select it
| | 03:16 | and choose Show Shaded Material in Viewport.
| | 03:19 | Then I'll select my objects;
the ladder and the rungs.
| | 03:24 | With all the objects selected, I can
click on the Assign Material to Selection
| | 03:27 | button. I'll see if this works.
| | 03:30 | I'll press F4 to turn off the
wireframe and there is my ladder.
| | 03:33 | So the question is, do I have enough
grain? And I think the answer is, well yes.
| | 03:39 | We can see the grain
traveling nicely along here.
| | 03:42 | I can always move those UVs around
and I don't spot any obvious tilling.
| | 03:46 | Right up here at the top I need a galvanized
steel texture, which I'll show how to make next.
| | 03:51 | I'm also going to look at the
rungs and see if they work, they do.
| | 03:55 | I may want to move them around a
little bit in the editor as I am seeing the
| | 03:59 | same grain in the same place.
| | 04:00 | But other than that, this is working
nicely and we look at this and believe it
| | 04:04 | to be a wooden ladder.
| | 04:06 | In my UV Editor to recap then,
selecting one of the objects and opening up that
| | 04:11 | Editor, I can see that my UVs are
still widely scattered, some are tiling and
| | 04:18 | some are off the 0 to 1 space.
| | 04:21 | When I show the active map in the View
and drop down under Checker Pattern and
| | 04:26 | choose that wood pattern or Pick
Texture, there is that wood grain and I can
| | 04:34 | see how my pieces are tiling.
| | 04:36 | I'll right-click and choose Top-level,
select the sledgehammer handle and open
| | 04:41 | up that Editor as well.
| | 04:43 | There's the handle, cleanly across there.
| | 04:46 | If I show that wood, again choosing
Pick Texture and browsing for the bitmap,
| | 04:51 | selecting it and pulling it in, I
can see it looks like I definitely have
| | 04:56 | enough grain across that.
| | 04:57 | Now being that this is only about
15 inches tall, it's working nicely.
| | 05:03 | I'll press M, pull of the Material
Editor and assign that material to the handle
| | 05:07 | as well so I can see.
| | 05:10 | I'll right-click, pick Top-level,
deselect and we have one clean
| | 05:15 | sledgehammer handle.
| | 05:16 | This is ready for a bump map;
| | 05:18 | it's ready for a specular map if I need
it to shine, it's ready for the handle
| | 05:22 | to have some texture and it's ready for dirt.
| | 05:24 | But this is factory new as a sledgehammer.
| | 05:27 | And it works nicely and we believe
it is made out of wood, and that wood
| | 05:31 | tiles along it nicely.
| | 05:33 | I'm well on my way to sharing a
texture sheet among objects, where multiple
| | 05:37 | objects use one texture over and over.
| | 05:39 | Next I'll build up a galvanized steel
texture for the tops of the ladder and
| | 05:44 | also a hammered finish and a
shiny finish for the hammer.
| | 05:47 | I'll put those on my texture
sheet and see how this all looks.
| | Collapse this transcript |
| Laying out a texture sheet for multiple tools| 00:00 | In this video, I'm going to start
stacking and arranging my UVs correctly.
| | 00:05 | I'll go into Photoshop first,
and make myself a template.
| | 00:08 | Right now everything in here is either
my checkers or a wood grain, and I would
| | 00:13 | like to have the tops of the
ladders be there galvanized steel.
| | 00:16 | But I haven't painted it yet, and so
I'm going to get myself a working file
| | 00:20 | where I can tell where
these need to go in the unwrap.
| | 00:23 | I'll go over to Photoshop, and
I've constructed an image to use.
| | 00:26 | Here in Photoshop, I've got my wood grain,
and I've laid over it a couple of solid colors;
| | 00:31 | red representing where the rusty
hammerhead will go, and gray representing where
| | 00:35 | the galvanized steel fittings of ladder will go.
| | 00:37 | I'll save this out.
| | 00:39 | I'm going to press Ctrl+Shift+S
and save this image out as a TIFF.
| | 00:44 | I'll put this in my sceneassets > images
folder, and I'll call this tool layout.
| | 00:52 | That way, I know it's a temporary file.
| | 00:55 | I'll turn off Layers and click Save.
| | 00:58 | I don't need an Alpha, and I
don't need any compression.
| | 01:01 | I'll go back to 3ds Max, and
bring this into a working material.
| | 01:05 | In 3ds Max then, rather than using
multiple materials, I'm going to use a single
| | 01:10 | material applied to both objects.
| | 01:11 | I've already got the wood material made,
and I'll go in and swap out its Diffuse Map.
| | 01:16 | I'll click on the M and down here in
the bitmap parameters, I'll click on the
| | 01:21 | bitmap name and I'll go pick
my template I've just made.
| | 01:25 | I'll click Open, and we can see along
here, where there is UVs that stack, and
| | 01:31 | where there is UVs that
need to move a little bit.
| | 01:33 | I'm going to go in and arrange these slightly.
| | 01:37 | First, I'll look at the
side boxes on the ladder.
| | 01:41 | In the Editor, when I open it up, we can
see in here that I'm using a map of a wood.
| | 01:46 | I'm going to drop this down and choose
Pick Texture, and I'll go pick a bitmap.
| | 01:52 | In that bitmap, I'm going to
pick that layout tool I just made.
| | 01:55 | I can see where I would need to adjust.
| | 01:57 | What I need to do here is to pick the
shells for the side of the ladder that do
| | 02:02 | span cleanly off the top, and scale
them in so they fit in this wood area, or
| | 02:06 | this tells me that I need to adjust the
amount of wood grain in this map versus
| | 02:10 | the amount of non-wood.
| | 02:11 | I'm going to take the first
approach and scale down the shells.
| | 02:18 | In that Editor, I'm going to make sure
that Select by Element UV Toggle is on.
| | 02:22 | I use this quite a lot.
| | 02:24 | And what it lets me do is grab whole
sections of UVs and move them around
| | 02:28 | without distorting them.
| | 02:29 | I'll scale this down.
| | 02:31 | I'll press R for Scale, and I'll zoom
in on that layout image so I can see it.
| | 02:36 | I'll scale these UVs down and
then move them where they need to go.
| | 02:40 | I'll press W for move, and pull them in.
| | 02:43 | Now this wood goes cleanly
up the side of that ladder.
| | 02:47 | I'll check over here and it looks like yes,
the ladder is in fact all wood grain again.
| | 02:53 | Because I had made this wood grain tile
vertically, it seems to hold up pretty nice.
| | 02:57 | Now I'll look at the hammer handle.
| | 02:59 | I'll right-click, choose Top-level, select
it, and open up those UVs in the UV Editor.
| | 03:06 | Again, I'm going to choose my pattern.
| | 03:08 | I'll choose Pick Texture, double-click
on Bitmap, and pick that layout tool.
| | 03:14 | I can see where I need to
move those handle UVs over.
| | 03:17 | As we spin around the back of it, we can
see it's taken on some of the metal colors.
| | 03:21 | I'm going to pick this, make sure the
Select by Element Toggle is on and move
| | 03:27 | the handle on to the wood grain.
| | 03:29 | I'll scale down if needed;
| | 03:31 | a little stretch in it doesn't matter as much.
| | 03:33 | I can always move it up or down if I need.
| | 03:35 | The big deal though is
making sure that that seam moves.
| | 03:39 | So again, if I have to pull this up and
down to be in the right place, that's okay.
| | 03:44 | I can also shrink this down if
there's too much wood grain showing.
| | 03:48 | I'm going to shrink it slightly, and pull it
over until that scene disappears a little more.
| | 03:54 | That looks pretty good.
| | 03:55 | Don't be afraid to really move things around,
and even let them go right off your UVs.
| | 04:00 | Here's the other thing.
| | 04:01 | Are we going to see this? Maybe, maybe not.
| | 04:03 | Can I work on the wood texture to
be a little smoother? Absolutely!
| | 04:08 | Am I going to put dirt over
this to further confuse it?
| | 04:11 | Will it be seen in variable game
lighting and is the player going to be
| | 04:14 | examining the sledgehammer
or something else in the game?
| | 04:18 | Those are the questions we need to ask
when saying does this texture have to
| | 04:22 | be absolutely perfect?
| | 04:23 | A little more work on the wood
grain and this will look nice.
| | 04:27 | I'll make sure I pick the
bottom, and do the same thing.
| | 04:31 | I'm going to take these UVs, scale
them way down as this is really the bottom
| | 04:35 | of a hammer, it's not very big, and I'll
pull it on to the wood grain in the right place.
| | 04:40 | When I spin under, there is the wood grain.
| | 04:43 | I'll repeat this on the top, and also
on the rungs, stacking them in and I'll
| | 04:47 | show what it looks like when
I'm done in the next video.
| | Collapse this transcript |
| Painting galvanized steel| 00:00 | In this video, I'll look at painting
galvanized steel to go on the tips of the ladder.
| | 00:04 | I'll also look at painting the
hammered finish head for the hammer here, and
| | 00:09 | adding a little bit of rust into it.
| | 00:11 | I'll do this in Photoshop.
| | 00:12 | I'll start out by making a clean texture,
and then downsizing it to fit in that
| | 00:16 | Layout tool I had made.
| | 00:18 | In Photoshop, I know that the gray
area needs to be my galvanized steel, and
| | 00:22 | this red area needs to be the hammerhead.
| | 00:25 | I'll extract a UVW template later, but first
I'll start out by painting the clean material.
| | 00:31 | I'll press Ctrl+N and make a new document.
| | 00:33 | I am going to start out by making
galvanized steel, which is really a large
| | 00:38 | pixilated cloud pattern.
| | 00:39 | I'll make this document 5000 square.
| | 00:42 | I'm going to use some Render
Clouds here to start out my texture.
| | 00:47 | Render Clouds always generate at the same size.
| | 00:50 | So when I'm using Render Clouds, I need a
bigger texture to get more clouds in a given area.
| | 00:55 | First, I'll put my
foreground color at a light gray.
| | 01:00 | Then, I'll put my
background color at a darker gray.
| | 01:03 | Black and white is too extreme, but
light gray to dark gray will work nicely.
| | 01:08 | I'll choose Filter > Render > Clouds.
| | 01:13 | As a cautionary note, don't use
Render Clouds straight as a texture;
| | 01:17 | just Render Clouds don't look
like anything in the real world.
| | 01:20 | They are a great starting base for
things, but just using them straight as a
| | 01:24 | texture doesn't look good in a game.
| | 01:26 | I'll zoom in and I will have
lots of clouds in this area.
| | 01:30 | I'm going to downsize it;
| | 01:32 | pressing Ctrl+Alt+I and taking it
from 5000 square to 1000 square.
| | 01:38 | Now I've got a 1000 square
document with a lot of clouds in it.
| | 01:42 | I'll crystallize it by choosing
Filter > Pixelate > Crystallize.
| | 01:47 | First, I'll crystallize at about 15,
so it gets some pretty good facets.
| | 01:51 | Then I'll crystallize again, choosing
Filter > Pixelate > Crystallize, but
| | 01:56 | reducing the Cell Size down
to roughly half; here's 8.
| | 02:00 | This starts to make the cells
less unique and much more faceted.
| | 02:04 | I'll run this one more time;
| | 02:06 | choosing Filter > Pixelate > Crystallize,
and I'll run it at about half again.
| | 02:12 | Now, I get a galvanized texture.
| | 02:15 | I can take this, and adjust its value
just a little bit, so it looks right.
| | 02:19 | I'll choose Image > Adjustments >
Brightness/Contrast and just brighten this up a little bit.
| | 02:26 | That's looking like galvanized steel.
| | 02:28 | I am going to take this, select it
all, copy it, and I'll go into that
| | 02:34 | Layout tool I had made.
| | 02:36 | In the Layout tool, I am going
to paste this in onto a new layer.
| | 02:40 | Then I'll zoom back, holding Alt to
zoom out, and press Ctrl+T to Transform.
| | 02:47 | So you can see this is very, very big.
| | 02:50 | I'll grab one of the corner handles,
hold Shift, and scale that galvanized steel
| | 02:54 | down, moving it up as needed.
| | 02:57 | I'll land this galvanized
steel in that gray area.
| | 03:00 | I can use Ctrl+Plus to zoom in and I'll
get it scaled as well as I can so I have
| | 03:07 | lots of galvanization flakes.
| | 03:09 | I'll pull this over out of the
wood grain, and hit Enter to accept.
| | 03:13 | If you notice, that transform
is snapping to the layer bounce.
| | 03:18 | My wood grain only goes so far and the
gray helps keep that galvanized steel stopped.
| | 03:24 | I hit Enter to accept and now I can save
this out and bring it in as my material
| | 03:29 | and see how it looks.
| | 03:30 | I am going to save out a copy of
this, overwriting my Layout tool.
| | 03:34 | I'll press Ctrl+Shift+S to save.
| | 03:37 | Choose it as a TIFF image, turning off
Layers, and making sure this goes in my
| | 03:42 | sceneassets > images folder.
| | 03:43 | Here is my Game Props 3ds Max project,
and there is sceneassets > images.
| | 03:49 | I am going to overwrite my Tool layout,
as later I'll come back and put dirt
| | 03:53 | on the final texture.
| | 03:55 | I'll click on Save, and go back
to Max and see how this looks.
| | 03:59 | Here in 3ds Max, as I scroll up,
I've got the tips of my ladder done in
| | 04:04 | galvanized steel, and it looks like I've
got a really good detail going on this,
| | 04:08 | that when I get close to it in a game,
it looks like galvanized steel, and from
| | 04:12 | far away the color works.
| | 04:14 | Because this isn't a giant texture, I
have room, we can call it, to paint some
| | 04:19 | pretty good detail and reuse this over and over.
| | 04:22 | Next, I'll look at the
hammered finish on the hammerhead.
| | 04:25 | For my hammered finish, I'll repeat the process.
| | 04:28 | I'll press Ctrl+N to make a new document,
and I'm going to start this fairly big.
| | 04:32 | Here is 4000 square.
| | 04:35 | Now I'm going to
eyedropper some reference colors.
| | 04:38 | I'll go to one of my sledgehammer images.
| | 04:40 | Click I for eyedropper, and
pick one of the rust colors.
| | 04:44 | What I like to do is hit X to swap
foreground and background, and pick the other
| | 04:48 | color from my clouds.
| | 04:50 | That way, instead of clicking, picking,
choosing back and forth, it's one quick keystroke.
| | 04:55 | Over here in my new document,
I'm going to run my clouds again.
| | 04:59 | Choosing Filter > Render > Clouds.
| | 05:02 | I'll take these clouds and reduce them down.
| | 05:04 | I'll press Ctrl+Alt+I and pull
this down to maybe 700 on a side.
| | 05:11 | This is the basis for that hammered finish.
| | 05:13 | I'll click B for Brush and change that
color to something a little more rusty,
| | 05:19 | and a little darker.
| | 05:23 | As I painted before, in the shipping
containers, with a Multiply brush at a very
| | 05:26 | low opacity, I am going to brush on some rust.
| | 05:29 | I'll start to add this in and let it
kind of burn in some of those areas;
| | 05:34 | doesn't have to be exact and perfect
here, we are going to add other things in.
| | 05:38 | I'll select this all, copy it,
and go over to that Layout tool.
| | 05:43 | I'll paste this into a new layer,
zoom out, press Ctrl+T and downsize this
| | 05:49 | sample on to where that hammerhead needs to go.
| | 05:52 | I'll hit Enter to accept it, zoom in, and
make sure it's positioned in the right place.
| | 05:58 | I'm going to snap right on that reddish orange.
| | 06:01 | One more time I'll save
this out and see how it looks.
| | 06:04 | I'll press Ctrl+Shift+S, save it out as
a TIFF, and I'm going to put this into
| | 06:10 | my Game Props project, sceneassets >
images, and I'll overwrite my tool layout.
| | 06:16 | I'll make sure I uncheck Layers and save.
| | 06:21 | I'll see how this looks back in 3Ds Max.
| | 06:23 | I'll zoom in, pan down,
and check out the hammerhead.
| | 06:28 | Now I still need to actually take
the unwrap in, and make the head maybe a
| | 06:32 | little shinier, but it's
definitely a rusting hammer.
| | 06:35 | I think what I'll do aside from moving
those UVs a little bit where I see a gap,
| | 06:39 | is add a little more rust in some places
once I get that layout in. But it's working.
| | 06:44 | I've got a sledgehammer ready to go, and
I've got galvanized steel tips on my ladder.
| | 06:49 | We want to think in terms of making a
large chunk of a material and then using
| | 06:53 | it as many times as we can.
| | 06:55 | Then we'll add on dirt in specific places.
| | Collapse this transcript |
| Adding dirt and wear| 00:00 | I've got the hammer unwrapped and the
rough texture is on, but I've got a small
| | 00:04 | goof in my texture
placement which I am going to fix.
| | 00:07 | Then I'll take this UV out and actually
paint some custom dirt on the hammerhead.
| | 00:12 | I'll select it, and in the Unwrap
Editor, I am going to move that shell over.
| | 00:17 | I'll open up my Editor, and make sure
that my Select By Element toggle is on.
| | 00:22 | I can see where that goof is
happening and I have two options here:
| | 00:25 | one is that I know I'm not using the
galvanized steel to its fullest, and that
| | 00:31 | it's only at the tops of the ladder,
so I could just stretch out the hammer
| | 00:35 | finish, or I can take
this shell and reposition it.
| | 00:38 | I am going to take the shell and over here
in the Quick Transform tools, I'll rotate it.
| | 00:43 | Then I'll take it and just move it
over and make sure it doesn't touch the
| | 00:46 | sides or any other objects.
| | 00:48 | I'll close the Editor, and now I
can see here as I right-click and pick
| | 00:52 | Top-level that I've actually got the
hammer finish all the way around the hammerhead.
| | 00:57 | Now I'm ready to export.
| | 00:58 | We don't always have to take all of
our objects when we're painting dirt as
| | 01:02 | part of a texture sheet.
| | 01:04 | I'll pick my hammerhead, go back
into my UV Editor, and choose Tools >
| | 01:09 | Render UVW Template.
| | 01:12 | I'm going to reduce the size of this render.
| | 01:14 | My working image is 512 square.
| | 01:17 | So rather than paint twice as big, I
am going to paint at the real size.
| | 01:21 | It's going to be fairly small.
| | 01:23 | I'll put-in 512x512 and hit Render.
| | 01:26 | There is that image, and I'll save it.
| | 01:28 | I'm going to name this hammerhead template.
| | 01:33 | I'll open it up in Photoshop, invert it, and
put it on top of these textures to paint my dirt.
| | 01:38 | In Photoshop, I'll press Ctrl+O
and open up that hammerhead template.
| | 01:43 | It's in my sceneassets > images directory.
| | 01:48 | I'll press Ctrl+I to invert the colors,
Ctrl+A to select all, Ctrl+C to copy,
| | 01:54 | and I'll paste it into that template image.
| | 01:57 | Now I'll set its Blending Mode as Multiply.
| | 02:00 | The white disappears and I
know where to paint the dirt.
| | 02:03 | I am going to get myself a new layer,
and actually paint the shiny part of the
| | 02:07 | hammer straight over the rusty part.
| | 02:09 | I'll press Z to zoom or click on
the Zoom tool and zoom in on it.
| | 02:13 | I am going to use the same
technique of selecting and painting.
| | 02:17 | There's my template as Layer 5.
| | 02:19 | I'll press W for the Magic Wand, or
flyout that quick selection and pick
| | 02:24 | the Magic Wand tool.
| | 02:26 | I'll pick the face polygons of the
hammer, holding Shift and adding to that
| | 02:31 | selection, going all the way around.
| | 02:33 | Then I'll pick the other side as
I am going to paint both at once.
| | 02:37 | We can see that selection
is actually quite small.
| | 02:40 | I'll choose Select > Modify > Expand
and expand this out by a couple of pixels.
| | 02:46 | Because this is going to be on a
separate layer, if I have to trim this
| | 02:49 | shiny area, I can later.
| | 02:52 | I'll start out by painting this in light gray;
| | 02:54 | it's a steel, and I may add into
this a little bit of a gunmetal color.
| | 03:01 | I'll press G for Paint Bucket and
fill those with the Paint Bucket.
| | 03:06 | I can pull this under the template,
and see where I need to paint.
| | 03:09 | This is going to be the
shiny area of the hammer.
| | 03:12 | I may want to use my brush, and
downsize it by using the bracket keys, switch
| | 03:17 | that Brush Mode over to Soft Light or
even Screen for Multiply, and start to put
| | 03:23 | in a little bit of the shine along this.
| | 03:25 | What I'll do is now constrain that
selection to that color by holding Ctrl and
| | 03:30 | clicking on the layer thumbnail.
| | 03:32 | Now I'll brush inside here, maybe
making this color even a little bit brighter
| | 03:37 | and pulling the saturation out.
| | 03:39 | I am going to paint the
head of the hammer bright.
| | 03:42 | It's been struck on a lot of things.
| | 03:45 | I am going to use the same process
to start in on painting the rust.
| | 03:47 | This is a well-loved hammer and
has lots of rust along the head.
| | 03:52 | I'll pick Layer 5, that's my template,
and start to Magic Wand various parts.
| | 03:56 | What I am going to do is
make the top more rusty.
| | 04:00 | I'll Magic Wand those polygons,
making sure that I catch the sides here.
| | 04:05 | Then I'll expand the selection,
choosing Select > Modify > Expand.
| | 04:11 | On a new layer, remember the rule, if you think
about using something else, it's a new layer.
| | 04:17 | I am going to eyedropper a rust color,
make it maybe a little more orange, a
| | 04:22 | little bit brighter, and
start to paint some rust in.
| | 04:26 | I'll press B for Brush, make that
Brush Mode a Multiply and keep that
| | 04:31 | Opacity low and I'll start to add in just a
little selective rust on the top of that hammer.
| | 04:36 | I am going to work my way around.
| | 04:39 | It's okay to have this be fairly faceted.
| | 04:41 | I can also blend these together and
keep adding in some rust along this.
| | 04:47 | This will look pretty good.
| | 04:48 | Now remember, this is on a separate layer.
| | 04:50 | So if I accidentally miss and paint right
over the front of it, it's not a big deal.
| | 04:55 | Here's how to fix a goof like that.
| | 04:57 | I'll fix this and I'll take this
back into 3ds Max and see how it looks.
| | 05:01 | I am going to hold Ctrl and click on the
layer thumbnail for Layer 6, that's the
| | 05:06 | shiny end of my hammer.
| | 05:08 | I've got it selected, and I'll go
back to Layer 7, and press Delete.
| | 05:14 | The rust disappears from the gray ends.
| | 05:17 | When I turn off the template, I've
got a bunch of smudgy rusty stuff, and a
| | 05:21 | couple of gray blobs,
| | 05:23 | but when I throw this on,
it's going to look pretty good.
| | 05:25 | This is a great example of one texture,
both tileable and non-tileable being
| | 05:30 | used on multiple objects in multiple
places to look like multiple materials,
| | 05:34 | economizing on resources in a game.
| | 05:36 | I'll check this out in 3ds
Max and see if it worked.
| | 05:39 | I'll press Ctrl+Shift+S, saving this out.
| | 05:42 | Because this is a temporary file, I am
going to overwrite my texture layout again.
| | 05:48 | I'll go into sceneassets >
images, and put this right on.
| | 05:54 | I'll uncheck Layers, saving as a copy,
hit OK, and see how this looks in Max.
| | 06:00 | Back here in 3ds Max, it
should load in automatically.
| | 06:03 | If needed, you can always go back into
the Material Editor, and force a reload.
| | 06:08 | I'll press M for Materials and show this.
| | 06:10 | There is my wood color or
it's called wood anyway.
| | 06:14 | I'll go into the Diffuse Map and down here
in the Bitmap Parameters is a Reload button.
| | 06:18 | You can always force it if it doesn't
reload automatically, but it should upon saving.
| | 06:22 | There is the clean end of the hammer, a
little brighter in the middle, and there
| | 06:28 | is the rust on the top.
| | 06:29 | It's been through some heavy use.
| | 06:31 | I can do the same on other parts of this;
| | 06:33 | looking for other places like on the rungs
where I need a little extra wear or on the ladder.
| | 06:38 | Finally, I can start to think about
overlay conditions where I am using
| | 06:42 | additional maps that are non-tiling,
that overlap using different UVs to
| | 06:46 | really simulate some dirt.
| | Collapse this transcript |
| Planning for optimal texture usage| 00:00 | At this point, I've got my objects
textured and all assembled together.
| | 00:05 | I've taken the hammer handle and
attached the head to it, converting to a poly
| | 00:09 | and then unwrapping again.
| | 00:11 | There is the unwrap, the UVs are in the
right place, the material is on, and any
| | 00:15 | goofs are ironed out.
| | 00:16 | I've done the same with the ladder, and
then finally, I've exported these out as
| | 00:20 | FBXs to go into Unity.
| | 00:21 | I want to look a little bit at the
size of the texture and where do we see
| | 00:25 | objects from both in Max and in game.
| | 00:28 | In 3ds Max, it's very easy to get this
close and pay attention to every scratch
| | 00:34 | and nick on the surface of a hammer.
| | 00:36 | This isn't always true and the
display although it's very good here, is not
| | 00:40 | quite what we're going to see in game.
| | 00:42 | It's a little different just
because of the different rendering engine.
| | 00:45 | I'm going to go over to Unity where I
brought my objects into a test scene,
| | 00:49 | and I'll see if the work I did on the
texture works reasonably, and is the
| | 00:53 | texture the right size.
| | 00:54 | In Max, we're so close so we can
actually start to see the clouds in the
| | 00:58 | painting and we can see
the blur and the wood grain.
| | 01:00 | It looks pretty reasonable.
| | 01:01 | But again, we're smashing
our face into the hammer.
| | 01:04 | Let's see how this looks in Unity.
| | 01:05 | I've brought my objects into Unity,
leaning the ladder against one of the
| | 01:09 | shipping containers I did earlier, and
putting the hammer down on the ground
| | 01:12 | where I could pick it up,
and go bang on something.
| | 01:15 | I'm going to hit Play and see how this looks.
| | 01:18 | In my test scene, I've added in a first-
person controller with basic navigation.
| | 01:23 | I've also put in some standard lights
just to kind of light up the scene, a
| | 01:27 | couple of point lights and a directional.
| | 01:29 | This is pretty decent.
| | 01:30 | Now we're playing in Preview Mode,
so I don't have my super good
| | 01:34 | anti-aliasing going.
| | 01:35 | But the wood holds up pretty nicely.
| | 01:38 | I can see that is a wooden ladder and
even when I get fairly close, the texture
| | 01:43 | looks pretty good, and I start to bump
into the mesh colliders after a while.
| | 01:47 | The same goes with the hammer.
| | 01:49 | I can get close enough to see it
as I want to grab it in the game.
| | 01:53 | I have no bend at the moment;
| | 01:55 | I don't have any mechanics built into go get it.
| | 01:58 | So at this distance, it's definitely
that sledgehammer, and looks suitably rusty.
| | 02:04 | We can always add in more dirt, but
the caution I want to offer here is don't
| | 02:08 | spend a huge ton of time painting things
that are going to be nearly impossible to see.
| | 02:13 | In this case, a 512 square map for
both objects and maybe even more objects,
| | 02:17 | works really nicely and I'm checking
them out in game to make sure it works well
| | 02:22 | in lighting, and as I navigate around.
| | 02:24 | Now if we throw in that there's going
to be maybe folks chasing me, me hunting
| | 02:29 | for other objects and doing other
things, and maybe more uneven lighting plus
| | 02:33 | dirt, these will hold up really well.
| | 02:36 | So just keep that in mind when
you're sizing your textures, not to be
| | 02:39 | too excessive with it.
| | 02:40 | Now we'll start to look at
variations and adding dirt on as part of that
| | 02:44 | texture and setting up for using other UVs.
| | Collapse this transcript |
| Painting dirt and age variations| 00:00 | Things are coming along nicely
with the models and the texture.
| | 00:03 | We've got basic textures on the
ladder, the sledgehammer, and the
| | 00:07 | shipping containers.
| | 00:08 | I still have a few things to work out;
| | 00:11 | the holes in the shipping container,
and I need some dirt. Why dirt?
| | 00:14 | Well right now this is a really clean
ladder and a really clean sledgehammer,
| | 00:17 | and actually, the ground is really
clean, next to my really rusty containers.
| | 00:21 | A lot of what helps make those tiling
textures match nicely in a scene are
| | 00:25 | dirt decals, or overlays that add some local
variation that we can move around as we need.
| | 00:31 | I'm going to zoom in on the sledgehammer
and we can really see that it is really clean.
| | 00:37 | I'm going to paint a dirt overlay
with an alpha channel in Photoshop, and
| | 00:40 | I'll bring this in and see how it
looks and show some ways to apply it both
| | 00:44 | in 3ds Max and in Unity.
| | 00:47 | In Photoshop, I'm starting out with my
working PSD of my tools texture atlas.
| | 00:53 | I'm going to start a new layer by
pressing Ctrl+Shift+N. I'll name this new
| | 00:57 | layer dirt, so I can find it.
| | 01:01 | What I'll do is use my paintbrush.
| | 01:03 | I'll hit B for brush, and make sure
this brush is multiplying at a low Opacity,
| | 01:08 | and really low Hardness.
| | 01:10 | I'll right-click to make
sure the brush looks right.
| | 01:12 | Now I'm going to paint in some dirt,
and I'm going to let it streak along the
| | 01:16 | wood here a little bit.
| | 01:18 | I'll zoom out, hold Alt to zoom out, and
click and drag straight down and making
| | 01:23 | tileable dirt and then occasionally, not tiling.
| | 01:27 | I'm going to show some ways
to make this kind of custom.
| | 01:30 | I'll add some dirt along that
ladder and a little bit more across the
| | 01:33 | galvanized steel here.
| | 01:34 | Finally, I'll add some in
making the hammer faces dirty.
| | 01:37 | This is also a good way to
add wear over time in a game.
| | 01:42 | Things may start out clean and then
get dirty from use, explosions, so forth.
| | 01:48 | There's my dirt map and it
doesn't look like much initially.
| | 01:51 | I'm going to use one other component in there.
| | 01:54 | I'll click below the dirt on
whatever layer happens to be there, and
| | 01:57 | press Ctrl+Shift+N again.
| | 01:59 | I'm going to make a new layer and
I'm going to fill this in a dark color.
| | 02:03 | I'll eyedropper the wood color, and
click on the foreground color, and take the
| | 02:08 | brightness down, so it's nearly black,
but has a hint of the original in it.
| | 02:13 | I'll press G for the
Paint Bucket and fill that in.
| | 02:16 | So really I've got kind of a
very dark kind of cloudy map.
| | 02:20 | How is this dirt, you
might ask? Here's the trick.
| | 02:22 | I'm going to use the alpha channel.
| | 02:25 | I'll hold Ctrl and click on
the thumbnail for my dirt.
| | 02:29 | The selection bounds to
whatever I painted, and that includes
| | 02:33 | partial transparency.
| | 02:34 | So it's actually catching
all the feathering around this.
| | 02:37 | I'll go into the Channels palette, and down
at the bottom, I'll click on Make New Channel.
| | 02:43 | Now I have an alpha channel.
| | 02:45 | Because alphas are grayscale, my
colors default to black and white.
| | 02:49 | I'll press G for the paint
bucket and click in that selection.
| | 02:53 | The selection fades off smoothly and
now I have an alpha channel for my dirt.
| | 02:57 | I'll press Ctrl+D to deselect.
| | 03:00 | I'll make sure that I click back up on
the RGB channels, and turn off the alpha.
| | 03:05 | Now I'll go up to the Layers palette
and make sure that the dirt is selected.
| | 03:09 | Sometimes it's gray, and that's an
indicator that we're selecting the wrong channel.
| | 03:13 | I'm going to turn off my other layers
and I'm going to save this out as a TIFF.
| | 03:19 | I'll choose File and Save As,
and I'll call this dirt overlay.
| | 03:24 | I'll put it over into my
sceneassets > images folder.
| | 03:30 | I'll make sure when I'm
saving this to turn off Layers.
| | 03:32 | I want a flattened TIFF here as layers
get regarded differently when importing.
| | 03:37 | I'll click Save and OK to the TIFF Options.
| | 03:41 | I'll go over to 3ds Max and put
this in as part of a composite map.
| | 03:45 | I'll press M in Max to pull up my
Material Editor, and I'm going to rename
| | 03:49 | this from wood to tools, so the material name
is more reflective of what I'm doing with it.
| | 03:54 | I've already got an image in here.
| | 03:56 | I'm going to click on the M for Map next
to the Diffuse channel, and I'll change
| | 04:00 | this over from a Bitmap
at the top to a Composite.
| | 04:04 | I'll keep the old map as a sub-map, and
now it's there as a composite map of one.
| | 04:09 | In the composite map, I'll add a new layer in,
and this new layer will be my dirt overlay.
| | 04:14 | I'll click on the None box here
for the Texture and choose Bitmap.
| | 04:19 | In the bitmap, I'm going to
select my dirt overlay and click Open.
| | 04:24 | I'll go up to the parent and
make sure I show my composite map.
| | 04:27 | There is my dirt laying over,
although it's giving it more kind of spots,
| | 04:32 | not working correctly.
| | 04:35 | I'll click on that map and
in the Bitmap Parameters;
| | 04:37 | I'm going to unpremultiply the alpha, making
it a straight alpha so it reads a little better.
| | 04:43 | I've scrolled up to the top of the
Bitmap Parameters and I'm going to change the
| | 04:47 | Tiling of this map to see how it looks.
| | 04:50 | It starts out as a 1x1;
| | 04:52 | as 1x1 we can see it here.
| | 04:54 | When I switch over to 2x2,
it appears to disappear.
| | 04:58 | This will actually show up in a
rendering, but we sort of max out what a
| | 05:01 | graphics card can do sometimes.
| | 05:03 | One way to look at it is to do a quick render.
| | 05:07 | I'll click on Render, and I
can see the spots along here.
| | 05:10 | Looks like I need to go the other direction.
| | 05:12 | I'm going to change the
Tiling on this to less than 1x1.
| | 05:16 | Instead of saying have multiple instances
of this texture within that 0 to 1 space;
| | 05:21 | I'm going to spread it out.
| | 05:22 | I'll make my Tiling 0.3 by 0.3.
| | 05:26 | Again, I'm maxing out the graphics
card, and so I can't see much here.
| | 05:29 | But when I hit Render, I can see along
this I've got some tonal variation going on.
| | 05:35 | I can see where that dirt
is wrapping along the ladder.
| | 05:39 | This is a good way to add in additional detail.
| | 05:42 | I'm going to do this in Unity as well and
show what it looks like as a decal there.
| | 05:47 | Here in Unity, I have a
material assigned to my objects.
| | 05:50 | I can see my hammer in the view here.
| | 05:52 | And the material, if I scroll down in
the Inspector, is the Diffuse Shader.
| | 05:56 | I'm going to make this
instead of a Diffuse, a Decal.
| | 05:59 | We can get more exotic with
materials with some additional work,
| | 06:02 | but for things like this where it's
not really needing a bump map as much as
| | 06:06 | multiple overlays of color,
a Decal will work nicely.
| | 06:10 | I'll choose Decal, and in those
materials, now I have a second slot.
| | 06:15 | The second slot allows me to bring in a decal.
| | 06:17 | I've copied and pasted my dirt overlay file
into my Unity assets folder in my Unity project.
| | 06:23 | Unity imports it in automatically, which it
did here, and there is that dirt ready to use.
| | 06:28 | Now with that material selected on
my hammer, I've got my tools, and
| | 06:33 | there's that Decal.
| | 06:35 | I'll drag the dirt overlay onto the Decal
and it regards the alpha channel correctly.
| | 06:40 | We can tell it's going to use the alpha
to tell where it goes by it saying RGBA.
| | 06:45 | It's also here on the ladder.
| | 06:47 | I'll pan over and see how it looks.
| | 06:49 | We can see that dirt tiling and it's not
nearly as hard-looking as it was in 3ds Max.
| | 06:55 | That's because in Max, it
wasn't rendering correctly.
| | 06:57 | We were just displaying it in the view.
| | 06:59 | Here in Unity, it's doing a
better job rendering, in engine, live.
| | 07:03 | Now I'll change the Tiling.
| | 07:05 | Again, doing a positive tiling on
the Decal increases the amount of dirt,
| | 07:09 | thereby giving me spots.
| | 07:11 | Doing a fractional tiling such as 0.2
or 0.3, even going uneven, takes that
| | 07:17 | dirt and spreads it out.
| | 07:19 | So now along the ladder,
I've got dirt in various places.
| | 07:23 | It's along the sides and adding color in
places and making it look a little dirty.
| | 07:28 | It's also adding some color along
the hammer, giving it a gentle patina.
| | 07:33 | If you want to get more advanced with
this, you can actually put that dirt in a
| | 07:36 | specular channel, such as the glossiness,
| | 07:39 | bring it across from Max, and tell
Unity to use that in a second set of UVs.
| | 07:44 | That's outside the scope of this video,
but for further exploration, we can look
| | 07:48 | at using multiple UVs with
multiple textures overlaying.
| | 07:52 | The big deal in all of this is looking
for the most bang for the buck out of the
| | 07:56 | texture, that out of a 512 map, I can
use it on several different objects.
| | 08:01 | In this case, it's just 2.
| | 08:03 | But reasonably, I could use the same
texture on other ladders of different
| | 08:06 | sizes and other tools;
| | 08:08 | things with wooden handles like
long sledgehammers or maybe reuse the
| | 08:13 | hammered-finish metal on crowbars or pry bars.
| | 08:16 | I can use this wood again and again on
pallets and crates and anything else in here.
| | 08:21 | We can get a lot of mileage out of
the texture if it's constructed well
| | 08:25 | and implemented well.
| | 08:26 | And if we're thoughtful about how we
stack our UVs, we can make a lot of props
| | 08:31 | for our game reusing the same texture.
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|
|
4. Modeling FurnitureModeling furniture using simple parts and reusable textures| 00:00 | In this chapter I'll look at modeling
some furniture, and as part of that I'm
| | 00:04 | going to model things in pieces.
| | 00:06 | It's a great approach for making what
looks like complex assemblies, in reality
| | 00:09 | they are built of fairly simple parts.
| | 00:12 | These farmhouse tables are an
example, where they're mostly just
| | 00:15 | elegantly positioned boxes.
| | 00:17 | A large part of this then
is unwrapping creatively.
| | 00:20 | I'll look at ways in here to use
and reuse and re-reuse textures.
| | 00:25 | As we can see the modifier stack on the
square table top, there is a whole stack
| | 00:29 | of UVW Maps and Poly Selects.
| | 00:32 | What we can do is crop down how much of a
texture we're using, and map only that part of it.
| | 00:38 | The texture for this table actually
looks like this, it's really a couple of
| | 00:42 | boards and a bit of the white and we
could size this down to 512 very easily.
| | 00:46 | We want to place a premium on reusing
textures and look at elegant ways to do this.
| | 00:52 | We'll also model an office chair,
and look not only at the importance of
| | 00:56 | silhouette and furniture, making
sure the design intent comes across.
| | 01:00 | But how to reuse tiling textures
just like this to make various kinds of
| | 01:04 | plastic and fabric.
| | 01:05 | We'll look for ways to put in great
detail without having enormous textures and
| | 01:10 | efficiencies in planning out
texture atlases, stacking and reusing and
| | 01:15 | rescaling UVs as we need.
| | Collapse this transcript |
| Planning and analyzing the modeling of a chair| 00:00 | In this video, I'll examine
this standard office chair.
| | 00:02 | I am going to use this as part of my fill
out or my build out of the space in a game.
| | 00:07 | We see objects like this a lot in a
game where there is an office we're running
| | 00:11 | through that has chairs
and desks, and so forth, in it.
| | 00:14 | So we need to make sure that this looks
like an office chair because we've all
| | 00:17 | seen one and we recognize
what office chairs look like.
| | 00:21 | The big deal in this is to pay
attention to the important parts of the design.
| | 00:24 | As an example, this curved
back needs to read correctly.
| | 00:28 | We need to see those curves
there and the curves on the arms.
| | 00:32 | However, we can economize on our
polygon count in the arms and still have them
| | 00:36 | look around and shine.
| | 00:38 | It's important to have 5 legs
because that's a hallmark of the design.
| | 00:42 | But again, we can't really tell
anything going on in those legs aside from they
| | 00:46 | do stick out in a gentle curve.
| | 00:48 | So as long as we're matching
that curve, we can economize.
| | 00:51 | Now here's the other
thing I am going to throw in.
| | 00:54 | We'll look at some other reference.
| | 00:56 | We can see that the chair is generally
curvy, and we can accommodate a lot of
| | 01:00 | that with smoothing groups.
| | 01:01 | However, this reference is
ideal. What does that mean?
| | 01:05 | It means that in a game, we're going
to see this chair in different lighting,
| | 01:10 | varied lighting, possibly with dirt, and
most likely with a lot of other stuff around;
| | 01:15 | the desks, the lamps, the rest of the office,
and the chair may not be our primary focus.
| | 01:20 | We may be running through the office
or building up things, or moving chairs
| | 01:25 | around, not taking one chair and
studying it like I am in this reference.
| | 01:29 | So as long as we get the design right,
that it recognizes as a chair with all
| | 01:34 | the obvious chair-like parts
there, we'll be in good shape.
| | 01:38 | In the next video, I'll start to block
out this chair, and get the key heights,
| | 01:42 | places and sizes in place before modeling.
| | Collapse this transcript |
| Blocking out the basic form| 00:00 | In this video, with the curves of the
chair in mind, I'm going to start to
| | 00:03 | block out the chair.
| | 00:05 | I want to get some key heights
established in my bounding box first.
| | 00:09 | I am going to say that this chair is
roughly 2 feet across, and from base
| | 00:15 | to seat height is about 16 or 18 inches,
giving me a chair at about 3 feet tall overall.
| | 00:21 | I'll make my bounding box and put
an extra mesh line in for the seat.
| | 00:25 | That way I've got something
to snap to and register on.
| | 00:28 | I can always adjust the proportions later if
needed, but this will give me a rough guide.
| | 00:32 | Here in 3ds Max I am
going to start out with a box.
| | 00:35 | I hold Ctrl+Right-click, choose Box
and land my bounding box around 00.
| | 00:40 | I'll go to the Modifier panel and
I'll start to put in some dimensions.
| | 00:44 | Here's 24 on the Length, 24 on
the Width and a Height of 36.
| | 00:50 | I'll also put my Height Segments at 2.
| | 00:52 | That way I have an extra mesh
line, I'll show it by pressing F4.
| | 00:56 | This is the overall size for my
chair, with the extra mesh line showing
| | 01:00 | where does that seat go.
| | 01:01 | I'll right-click, choose Object
Properties and check Backface Cull. I'll also
| | 01:07 | check Display as Box and that way by
clicking OK, this shows up as a box again.
| | 01:12 | If I need to see the mesh
line I can turn it off and on.
| | 01:15 | An alternate to this is
to actually use two boxes.
| | 01:18 | I'll take the Height Segments back down
to 1 and bring that Height back down to 16.
| | 01:22 | There is the base of the chair.
| | 01:25 | Now I'll press W for move, turn on my 3D
snap by pressing S and snap on the Z axis.
| | 01:33 | I'm going to press my Spacebar for
Selection Lock and hold Shift while I drag
| | 01:37 | from one of the corners.
| | 01:38 | I am going to drag this up as a copy, and
then I'll bring that height out, maybe 20.
| | 01:44 | This way even though I'm working in
bounding boxes, I have a wireframe and a
| | 01:48 | point I can see and snap to, and that way I
can register the seat in the right place.
| | 01:53 | I'll put these at 00.
| | 01:55 | Down here on the Absolute Mode Transform
Type-In, I'm going to put their X and Y
| | 02:00 | at 0; the Z I am going to leave alone.
| | 02:02 | I'll right-click and choose Freeze Selection.
| | 02:06 | Now I've got my Height and my Size in place
and I am going to start to make the pieces.
| | 02:11 | I'll begin with the back.
| | 02:12 | I'll go to a front view and use a
box first to make that back shape.
| | 02:17 | What I am going to do here is make a box,
quickly round it and then use the Bend
| | 02:21 | Modifier to add some curve to the seat.
| | 02:24 | This silhouette is important and we
don't want furniture that's exactly
| | 02:28 | rectilinear or exactly straight,
it should be curvy to fit us.
| | 02:33 | I'll start out with the box for my
seat here, notice that it's black.
| | 02:36 | We saw this problem last time and
what this means is that I'm shaded.
| | 02:41 | I'm going to drop down under Realistic +
Edged Faces and make my display Shaded
| | 02:46 | so I can see my box.
| | 02:47 | I'll also press G to turn off the grid.
| | 02:50 | I can center this later, but what I
am going to do right now is put some
| | 02:54 | Height in; looks like my drag didn't
quite go and I'll spin around and make
| | 02:57 | sure it's got some volume.
| | 02:59 | That's looking pretty good.
| | 03:00 | We don't have to exact dimensions in
as long as it's got decent thickness.
| | 03:05 | I'm going to add in here some Length
Segments to allow me to bend the chair.
| | 03:09 | Two or three ought to do it.
| | 03:11 | Now I'll go back into my front
view and press Z to zoom extents.
| | 03:14 | I'll right-click and
convert this to an Editable Poly.
| | 03:18 | This is where the work on
silhouette really comes in.
| | 03:20 | What I need to do is to curve these
corners and remember that we are going to
| | 03:25 | see it from a couple of feet away.
| | 03:27 | So long as it's reasonably curvy,
I can stand an artifact or two.
| | 03:30 | I'll spin around and switch over to edge by
clicking on the Edge button or pressing 2.
| | 03:36 | I'll turn off my snap so it stops
registering, and I'll click one of the corner
| | 03:39 | edges, hold Ctrl and add to that selection.
| | 03:43 | I don't want a select a ring here,
because that will grab the middle segments,
| | 03:46 | but instead I just want the corners,
so I've got to pick them manually.
| | 03:50 | I'll pick all four and then I'll
scroll down in the Edit Edges menu.
| | 03:54 | I'm going use the Chamfer dialog
here. I'll click on the Settings and
| | 03:58 | there's that caddy.
| | 04:00 | I'll take this distance up, maybe in
the three or four range is probably fine,
| | 04:04 | and I'll add in some segments.
| | 04:06 | When you're curving things like this,
two or three segments will work nicely.
| | 04:10 | We don't want to get too excessive,
but we're seeing that we can spend a few
| | 04:14 | extra polys. I'll check OK on it.
| | 04:17 | Now I'm ready to bend this and then
see what else needs to be rounded over.
| | 04:21 | Rather than bending geometry through
rotating it, I'm going use a Bend Modifier
| | 04:26 | on this to bend that chair.
| | 04:28 | I'll click on Bend down in the OBJECT-SPACE
MODIFIERS and I'll start to add in a Bend Angle.
| | 04:34 | Now what we can do in Bend, if it's not
working correctly, and mine is not, is
| | 04:38 | play with the Direction.
| | 04:39 | I'm going to give it a bit of an
angle and put my direction at 90.
| | 04:43 | A quick trick here is to vary that bend,
varying the Bend Angle by 90 degrees
| | 04:49 | may give you the right result.
| | 04:50 | I'll also change the Bend
Axis and that seems to do it.
| | 04:54 | I'll take this Angle, bend that chair
back and there is the start of my bend
| | 04:59 | blocked out geometry for the seat.
| | 05:01 | Now when I take this object and I
rotate it back, so we're not sitting so
| | 05:05 | straight up, I start to
get the form of the chair in.
| | 05:08 | Later I can come back and curve over
these front edges, so it starts to have
| | 05:12 | that soft seat shape.
| | 05:14 | For now I'm looking at just
blocking out the basic form.
| | 05:17 | Getting the chair established and the
proportion correct, while I have a lower
| | 05:20 | polygon count and easier to manipulate objects.
| | 05:23 | Once I've got them in,
then I'll start to refine.
| | Collapse this transcript |
| Adding detail and smoothing groups| 00:00 | In this video, now that I've got the
chair back roughed out, I'm going to start
| | 00:04 | to round it over and add some of that detail.
| | 00:06 | I've got my object and it's a
poly with a Bend Modifier on it.
| | 00:10 | What I'll do a lot of times is make
something, modify it, and then collapse that
| | 00:14 | back to an Editable Poly
and then modify it more.
| | 00:18 | I'll right-click, choose Convert to
Editable Poly, and now I'm going to work by
| | 00:23 | edge and chamfer those sides in,
so it starts to look softer.
| | 00:27 | Here's an easy way to select it.
| | 00:28 | Because I've broken my edge flow by
using the chamfer on those corners, these
| | 00:32 | are no longer four-sided polys, and Max
will be confused when it tries to select
| | 00:37 | around there as a loop.
| | 00:38 | The way I'll do this is to press 4
for Polygon, and I'm going to select the
| | 00:42 | front four polygons of the seat.
| | 00:44 | Now I'll hold Ctrl and click on the
Edge button over on the Modifier panel.
| | 00:49 | This converts the selection
from face or polygon to edge.
| | 00:53 | I'll hold Alt and now
deselect those middle edges.
| | 00:57 | Now I've got a clear edge
loop all the way around here.
| | 01:00 | I'll right-click and choose the dialog
next to Chamfer to pull up the caddy.
| | 01:05 | In the caddy, I'm going to use two
subdivisions, so it gets a little bit smooth,
| | 01:09 | and I'll crank up the Chamfer
Amount so it looks nice and soft.
| | 01:13 | I'll check the check box, and
there's that chamfer in there.
| | 01:16 | It's starting to definitely look like a cushion.
| | 01:18 | Now I need to taper it and round over the back.
| | 01:21 | I'll do that in the next step.
| | 01:23 | I'm going to repeat this by pressing
4 for Polygon, picking those back four
| | 01:27 | polygons, and holding Ctrl and clicking on
the Edge button here in the Modifier panel.
| | 01:31 | I'll hold Alt and deselect those
middle edges and then chamfer that back,
| | 01:36 | right-clicking, and choosing
the dialog next to Chamfer.
| | 01:39 | There are my two segments, but I'm
going to pull down the edge amount so it's a
| | 01:43 | little more sharp on the corner.
| | 01:45 | I'll check this and there is the back.
| | 01:48 | Now I haven't played with the smoothing
yet, and that's why it's kind of faceted.
| | 01:52 | First, I'm going to taper it and then I'm
going to quad it by cutting across here.
| | 01:57 | I'll go in the Front View so I
can see what I'm doing and zoom in.
| | 02:01 | I'll take this, make sure I press 6 to
go back to the whole object, and drop
| | 02:06 | down in the Modifier list and pick Taper.
| | 02:10 | Taper is great for equally tapering something.
| | 02:13 | It's also good for tapering something unevenly.
| | 02:15 | I'm going to use it so that the seat tapers in.
| | 02:18 | I'm going to click on Amount and drag
up, but then try changing the axis,
| | 02:23 | and it looks like what I need is a Y axis with
the effect on the X. That way my seat tapers in.
| | 02:31 | Now I'll pull this the other direction.
| | 02:33 | There is that seat tapering in nicely.
| | 02:36 | Make sure I'm in a Front View so I'm
not tapering it too much, and I'm going to
| | 02:40 | right-click and pull the center down.
| | 02:43 | So instead of making the seat wider at
the bottom, by pulling that taper center
| | 02:46 | down, the seat starts at the
width I wanted, and gets narrower.
| | 02:50 | This is a great way to make
things and add some curve in.
| | 02:54 | Remember, it's the silhouette that matters.
| | 02:56 | I'll continue to refine this, and
then add in the smoothing groups to
| | 02:59 | really make it work.
| | 03:01 | I'm going to convert this back to a poly.
| | 03:03 | Now I could use the Edit Poly modifier
on top, but I'd like to smooth it this way.
| | 03:08 | I'm also going to isolate this, right-
clicking and choosing Isolate Selection to
| | 03:12 | turn off my bounding boxes temporarily.
| | 03:15 | Right now, we can see I have a lot of
facets, and that's okay, that's result of
| | 03:18 | the geometry I've made.
| | 03:20 | What I'm going to do is select
this, and press 5 for Element.
| | 03:25 | I'll pick all the elements by
pressing Ctrl+A or just clicking on it.
| | 03:29 | In the polygon smoothing groups,
I'll clear off all of them.
| | 03:32 | What this says is in Groups 2 through 7, some
but not all of the polygons are in those groups.
| | 03:38 | I'll clear them and then I'm going
to put the front-half in Group 1.
| | 03:42 | I'll press 4 for Polygon, click on
those front four polygons, and grow
| | 03:46 | that selection out.
| | 03:48 | It starts to ring around the chair,
and there's the front, the cushion.
| | 03:52 | I'll scroll down to my smoothing groups
again, and I'm going to put these in Group 1.
| | 03:58 | Now they look soft all over.
| | 04:00 | I can also select by smoothing group.
| | 04:02 | I'll click on Select By SG
and click on Smoothing Group 1.
| | 04:08 | I'll click OK and then I'll invert my
selection by choosing Edit > Select Invert.
| | 04:14 | I can also press Ctrl+I. There's the
back of the chair selected, and I'll
| | 04:18 | put them in Group 2.
| | 04:21 | Now I'll right-click,
choose Top-level and deselect.
| | 04:25 | It looks pretty good.
| | 04:27 | The back of my chair is nice and round,
the front is nice and round, and I've
| | 04:31 | got a good hard-line right here along
the edge that's going to help me add
| | 04:34 | detail without adding extra polys,
and that's the division between the hard
| | 04:38 | plastic of the back and the
soft upholstery in the front.
| | 04:41 | I'd probably go and pull the polygons
out a little bit, make it look a little
| | 04:46 | softer, and make sure I check with my
reference, making sure that the chair back
| | 04:49 | looks like the chair back it should.
| | 04:51 | I'll finish modeling the seats, and
then I'll start to look at the other
| | 04:54 | geometry and the chair;
| | 04:56 | the handles, the legs, and so forth.
| | Collapse this transcript |
| Refining the silhouette| 00:00 | I've continued modeling the back and the
seat of the chair, and I wanted to show
| | 00:04 | how to get some extra detail in there
and really make this kind of pop in
| | 00:08 | silhouette, even with a lower polygon count.
| | 00:10 | So far I've taken a box, chamfered the
edges, and tapered it a little bit just
| | 00:15 | like I did with the back.
| | 00:16 | I'm going to convert this back to an
editable poly by right-clicking and
| | 00:20 | choosing Convert to Editable Poly.
| | 00:21 | Now I'll zoom in and do a little
detail modeling before I get some
| | 00:26 | smoothing groups on.
| | 00:27 | The front part of the chair actually
needs to overhang that base just a little bit.
| | 00:32 | What I'll do is press 4 for polygon
and I'm going to grab just these front
| | 00:37 | couple of polys and I'll
nudge them forward just a little.
| | 00:41 | This sort of makes a little bit of a bump there.
| | 00:44 | Then I'll rotate them ever so
slightly, making sure my angle snap is off,
| | 00:49 | that way I get a little bit more of an edge.
| | 00:51 | I can come back and pick an edge
here and pull it back just a little bit.
| | 00:56 | What this is going to give me is
just a little variance in that cushion.
| | 01:00 | Finally, I've given myself some extra
divisions along here and this is going to
| | 01:04 | help me take that middle polygon and
just push it down slightly for the seat so
| | 01:08 | it lights differently.
| | 01:09 | We want to make sure when we're
modeling that we really maximize the
| | 01:13 | polygons we've got.
| | 01:15 | Before adding smoothing groups on, we
need to make sure that the silhouette
| | 01:18 | works and any major contours are in place.
| | 01:21 | I can see on the bottom here I need to
push this around a little bit as well.
| | 01:25 | I'll take this bottom poly and pull it
down just a bit because it is actually
| | 01:29 | quite curvy on the bottom.
| | 01:31 | Now I'm ready for some smoothing groups.
| | 01:33 | What I'll do is to select all of them
and then scroll down to the smoothing
| | 01:37 | groups on the Command panel. In the Polygon
| | 01:42 | Smoothing Groups, I'm going to clear
off all my smoothing and then I'll pick
| | 01:45 | just the top part of the chair and apply.
| | 01:48 | I'll go into a left view by
clicking L and then zooming in.
| | 01:52 | I'll select all of the top polygons of
the chair and I'll put them in Group 1.
| | 01:57 | Then I'll select the bottom and I'm going to
put them in Group 3 because it sounds good.
| | 02:02 | Really, every object can have its
own smoothing groups and I've rarely
| | 02:06 | found that I run out.
| | 02:08 | It doesn't always have to be 1 and 2.
| | 02:10 | So you can skip around a bit so
it's convenient and easy to organize.
| | 02:13 | We can use smoothing groups as a way
to organize for unwrapping and also
| | 02:17 | assigning materials if we need.
| | 02:19 | Now I'll right-click, choose Top-level,
and press F4 to turn off my wireframe.
| | 02:24 | If you notice in my workflow, I jump
around a lot between smooth and wire and
| | 02:29 | shaded with edged faces and
all different kinds of modes.
| | 02:32 | It really depends on what I need
to see and how I want to see it.
| | 02:36 | As I move around here, I can see that
the bottom of my chair is hard-looking or
| | 02:40 | rounded, but comes to a hard
edge and the top does as well.
| | 02:44 | I may need to just modify this a little
bit, maybe push it around to make it a
| | 02:48 | little more squishy-looking, but that's
just a matter of moving some vertices.
| | 02:51 | But it's definitely reading
as the bottom of that chair.
| | 02:54 | Even with the limited polygons, I still
get the curve going on here, and on the
| | 02:57 | seat, I only have three
facets over those 90 degrees.
| | 03:01 | But when we're far back enough, such as in a
game here in a perspective, we read it as curve.
| | 03:06 | And remember, we're always going to
have other things going on around us.
| | 03:09 | So this will work nicely.
| | 03:10 | Now that I've got the chair's seat and
back in shape, I'm going to add in some
| | 03:15 | of the other pieces such
as the wheels and the legs.
| | 03:18 | And I'll do that with as little geometry
as possible because it's going to be on
| | 03:22 | the floor and probably in somewhat darkness.
| | 03:23 | And there's going to be other things going on.
| | 03:26 | So I'm going to make the silhouette work
and try to really minimize that detail.
| | Collapse this transcript |
| Unwrapping for the chair| 00:00 | I finished the modeling on my chair,
choosing instead to make an armless
| | 00:03 | variant for this round.
| | 00:05 | I can always add in arms to
have yet more objects in my scene.
| | 00:09 | I've modeled it as separate pieces,
like I did with the ladder and the shipping
| | 00:12 | container, to make sure
that it's easy to unwrap.
| | 00:14 | I can combine them later into one mesh.
| | 00:17 | I'm going to look at using a texture atlas.
| | 00:19 | The idea being, if I have a small
section of well-tiling gray fabric and
| | 00:24 | good-tiling black plastic, both shiny
and matte and so forth, I can crop and
| | 00:29 | tile that along here, instead of
painting a large chunk of gray plastic to map
| | 00:33 | as a singularity over the whole face.
| | 00:35 | Here's how I'll make this work.
| | 00:38 | First, I'm going to hide my bounding
boxes by selecting them and right-clicking
| | 00:41 | and choosing Hide Selection.
| | 00:44 | I'm going to make a texture atlas in
Photoshop using the checkers I had made
| | 00:47 | previously, and applying an overlay to them.
| | 00:50 | In Photoshop, I'll open up my checkers,
pressing Ctrl+O and choosing them from
| | 00:55 | my images in the sceneassets folder.
| | 00:57 | What I'm going to do is
use a fixed-size marquee.
| | 01:01 | I'll click on the marquee and drop
down under Style to pick Fixed Size.
| | 01:05 | In the Width and Height I'll put 512x512,
figuring that I want four sections on
| | 01:10 | this map, which will have gray fabric,
matte plastic, shiny plastic, and maybe
| | 01:15 | another quadrant for other materials,
so I can use this in different places.
| | 01:20 | By extension, we could make an office
map, which has all the parts we need for
| | 01:24 | chairs, lamps, tables, and so forth,
that all fit on one image, and we can use
| | 01:28 | the same approach to crop and
tile those materials on everything.
| | 01:32 | I'll land this marquee down in the
bottom right corner, press Ctrl+Shift+N to
| | 01:36 | make a new layer, and fill this in
like colors of where that marquee is.
| | 01:42 | I'll click on the foreground
color and eyedropper green.
| | 01:45 | I'll fill this in, and really,
this is just going to be a marker.
| | 01:48 | It's very possible I need to model
this, unwrap it, and see what I'm doing
| | 01:52 | before I've actually painted the texture.
| | 01:54 | So I need kind of a
placeholder, which is what I'm making.
| | 01:57 | I'll finish this, eyedroppering the
color of wherever that marquee is, and
| | 02:02 | filling those quadrants in,
snapping them to the document bounds.
| | 02:06 | I've put in my quadrants.
| | 02:08 | I'll press Ctrl+D to deselect and drop
the Opacity of this layer down to about 50%.
| | 02:14 | Now this is a clear marker, not only of
distortion in the unwrap, but where am I
| | 02:19 | working, so I can crop down cleanly
and say, for example, the gray mesh only
| | 02:23 | fits in that green square,
and I can map it correctly.
| | 02:27 | I'll save this by pressing Ctrl+Shift+S
and saving a copy with no layers.
| | 02:32 | I'll call this one 1024atlas.
| | 02:38 | Back here in Max, I'll make a couple
of new materials using this same atlas
| | 02:41 | and start mapping.
| | 02:43 | I'll press M for the Material Editor.
| | 02:45 | The first one I'm going to name fabric.
| | 02:49 | The second one, I'll call matte plastic.
| | 02:54 | And the third, I'll call shiny plastic.
| | 02:59 | I'm not going to use the fourth quadrant,
as I really need just three materials,
| | 03:03 | but I have it in case I
need it for something else.
| | 03:05 | Now I'm going to put that same texture
in all three, clicking on the map for
| | 03:09 | the Diffuse color, choosing Bitmap, and there in my
sceneassets images folder is my atlas. I'll click Open.
| | 03:17 | What I had set in here is that for the
fabric I'm going to use the green quadrant.
| | 03:21 | I'll view the image by clicking the View
Image button and then start to crop it down.
| | 03:27 | I'll click and drag right from the corner
here and pull that marquee and cropping down.
| | 03:33 | I can also put in a Width and
Height up here in the top in the UVs.
| | 03:37 | Now this material will only use
this green quadrant for that fabric.
| | 03:41 | The neat part about it is when you
put UVs on an object, UVs are UVs;
| | 03:46 | how you get there the game
engine doesn't really care.
| | 03:49 | As long as things are mapped and that
mapping corresponds to a particular place
| | 03:53 | on a texture, it's fine.
| | 03:55 | So the approach of making an atlas
and then cropping down is very useful.
| | 03:59 | I'll finish this for my other materials
and then start to apply it to the chair.
| | 04:04 | I've taken all three of my temporary
materials and applied that same map in,
| | 04:08 | right-clicking, and copying and pasting.
| | 04:10 | In each of those maps what I've done
is view the image, make sure Apply is
| | 04:15 | checked in the Cropping/Placement,
and then move that marquee around.
| | 04:19 | As an example, on this one it's just
the orange, and when I view the image, the
| | 04:24 | marquee is only in the top left.
| | 04:26 | Now I'll start assigning this by
polygon and mapping out my chair.
| | 04:30 | I'll do a section of the
seat to show how this works.
| | 04:33 | I'll pick the seat mesh, press F4 for
edged faces, and press 4 for polygon.
| | 04:39 | I'm going to pick the two center polys
and grow that selection out over here
| | 04:43 | on the Modifier panel.
| | 04:45 | I'll click Grow once, twice, three times,
and that takes me cleanly around the
| | 04:50 | fabric part of the back.
| | 04:51 | Then I'll click on the fabric material
and drag it onto those selected faces.
| | 04:58 | I've orbited my view and I'll
press F2 to show edged faces instead of
| | 05:03 | shading the selected faces.
| | 05:05 | I'll make sure that this map shows in
the view, and now they're on the back of
| | 05:09 | my chair; where it should be fabric is
only that green section of the texture.
| | 05:14 | I'm using a select part of my atlas.
| | 05:16 | I'll go and unwrap this, or just
map it and get that to tile nicely.
| | 05:21 | I'm going to try first just a planar map.
| | 05:24 | I'll drop down under the Modifier
list, pick Unwrap UVW, and scroll down.
| | 05:32 | I'll press 3 for face, and already
those faces are selected as we can see them
| | 05:36 | highlighted in yellow.
| | 05:38 | I'll planar map them and it seems to
work pretty well, maybe needing a little
| | 05:42 | relaxing on the edges, but
this texture is tiling nicely.
| | 05:49 | I'll scroll up and open up the UV Editor.
| | 05:52 | What I want to do in here is scale
these UVs so that this texture, the tiling
| | 05:57 | fabric I'll put on, is the right size.
| | 06:00 | I'm going to say that it
should be about one polygon big.
| | 06:04 | So I'll take this whole shell, making
sure at the bottom of my Edit UVWs dialog
| | 06:08 | I check Select by Element.
| | 06:12 | I'll check it, take this shell, and scale it.
| | 06:15 | As I start to scale this shell, it's going to
move around and that texture will scale on it.
| | 06:21 | I want to make sure that over here in
the Modifier panel, way down under the
| | 06:25 | Projection, I turn off my Planar Map.
| | 06:27 | Otherwise, I can't move that shell
and I get caught on that occasionally.
| | 06:31 | I'll turn that off and start to scale
this, and as I scale, we can see the
| | 06:35 | section of map I'm using, and I can get
it positioned exactly where I want it.
| | 06:41 | Now I'm getting the right density of my mesh.
| | 06:43 | I've got small checkers, meaning my mesh
is the right size of the fabric on here.
| | 06:48 | I'll zoom out, and if I need to relax the
edges or scale them, I can at this point.
| | 06:53 | I'll finish out by relaxing those
edges, and then I can move on and do the
| | 06:57 | rest of my objects.
| | 06:58 | I'll press 2 for edge and I'll double
-click on just that outside border.
| | 07:04 | I can take that element then and scale it out.
| | 07:07 | As I've scaled it, we can see that
those UVs are starting to stretch back to
| | 07:11 | the right proportion.
| | 07:12 | I don't mind a little stretch here,
although I can even it out, because the
| | 07:16 | fabric is wrapped around the chair.
| | 07:17 | As long as it looks pretty
good, it will work nicely.
| | 07:20 | If there's more of a pattern in
the fabric, we need to pay a little
| | 07:24 | more attention to it.
| | 07:25 | But really what I care about is that
I've got just a piece of my texture atlas
| | 07:29 | mapped onto this object.
| | 07:30 | What this lets me do then is make, one,
essentially master texture for the game
| | 07:34 | or a whole chunk of an environment and
use little bits of it wherever I want,
| | 07:38 | letting it tile and mapping it over
and over and over, by polygon, assigning
| | 07:43 | materials by polygon, and putting on
only the parts I need where they're needed.
| | 07:49 | I'll finish out the chair and then get
into painting some of the textures for it.
| | Collapse this transcript |
| Painting the fabric| 00:00 | I've finished mapping the
seat and the back of my chair.
| | 00:03 | I've used a Multi/Sub-Object material,
making the material, and then dragging my
| | 00:07 | single materials down into it as instances.
| | 00:10 | This way I can assign one material to
the chair and see all the different parts.
| | 00:15 | On the back, you can see in my
modifier stack I've used an unwrap and a poly
| | 00:19 | select to select other polys, and also
an edit poly in here to change material
| | 00:24 | IDs so that the yellow, my placeholder
for the map plastic, shows up back here,
| | 00:29 | whereas my green, my
placeholder for the fabric, is in front.
| | 00:32 | I'm going to collapse this anyway so
I can really stack up these modifiers
| | 00:36 | to select and change different parts as I
need just to get it done as well as possible.
| | 00:41 | I've got it fairly distortion-free.
| | 00:43 | I've relaxed the UVs a little bit and I
see a few places I'm stretching on the
| | 00:48 | sides, but I'm not terribly worried about it.
| | 00:50 | I think it's going to run okay and
I can always tweak those if needed.
| | 00:52 | Now I'm going to paint some of the gray
fabric and put it in and make sure I've
| | 00:55 | got the right size going.
| | 00:57 | I'll go over to Photoshop and paint that fabric.
| | 01:00 | Here's my texture atlas.
| | 01:01 | So really, I need about a 512
square chunk of gray fabric.
| | 01:06 | The size is really up to me;
| | 01:07 | it's kind of a question of
how much detail would I like.
| | 01:09 | I'd like to paint it so it looks right,
but I don't want such small detail that
| | 01:13 | on screen it scintillates or
dances in front of the camera.
| | 01:17 | I'm going to start out by
painting a big chunk of it.
| | 01:20 | I'll press Ctrl+N for a new document.
| | 01:23 | I'm going to make this 1024 square.
| | 01:26 | As a note in Photoshop working, you can
make a preset if you're using the same
| | 01:30 | size or same kind of document a lot.
| | 01:32 | As an example, I'm going to make
a preset here called 1024x1024.
| | 01:38 | This is a pretty standard size for
textures and so I'll save this preset and I
| | 01:42 | can call it up and use it
instead of typing it in every time.
| | 01:45 | I can even go in here in the Advanced
section and specify a Color Profile of my
| | 01:49 | game engine adheres to a certain one.
| | 01:52 | When I click Save Preset, it's available,
and now if I'm making a new document
| | 01:57 | by pressing Ctrl+N, I can drop
down in my Presets and there it is.
| | 02:04 | For the fabric then, I'm going to
start out in gray. I'll press Shift+F5 to
| | 02:09 | fill this in the 50% gray and I'll throw
some grain on choosing Filter > Texture > Grain.
| | 02:15 | I'm going to use in here first some
vertical grain and I'll pull up the
| | 02:20 | contrast a little bit.
| | 02:21 | I'm going to let the dots be there
instead of smoothing them out like on a wood
| | 02:25 | grain, because I want it to be a fabric.
| | 02:27 | I'm going to make a new layer
pressing Ctrl+Shift+N and repeat the process
| | 02:31 | with horizontal grain.
| | 02:33 | I'll fill this with my 50%
gray, pressing Shift+F5.
| | 02:39 | Then I'll choose Filter > Texture >
Grain and change the Grain Type over from
| | 02:44 | Vertical to Horizontal.
| | 02:46 | I'll click OK and now I've got two grain layers.
| | 02:49 | I'm going to let this first one lay over as a
Multiply and there's a pretty good fabric going.
| | 02:55 | It's got a weave to it and it's regular enough.
| | 02:57 | We shouldn't see too much of a repeat.
| | 03:00 | Now I can take both of these layers and
flatten them together if needed and lay
| | 03:04 | them over another color.
| | 03:06 | I'll pick my top layer,
| | 03:07 | press Ctrl+E to merge down, and
then throw a new layer underneath it.
| | 03:13 | This will actually be my color layer.
| | 03:14 | I'll go over to my chair, eyedropper
that color, that kind of warm gray, and
| | 03:19 | back here in my working
document, fill that layer with it.
| | 03:23 | Then I'll set this over
layer to another blending mode.
| | 03:26 | I can try different
things to get the look right.
| | 03:29 | Here's a Soft Light and there's our fabric.
| | 03:31 | Maybe it needs to be a little bit
lighter or a little darker and I can adjust
| | 03:36 | the over and under layer to get there.
| | 03:38 | I'm going to let it be just like this.
I think that works pretty nicely.
| | 03:41 | I'll use my technique of grouping,
cloning, and flattening so I have a working
| | 03:45 | model as well as a flattened
image for copying and pasting.
| | 03:48 | I'll pick both of my layers
and press Ctrl+G to group them.
| | 03:52 | Then I'll hold Alt and clone that group
down, press Ctrl+E to flatten the group,
| | 03:58 | and select all by pressing Ctrl+A, Ctrl+C
for copy, and now I can paste that on
| | 04:04 | to my texture atlas.
| | 04:06 | Here's my atlas, I'm going to
paste that in, and downsize it.
| | 04:11 | I'll press Ctrl+T for
transform and scale it down.
| | 04:14 | Now I know this is also a 50% scale, so
I could do it manually, or up here I can
| | 04:19 | lock the scales and put in 50%.
| | 04:23 | There's that gray fabric and I'm going to
move it down and snap it right into the document.
| | 04:28 | I'll press Enter to accept that and
now I've got a tiling gray fabric.
| | 04:33 | I'm going to save a new version of my
atlas and load it in and see how it looks.
| | 04:37 | That way I've got my original atlas
in place and I'm adding textures in
| | 04:40 | incrementally so I can test them out.
| | 04:43 | I'll choose File > Save As
and save this out as a TIFF.
| | 04:47 | I'll call this atlastex, so I
have a different texture here.
| | 04:53 | It's okay to have working
files as part of your texturing.
| | 04:55 | We're only going to take the ones
we need over to our game engine.
| | 04:58 | I'll save it and see how this looks in Max.
| | 05:02 | I'll press M to pull up my Material
Editor and into the fabric texture;
| | 05:06 | I'll click on the M in the
Diffuse color. That's my map.
| | 05:09 | In that map, I'll click on the
bitmap and I'll go find that new texture.
| | 05:14 | I'll open it and there is my map.
| | 05:19 | It's working fairly nicely,
although I can see I need to play with the
| | 05:23 | cropping just a tiny bit.
| | 05:24 | I have a little bit of
overlap from the adjacent places.
| | 05:27 | What I'll do is view the image and just
scale that cropping in ever so slightly.
| | 05:34 | There's my gray fabric across the chair.
| | 05:37 | And when I turn off the edged faces
by pressing F4, it looks like the gray
| | 05:41 | fabric at the right size.
| | 05:42 | I've got a lot of detail painted in
it which is really good and it's even
| | 05:46 | working with the stretching I've got
going on as if it was upholstered that way.
| | 05:50 | It's a big deal when you're texturing
them to get the mapping size right, put in
| | 05:54 | the right texture and go back and check
and say, is this really the right size?
| | 05:58 | I've seen a lot of places where what
should be maybe a small basket weave gets
| | 06:02 | blown way out of proportion, or a
small delicate flooring tile actually gets
| | 06:06 | scaled up to 4-feet square
and looks rather awkward.
| | 06:09 | So be conscious of your texture sizes.
| | 06:12 | When you're mapping things, especially
cropping out of an atlas texture, go back
| | 06:16 | and put in something of
the right size and test it.
| | 06:18 | Make sure that the office chair
fabric looks like the fabric we'd see on an
| | 06:22 | office chair so that when you zoom
back, it's that nondescript gray fabric.
| | Collapse this transcript |
| Making a normal map for the fabric| 00:00 | I've put the fabric texture on my chair
and I'm ready to get some other things on.
| | 00:04 | It looks a little flat, so I'm going to
build a normal map for it based on that
| | 00:08 | fabric, so that as part of my atlas,
I've got a normal and a diffuse.
| | 00:13 | These can either be two separate
images or actually depending on how it's
| | 00:16 | mapped, you can use the same one.
| | 00:18 | It's very common in an atlas to have
some of it be the color, some of it
| | 00:23 | be the specularity and some of it
be a normal all within one image
| | 00:27 | that simply gets reloaded and used
over and over and over in the game engine.
| | 00:30 | I'm going to build up a separate
normal texture, so I have one for diffuse
| | 00:33 | and one for normal.
| | 00:35 | To make this look a little better and
be able to tell what I'm doing, I'm going
| | 00:39 | to get a little different
lighting going on in my scene.
| | 00:41 | I'll choose Create and
under Standard lights, Omni.
| | 00:45 | I use Omni as a lot as just point lights to
show off specularity or normals in a game.
| | 00:51 | That way I've got a quick
test going on here in 3ds Max.
| | 00:54 | We could get more exotic, but
really, I just care that it's working.
| | 00:58 | I know I'm going to go
light my scene in Unity later.
| | 01:01 | I'll also drop down under
Shaded and pick Realistic.
| | 01:05 | That way I have my maps
showing and shading correctly.
| | 01:08 | Now I'll go into Photoshop and quickly
make a normal out of that diffuse texture.
| | 01:12 | Here in Photoshop, I'm going to take
this image and clone that gray and then
| | 01:18 | make a normal out of it and
save out only certain parts.
| | 01:21 | I'll hold Alt and clone that fabric.
| | 01:24 | I'll turn off the original
and turn off the other pieces.
| | 01:27 | Now on this, I'll run one of my
normal map filters I used earlier.
| | 01:31 | In this case, I'm going to try xNormal.
| | 01:33 | I'll drop down under Filter and here's
xNormal and I'll choose Height2Normals.
| | 01:38 | With the normal map will do here is
really just give a little surface variation,
| | 01:43 | so it doesn't look exactly flat.
| | 01:45 | I'm going to take down the smoothing
just a bit, maybe down in the 0.3 range
| | 01:50 | and I'll check Update.
| | 01:51 | That way I can start to see
some of the fabric pattern.
| | 01:54 | Depending on what we're modeling, we may
need more or less of a normal map on it.
| | 01:58 | This chair is fairly smooth, but I'd
like that to have a little bit of surface
| | 02:02 | relief, so it has a little texture.
| | 02:04 | If we're doing something like a rug,
or a dense fabric, or something quilted,
| | 02:07 | we may need more of a normal map in
our atlas, but this will work nicely for
| | 02:12 | this fairly flat weave.
| | 02:13 | My samples look pretty good, although
I can always play with the samples in
| | 02:16 | here to wrap up the quality if I
feel it's not working too well, but my
| | 02:20 | preview I think looks okay.
| | 02:22 | I may want to come back
and play with the swizzling.
| | 02:24 | I'll put it on and makes sure it
goes in the right direction first.
| | 02:27 | I'll hit Continue and there
is the normal for the fabric.
| | 02:31 | I'm going to map this over a color and
just save it out as an extra image and
| | 02:35 | load it in and see how it looks.
| | 02:38 | I'll eyedropper the blue from that
normal and fill in my background image.
| | 02:42 | Now I'll save this out, pressing Ctrl+
Shift+S to Save As, and I'll call this one
| | 02:48 | 1024x1024atlastexN, N for normal.
| | 02:52 | Remember, organize your images.
| | 02:54 | In this case, I'm using N to
denote normal maps in all my images.
| | 02:59 | That way I know at a glance what all
these images are without having to go
| | 03:02 | through and preview them all.
| | 03:04 | I'll uncheck Layers and save as a copy.
| | 03:08 | Back over here in 3ds Max, I'll press
for my Material Editor and I'll click on
| | 03:12 | Sub-Material 1 in that fabric.
| | 03:15 | In the fabric, I'll scroll down or roll up
the Basic Parameters until I can see the Maps.
| | 03:20 | In the Maps, I'm going to go into the Bump,
and I'll click on the None for the normal.
| | 03:25 | I'll choose a Normal Bump and in that
Normal Bump, I'll click on the None slot
| | 03:30 | next to Normal and I'll put a Bitmap in.
| | 03:33 | Remember that bitmap is not just a BMP;
| | 03:36 | it's actually any pixel-based image.
| | 03:38 | It's just the max map type, bitmap
referring to a single static image.
| | 03:43 | I'll double-click on it and there's my normal.
| | 03:46 | I'll pull this in, click Open, I'll go
up to the parent, and I'll make sure that
| | 03:51 | material again is showing in the view.
| | 03:54 | So here's the test, did this work.
| | 03:56 | If I take my light and I pull it
back and forth, do I get a little bit of
| | 04:01 | surface relief and I do.
| | 04:02 | My fabric looks, well, fabric-like.
| | 04:04 | It's just got a little bit
of extra softness going on.
| | 04:08 | Just to be sure this is working and to
really test how it's going to look in the
| | 04:11 | game, I'm going to drop down under
Realistic and go to Materials and make sure
| | 04:15 | I'm showing Realistic Materials with Maps.
| | 04:19 | It'll take a second refresh
and I should see my normal.
| | 04:23 | Now it's small here, that's working
nicely, and I've evened out those gaps before.
| | 04:28 | So it should work okay, and as I pull
this light, I can really see that fabric
| | 04:32 | has just a little bit of pattern to it.
| | 04:35 | It's working well and I'm ready to
continue on with a chair and then make my
| | 04:39 | other pieces of furniture
as part of my prop library.
| | Collapse this transcript |
| Planning the modeling of a table| 00:00 | In this video, I'll start construction
of this rustic wooden farmhouse table.
| | 00:04 | It's very possible over the course
of the game we need many different
| | 00:07 | environments of either different time
periods or different conditions of wear and tear.
| | 00:12 | We've done shipping containers and
various props for construction, like
| | 00:16 | ladders and a sledgehammer.
| | 00:17 | We've also done a sleeker modern
office chair, and now I'm going to look at a
| | 00:22 | more distressed wooden table.
| | 00:23 | I'm also going to take a realistic view.
| | 00:25 | I've been in places where this is the
reference I've gotten and I asked the art
| | 00:29 | director, well, is there anything more?
And he said, no, that's it. Make it.
| | 00:34 | And I said fantastic.
| | 00:35 | So part of what I'm looking at
here is how do you work with maybe
| | 00:39 | skimpy reference and what are the
pieces you can draw from to get the
| | 00:44 | rest of it looking right?
| | 00:45 | Here are the things I'm looking at in
the table that are the important parts.
| | 00:49 | First off, this table has rounded corners.
| | 00:52 | So we want to make sure that those show up
because it's a big deal in the silhouette.
| | 00:56 | It's got uneven and distressed planks here.
| | 00:58 | So if we do those right and
they're tileable, we can make this work.
| | 01:02 | We may want to model in the occasional break.
| | 01:05 | And finally, it's got some pretty good detail.
| | 01:08 | This is called a skirt underneath and it's
got an extra bead along it for a shadow line.
| | 01:13 | I can see that the legs taper and way
down underneath is some kind of stretcher.
| | 01:17 | Now here's the thing with tables.
| | 01:19 | We tend to build them symmetrically.
| | 01:21 | So if I get one leg tapered,
the other four will be.
| | 01:25 | The other side of the skirt looks
like this one and it looks like it's a
| | 01:28 | match for the ends.
| | 01:29 | So as long as I can get the
proportions right, I think I can make this table
| | 01:33 | off my scan reference.
| | 01:35 | And one more thing, boards
have a standard thickness.
| | 01:38 | Even though these are milled
farmhouse boards, this is probably about three
| | 01:42 | quarters of an inch thick.
| | 01:43 | So I can gauge the size and height.
| | 01:45 | And the other reference is this;
| | 01:47 | this is made to stand near and work on.
| | 01:50 | So it's probably a little
taller than a dining table.
| | 01:53 | It's probably right up
around kitchen counter height.
| | 01:56 | Now these have been standardized for
years at 36 inches off the floor so that
| | 02:01 | if we equate this at countertop height,
we can probably gauge the size of our
| | 02:05 | table and model things.
| | Collapse this transcript |
| Blocking out the basic table form| 00:00 | I'm ready to start blocking out my
table in 3ds Max, and I'll start out with the
| | 00:04 | bounding box centered around 00, and
then start to get into pieces for the top
| | 00:08 | and the side and things.
| | 00:10 | I said the table is 36 inches high,
gauging on the counters adjacent to it.
| | 00:15 | If it's 36 tall, I'm reasonable
in saying it's about that wide.
| | 00:19 | And if I call it 36 inches wide, to say
it's 6 feet long is pretty reasonable,
| | 00:24 | so there's the size of my bounding box.
| | 00:27 | Here in 3ds Max, I'll hold Ctrl+Right-
click choose Box and lay in a box here.
| | 00:32 | Then I'll jump over to the
Modifier panel and put in the exact sizes.
| | 00:36 | Here is a Length of 36, a
Width of 72 and a Height of 36.
| | 00:42 | Alternately, I can put in 3
feet and it will convert for me.
| | 00:48 | I'm also going to go down to the bottom,
right-clicking and choosing Move and
| | 00:52 | then on the Absolute World Transform
Type-In, I'll zero this out around 0, 0, 0.
| | 00:58 | That way when I make my table on it,
it's centered there, and I get an easier
| | 01:03 | import coming into a game.
| | 01:05 | Finally, I'm going to right-click on
this, choose Object Properties and set it
| | 01:10 | to Display as a Box.
| | 01:11 | Than I'll click OK and right-click and
Freeze it, now I am ready to begin my table.
| | 01:18 | I'll start out with the top
and get the right parts in.
| | 01:21 | I'm going to take the
approach again of modeling in pieces.
| | 01:24 | I'll press T for Top View, G the
turn off grid, and Z to zoom extents.
| | 01:29 | I'll hold Ctrl+Right-click and choose Box.
| | 01:33 | I'll press S for Snap and flyout my
snap and use a two-and-a-half D snap. Now I'll
| | 01:38 | drag in that box right
across the top of this table.
| | 01:42 | Drag up for the height and go over
to the Modifier panel and change it.
| | 01:46 | I said that height was about
3 quarters of an inch thick.
| | 01:50 | I'll spin over and snap
this up in the right place.
| | 01:53 | I'm going to switch off Realistic
back to Shaded, so that I don't get a
| | 01:57 | black surface in here.
| | 01:58 | I'll change my Snap to 3D and on the Z
axis I'll pull this up, pressing Spacebar
| | 02:04 | for Selection Lock and snapping it
up to the top of my bounding box.
| | 02:07 | This will be my table top, at this
point I can round over the corners or
| | 02:11 | start making the legs.
| | 02:13 | I'm going to put the legs in
and come back to those corners.
| | 02:16 | I'll go in my Top View or create a box here
in Perspective, either way we can position it.
| | 02:21 | I'll hold Ctrl+Right-click choose Box and
snap a box to start right there in the corner.
| | 02:27 | Than I'll pull up for the Height and look at
that it's going to snap right up to the top.
| | 02:32 | So refer it back to the reference for a
minute to look at how this is put together.
| | 02:36 | It's a little hard to tell, but I can
just barely see some things on my table.
| | 02:41 | It looks like right here on the left
side of the image that that leg actually
| | 02:45 | goes all the way up under the top, and
then the skirt board is fastened into it.
| | 02:49 | And underneath my blue marking I can
see the same thing in the forward corner.
| | 02:53 | So I feel pretty good about
having that leg come all the way up.
| | 02:56 | I'm going to introduce, right about
there, one extra segment, so that leg can
| | 03:00 | start to taper after a straight
section where the skirt joins.
| | 03:03 | Over here for this leg, I'll give it a
Length of maybe 2.5, a Width of 2.5 and
| | 03:10 | I am going to leave the Height alone.
It's already correct at 35 and a quarter.
| | 03:15 | I'll zoom in and snap this in the right place.
| | 03:19 | I'll press Spacebar for Selection
Lock and make sure on the X, Y Axis.
| | 03:24 | I'll snap this right into the corner and now
on the Height Segments, I'll put those up to 2.
| | 03:30 | I'll press F4 for Edged Faces, right-
click and convert this to an Editable Poly
| | 03:36 | and I'm going to grab that edge
loop and pull it into the right place.
| | 03:40 | I'll make sure I turn off the
Selection Lock and then just grab either those
| | 03:44 | edges or vertices, it
really doesn't matter which one.
| | 03:46 | What I'll do is grab this on the Z axis,
pull it up to it top, use my Relative
| | 03:53 | Transform Type-In, and on the Z I'll
pull this down by, let's say, a negative 8,
| | 03:58 | that's where that taper will start.
| | 04:01 | I'll zoom underneath and I'm going to
start to take these 2 edges and move them in.
| | 04:06 | I'll press 2 for Edge, pick this edge
and move it over by, let's say, 0.5, that
| | 04:14 | way that leg tapers in from the
inside while the outside is still straight.
| | 04:18 | I'll do the same on this other edge, selecting
it and moving it in by 0.5 on the X this time.
| | 04:24 | Where is that 0.5 coming from? It looks good.
| | 04:27 | It's a nice easy number
and it seems to work well.
| | 04:30 | There is that leg tapering, from
the outside it's straight and from the
| | 04:34 | inside it's tapered down.
| | 04:37 | I'll see if this works
and I can always enlarge it.
| | 04:40 | Finally I'll get it in the right place
before I start making my other elements.
| | 04:43 | I'll turn off Edge and in the Top
View, view that leg, I'll press F3 for
| | 04:49 | wireframe, zoom in on it
and I'm going to move it in.
| | 04:53 | I'll check reference one more time.
I've reopened the reference without my
| | 04:56 | markings and I can see where
the top overhangs by a little bit.
| | 05:00 | I am going to move the leg in by maybe
an inch or so, so the top overhangs and
| | 05:04 | the silhouette works.
| | 05:05 | Here is one thing on the moving; I'm
dealing with a reference that may not be the
| | 05:10 | most accurate, so I am making the
dimensions something convenient for me and
| | 05:14 | doing my best to get the
silhouette looking right.
| | 05:17 | I'm also doing it in dimensions that are
easy to remember. I can remember an inch.
| | 05:20 | And that way I can do the same
move in other places if I need.
| | 05:24 | I'll move this in by negative 1 on the
X and one on the Y, and now I'm ready to
| | 05:31 | start getting the other
legs and make the skirts.
| | Collapse this transcript |
| Adding legs and skirt boards to the table| 00:00 | I've started to build up my table, and
I've got one leg and the rough top in.
| | 00:05 | I'm going to add some more detail and
make sure I've got the smoothing groups
| | 00:08 | working and then start making the skirts.
| | 00:10 | I'll pick the leg and do
a little optimizing first.
| | 00:14 | I'll press Z to zoom in on it and F3
for a wire so I can see what I'm doing.
| | 00:19 | You may find that after a while you
don't need to switch back and forth.
| | 00:22 | I'm going to delete the top and bottom polygons.
| | 00:25 | I know they're there, so
working in a shaded view is okay.
| | 00:28 | I can tell what I'm selecting.
| | 00:29 | I'll click on polygon or press 4, and select
that top polygon on the leg and press Delete.
| | 00:34 | I'll do the same on the bottom.
| | 00:37 | Unless we're going to pick up this
table and throw it, we don't need that poly.
| | 00:41 | I'll press 6 to go back to the whole object,
T for Top View, and F3 for wire in this case.
| | 00:47 | I'll zoom in and I'm going to mirror this over.
| | 00:50 | I'll click on my Mirror tool and I'm going
to mirror this on the Y axis as an instance.
| | 00:56 | Now I can use an offset in here, and
if this works nicely, it's a great tool.
| | 01:01 | Will this always work is the question?
| | 01:03 | Well I'm going to scroll this
out and see how close I can get.
| | 01:06 | And it looks like if I offset
this by 31.25, it will work.
| | 01:11 | How am I getting that number?
| | 01:12 | Because it looks like the same distance
from here to here and I know it's an inch in.
| | 01:17 | If the Offset doesn't work, you can always
mirror it, snap it into place, and move it back.
| | 01:22 | I'll click OK, and there's my other leg.
| | 01:25 | Remember, I'm copying as an instance, so that
way when I unwrap I do one and the others follow.
| | 01:31 | I'll repeat this mirroring to the other
side, clicking on the Mirror tool, and
| | 01:35 | in this case, mirroring on the X as an instance.
| | 01:37 | I'll try an Offset of -68
and see how close that gets.
| | 01:42 | It's pretty good and really I'm not
inclined to mess with the numbers.
| | 01:46 | I'll click OK and zoom in on it.
| | 01:49 | I'll press Spacebar for Selection
Lock and constrain on the X axis.
| | 01:53 | I'll zoom down to one of the legs, register on
that corner, and snap it onto the bounding box.
| | 01:59 | Then on my offset world transform,
I'll put in 1 on the X. That's why I chose
| | 02:05 | that number, because it's an easy one.
| | 02:06 | I'll zoom back, and
there's the legs on my table.
| | 02:09 | Now I'm ready for smoothing and then the skirts.
| | 02:12 | I'll pick any one of the legs,
and I'll go into the Polygon menu.
| | 02:17 | What I'm going to do is select all the
polygons and scroll down to the Smoothing Groups.
| | 02:23 | For this, I'll clear them all.
| | 02:25 | The reason to do this is that I've got a
straight section of the leg and then it
| | 02:29 | tapers down, and I want this to be a
hard joint instead of trying to interpolate
| | 02:33 | a very small curve over that,
and looking bubbly and odd.
| | 02:38 | The big deal when you're modeling
furniture like this is that your modeling
| | 02:42 | should replicate a woodworking process.
| | 02:44 | Woodworking tends to be a linear process.
| | 02:47 | We take wood and we pass it along a saw
or a planer or something similar, or we
| | 02:52 | do something to it in a linear fashion,
cutting with a hand saw as an example.
| | 02:57 | And so our woodwork for
our table should mimic that;
| | 03:00 | that the pieces are made in long
elements or large planer elements instead of
| | 03:04 | trying to take a giant block
and carve a table out of it.
| | 03:09 | Now I'm going to make a skirt board.
| | 03:11 | I'll press F for Front View.
| | 03:14 | I had already said that
looking at the reference,
| | 03:16 | it looks like the skirts are
identical from ends to sides.
| | 03:19 | So if I make one, I can stretch it around.
| | 03:21 | I'll check my reference one more time.
| | 03:23 | What I can see in the reference is that
the skirt boards are basically straight
| | 03:27 | and have some kind of a lip at the bottom.
| | 03:30 | I'm going to make this out of a
box and then extrude out that lip.
| | 03:34 | I'll hold Ctrl and right-click and choose Box.
| | 03:37 | I'm going to snap a box in first.
| | 03:39 | I'll click on the top of the leg and
drag down right to where that facet occurs.
| | 03:44 | I'll drag up for the height.
| | 03:45 | At the moment the height
is not really important.
| | 03:47 | The big deal though is I'll go to
the Modifier panel and put the Width
| | 03:51 | that, well, 1 looks good.
| | 03:53 | Now I know I've got the height right and
my skirt board is snapped under the top
| | 03:57 | of the table, so it's like tight.
| | 03:59 | Now here's how I'll handle
the modeling on that lip.
| | 04:01 | I'm going to make sure I
reduce those Height Segments down.
| | 04:04 | I right-clicked on the
spinner to reset that value.
| | 04:07 | Now I'll spin over and there's that skirt board.
| | 04:10 | I'll work in a Shaded view so
I can see it a little better.
| | 04:14 | First, I'm going to convert this to a poly.
| | 04:16 | I'll right-click and
choose Convert to Editable Poly.
| | 04:19 | Then I'll take the polys off the
ends, picking one, hitting Delete, and
| | 04:24 | picking the other side.
| | 04:25 | I'm going to connect across these edges, and
I don't want a connection to ring around this.
| | 04:31 | I'll press 2 for edge and
pick one edge and then the other.
| | 04:35 | I'll right-click and
choose Connect off my quad menu.
| | 04:40 | Connect gives me another edge, and
there are more tools up here in the Graphite
| | 04:43 | Modeling tools if you need, although that's
fairly quick to just right-click and connect.
| | 04:48 | I'm going to turn off my Snap by
hitting S, and I'll pull this edge down.
| | 04:52 | I could move this in precisely,
but I'm okay with placing it roughly.
| | 04:56 | Now I'll switch to polygon, pressing 4,
taking that polygon and right-clicking
| | 05:01 | and extruding it out.
| | 05:03 | I'll pull it out to make that lip, making
sure it doesn't come to the edge of the leg.
| | 05:08 | I'll right-click and stop extruding.
| | 05:11 | Then I'll make sure I delete those end polygons.
| | 05:13 | Always go through and clean up
your meshes after you make them.
| | 05:16 | Finally, I'll look in the underside of my skirt.
| | 05:20 | I'll press 2 for edge and pick that extra edge.
| | 05:23 | Any time we've got something like
this where there are coplanar polygons,
| | 05:26 | we should look to optimize that polygon count.
| | 05:29 | What I'll do is a clean remove,
scrolling down to the Edit Edges section,
| | 05:34 | holding Ctrl, and clicking Remove.
| | 05:37 | Now the edges and their vertices are gone.
| | 05:39 | Now I'm going to take this skirt and
simply stretch it between all the legs.
| | 05:44 | I'll do this in the Left View first.
| | 05:46 | Z for Zoom Extents on it,
and F3 for a wire in this case.
| | 05:51 | As a side note, don't be afraid to
change around colors to make it easier to see.
| | 05:55 | The legs are whatever pink color
they are, and maybe it's a little
| | 05:59 | difficult. I'm going to pick them,
and I'm going to make them over here in
| | 06:03 | the Object Color, light
blue. That works nicely.
| | 06:07 | Now I'm going to pick that
skirt and turn on my 2.5D snap.
| | 06:12 | I'm already on my X axis;
| | 06:14 | I'll press Spacebar for
Selection Lock and register that snap.
| | 06:18 | I'll pull it over to inside
that leg and press 1 for vertex.
| | 06:22 | I'll release the Selection Lock with
the Spacebar, grab the vertices, press the
| | 06:27 | Spacebar again for Selection Lock,
and make sure I'm moving on the X axis.
| | 06:32 | I'll snap this right inside that leg.
| | 06:35 | Now when I spin over and press F3 for
a Shaded view, I've got one part of the
| | 06:40 | skirt on the table, and it would be
very easy for me to just rotate, clone and
| | 06:44 | keep snapping this in.
| | 06:46 | I may want to raise this a
little bit. It looks a little deep.
| | 06:49 | I'll grab these bottom vertices and
down here on that Offset Transform Type-In,
| | 06:54 | I'll put in a Z of 1.5. There's the skirt.
| | 06:58 | I'll right-click and choose Top-level
and I'm going to clone the skirts around
| | 07:02 | and then make the stretcher out
of boxes snapped in the same way.
| | 07:05 | Then I'll come back and deal
with the top and the unwrap.
| | Collapse this transcript |
| Breaking up the model for texturing| 00:00 | In this video, I'm going to start
to break up this model for texturing.
| | 00:04 | I finished the modeling, adding in the
skirts on all four sides, as well as the
| | 00:09 | stretchers and struts across in the
bottom to keep the legs spaced out.
| | 00:12 | I've optimized by deleting polys
where they're coplanar or not needed.
| | 00:16 | Now I'm going to add in a little
bit of a break on the top here.
| | 00:20 | These are old boards after all.
| | 00:22 | I'm going to hide my bounding box,
selecting it, right-clicking, and
| | 00:24 | choosing Hide Selection.
| | 00:27 | Now I'll pick the top which I've
converted to an editable poly as part of the
| | 00:31 | chamfering process of the corners.
| | 00:32 | I have rounded these off and I'm
ready to put smoothing groups on to make
| | 00:36 | sure those look round.
| | 00:37 | First, I'm going to mess up
that profile a little bit.
| | 00:40 | I'll go in to top view, and by vertex,
| | 00:42 | I'm just going to pull some of the
boards back and forth just so that this edge
| | 00:47 | has a little extra wiggle to it.
| | 00:49 | It doesn't have to be perfect and
actually it should be slightly off.
| | 00:52 | It's an old table after all.
| | 00:54 | By pulling these, I get just a
little extra drama in the silhouette.
| | 00:58 | Remember, we can use some polys as part
of our model, but we should use all of
| | 01:03 | the polys we put in.
| | 01:04 | If the polys are not contributing to the
silhouette or the look, we don't need them.
| | 01:09 | Now with a little messiness in the top, I'm
going to put in at the corner here a broken edge.
| | 01:14 | I'll right-click and choose Edge.
| | 01:17 | I'll zoom in on one of those
vertical edges, let's say the middle here.
| | 01:21 | Select it and right-click and choose Chamfer.
| | 01:24 | I'm going to use the Chamfer
dialog, the caddy in this case.
| | 01:27 | What I'll make sure of is that my
segments are down at 1, and I'm going to dial
| | 01:32 | up and down the width until it looks right.
| | 01:34 | That looks pretty good.
| | 01:36 | I'll check OK and accept it.
| | 01:38 | Chamfering a coplanar edge gives me a split.
| | 01:42 | Basically, it breaks it into two edges and
creates triangular faces where those were.
| | 01:46 | I'll press 4 for polygon and
go in and delete those polygons.
| | 01:50 | I'll pick the bottom and delete as well.
| | 01:53 | Now I'm going to press 2 for
edge and bridge those closed.
| | 01:57 | This is a gap here.
| | 01:58 | It's an open hole into the top.
| | 02:00 | I'll pick the top edge, hold Ctrl and
pick the bottom, and over here under Edit
| | 02:04 | Edges, I'll click Bridge.
| | 02:06 | I'll spin around and repeat on this other part.
| | 02:11 | Now the split is bridge closed.
| | 02:13 | I'll go back in my top view, hit Z to
zoom in on it, and mess it up a little bit.
| | 02:18 | That way it's not perfect.
| | 02:20 | I'll pull this back and let's say that one
side is a little more closed up than the other.
| | 02:26 | There's a break in the boards.
| | 02:28 | I'll pick Top-level and
go back and check it out.
| | 02:31 | It seems to work pretty well.
| | 02:32 | I could go in and roughen up the rest
of this surface as needed, but I'm going
| | 02:36 | to start on the unwrapping.
| | 02:38 | My thought here is, in the texturing,
| | 02:39 | if I go back and look at the reference,
most of these are solid boards, although
| | 02:43 | occasionally, there is a split.
| | 02:45 | Here in the reference we can see
that the boards are fairly solid and
| | 02:49 | really should tile nicely.
| | 02:51 | But once in a while, a board has been
sawed or replaced and there's a split there.
| | 02:55 | I'm going to make a judgment call in
my texturing that I want splits across
| | 02:59 | most of the board so I can tile the
texture here and have a clean break for
| | 03:04 | repeating textures.
| | 03:05 | I'm going to make for myself in here an atlas.
| | 03:08 | I'll go back to Photoshop, grab those
checkers again, and paint in a piece of
| | 03:12 | wood here, or rather paint in a wood
placement so I can see where the boards go.
| | 03:17 | I'm opening up my 1024 checkers again,
and I'm going to say in this that half
| | 03:22 | this atlas is dedicated to wood and
the other half is dedicated to white
| | 03:27 | paint with patina on it.
| | 03:29 | I'm going to use my fixed size marquee here,
instead changing the Height from 512 over to 1024.
| | 03:36 | I'll land this marquee over on the right side.
| | 03:38 | This is a judgment call, how
much of an atlas do we use for a
| | 03:41 | particular texture.
| | 03:43 | I'm going to try half and
half and see if that works.
| | 03:46 | I'll make a new layer pressing Ctrl+Shift+N
and filling this in, I don't know, blue.
| | 03:52 | I'll take the Opacity down maybe 50%
or so, and I'm going to save this out.
| | 03:57 | Now I can see cleanly when I map,
where is wood and what is not wood.
| | 04:01 | I'll save this out as a TIFF
and I'll call this 1024wood.
| | 04:07 | I'll make sure I uncheck
Layers and save as a copy.
| | 04:12 | Back here in 3ds Max, I'm
going to assign this to the top.
| | 04:15 | I'll press M for materials.
| | 04:17 | We can see I've got some other
materials left over in my scene.
| | 04:21 | I'll click on a new
material and in the Diffuse color;
| | 04:24 | I'll put in that bitmap.
| | 04:27 | There's my 1024wood texture.
| | 04:30 | I'll click OK and make sure that
material shows in the viewport.
| | 04:34 | I'll assign it to the top and we can
see where I've distorted the original UVs.
| | 04:38 | I'll go into that map, and again, I'm
going to use the cropping, checking Apply
| | 04:43 | and View Image and dragging the
marquee for cropping across to the side.
| | 04:47 | I'm going to do put the Width
here at 0.5 and that way it's even.
| | 04:55 | Now I'm ready to map this.
| | 04:57 | In this case, what I'm going to do is map
by face using a poly select and a planar map.
| | 05:03 | I'll press 4 for poly and I'm
going to pick the first board.
| | 05:07 | Under the modifier list, I'll
dropdown and pick UVW Map.
| | 05:12 | I'll map this in a planar map and
I'm going to set the size at 36x36.
| | 05:19 | There's that planar mapping and I'll press
F2 to turn off shading the selected faces.
| | 05:25 | Now I can see where that texture is mapping
on nicely and I can slide it back and forth.
| | 05:30 | I'll right-click and choose Gizmo and
pull this mapping back and forth to get
| | 05:35 | that tiling set where I want.
| | 05:37 | I'll pull it around and even rotate it.
| | 05:39 | Making sure my angle snap is
on gives me an even 90 degrees.
| | 05:43 | I'll pull it over into the place and move.
| | 05:46 | And what I'm going to do here is look
where that mapping repeats and vary it
| | 05:50 | from board to board.
| | 05:51 | That way, when I have as part of my
texture that overall wood, it skips around
| | 05:57 | on different faces board to board and looks
like the tabletop is made of various boards.
| | 06:02 | I'll repeat this all the way through on
both the tabletop and the legs using on
| | 06:07 | the legs the other section of the map,
the one without the blue screen over it.
| | 06:11 | That way I can put on the same patina
texture, making it tile, and the wood, and it will
| | 06:16 | look like the table is made of a
lot of pieces and that it's gently aged.
| | Collapse this transcript |
| Laying out the wood texture| 00:00 | In this video, I'll add in wood and
patina or dirty white paint as part of my
| | 00:05 | texture atlas for this table.
| | 00:06 | I'm using tillable textures and I've
mapped all the elements on here with
| | 00:10 | cylindrical mapping.
| | 00:11 | I've also scaled down the mapping as
part of the map gizmo in the UVW Map
| | 00:16 | Modifier so that my
checkers come back to square.
| | 00:19 | I've put on a multi sub-object material,
like I did with the chair as well, so I
| | 00:23 | can see how this mapping is working.
| | 00:25 | Here in this X, I have two
sub materials, each of which actually
| | 00:28 | shares the same map.
| | 00:30 | I'll look at the first
one, which is my tabletop.
| | 00:32 | I'll go into the Diffuse map
by clicking on the M for map.
| | 00:36 | In that map, by viewing that image,
I can see where I've have cropped.
| | 00:40 | And this one I've cropped half and half;
| | 00:42 | left side will be the patina white,
right side is going to be the wood grain.
| | 00:46 | I've set up the cropping and applied
it by checking Apply there, and now in my
| | 00:50 | Multi/Sub, I have two materials so I
can see how the mapping is working.
| | 00:54 | Now I'm ready to make some wood grain.
| | 00:56 | I'll go over to Photoshop, pull in some
wood I had painted previously and adjust
| | 01:01 | the colors, then map it
into that section of the atlas.
| | 01:06 | I'll open up from the
Texture Library folder, 03_08.
| | 01:09 | It's a woodgrain I've painted.
| | 01:10 | I'll show in the next chapter how to paint this.
| | 01:13 | I'll click Open, and first I'm going
to balance the colors out a little bit
| | 01:17 | and then downsize it.
| | 01:18 | What I'll do is eyedropper the color
from the Reference, getting the right color
| | 01:23 | from the actual table.
| | 01:24 | I'll press I for eyedropper
and pick a light color in there.
| | 01:29 | I'll go back to my wood, click on Layer 1,
hit G for the Paint Bucket, and Fill.
| | 01:35 | It comes out a little dark and that's
a function of the blending mode here.
| | 01:38 | I have a couple of options;
| | 01:40 | I can either screen this back, dialing back
the Opacity or I can change blending mode.
| | 01:45 | I'm going to pull it back and
let that grain be fairly strong.
| | 01:48 | Now I'll merge down these layers,
pressing Ctrl+E to merge them.
| | 01:52 | I'll downsize this image as it's really big.
| | 01:54 | It starts out at 3,000 square.
| | 01:57 | The table image, I want to do is 1024 on a side.
| | 02:01 | I'll take this down to 1024x1024.
| | 02:04 | Now I have got a lot of wood
grain going on in this image.
| | 02:08 | I'll open up the texture atlas
I'd used and map this wood onto it.
| | 02:12 | Here's that wood texture atlas.
| | 02:14 | I'll open it and I'm going to cut and
paste the wood in a couple of planks onto
| | 02:19 | the blue section here.
| | 02:20 | I'm going to use a fixed size marquee,
pressing M for marquee and putting in the
| | 02:25 | Width at 256 and a Height at 1024.
| | 02:28 | What I'm thinking here is I want the
marquee to cover one full board, and on the
| | 02:32 | texture atlas, I'll one
full board and a half board.
| | 02:36 | I'll click here on the wood and find a
pretty good looking section with some nice grain.
| | 02:40 | I'll press Ctrl+C and paste that
by pressing Ctrl+V into my atlas.
| | 02:46 | I'll slide this, over all the way on to
the side here and then I'll paste in
| | 02:50 | two more board sections.
| | 02:53 | Back here in the wood, I'll
press M for marquee and move it over.
| | 02:57 | I'll copy it, pressing Ctrl+C, paste
it in and snap this to the other layer.
| | 03:04 | Then I'll use my Offset tool
or snap down to the center.
| | 03:07 | I'm holding Shift to constrain direction.
| | 03:10 | We can see this snap, snap right in there.
| | 03:13 | Now I'll hold Alt and
clone this layer vertically.
| | 03:17 | Again, I'm holding Shift to constrain direction.
| | 03:19 | There is a nice break in them.
| | 03:21 | Now I'll add in a little patina and map this on.
| | 03:24 | I'm going to hold Ctrl and select that layer.
| | 03:28 | Then I'll press B for brush and
Ctrl+Shift+N and for New Layer.
| | 03:33 | I'll eyedropper a dark tone from the
wood and brush in with a very, very Low
| | 03:38 | Opacity in a Multiply blending mode a
little bit of darkness in the corners,
| | 03:43 | just a little bit here on the edge.
| | 03:44 | It doesn't have to be a lot;
| | 03:46 | it shouldn't be a huge amount of dark,
but just enough to set the planks apart,
| | 03:50 | I really have to click a
few times to make this work.
| | 03:53 | I'll repeat this all the way through,
adding a little darkness at the edges
| | 03:57 | and on the corners.
| | 03:58 | I've added some darkness in.
| | 03:59 | It's on a layer over everything else and
multiplying, so it really takes a while
| | 04:03 | to build up that color, that patina.
| | 04:05 | I could continue to go in and paint this,
maybe a little dodging and burning as
| | 04:09 | well, but I'll save this
out and see how this works.
| | 04:12 | I'll press Ctrl+Shift+S and save this image.
| | 04:14 | I'll re-save over this one called wood,
as I've already used it and placed it.
| | 04:19 | I'll check it out in 3ds Max
and see if I got the size right.
| | 04:24 | Back here in 3ds Max, it
automatically refreshes and reloads that image.
| | 04:30 | I'll turn off the Wireframe on Shaded and
it looks like I've got planks on the table.
| | 04:35 | I can see I may want to adjust
the size and it's fairly easy to do.
| | 04:39 | In the Modifier Stack, you can see I
have a gotten UVW Map and poly select
| | 04:43 | all the way through.
| | 04:44 | I can jump back and forth and move
these around and resize as needed.
| | 04:48 | That break is pretty good, but some of
the others need to move over a little bit.
| | 04:53 | As an example, I'll pick one, click
Yes on the warning that comes up; it just
| | 04:58 | means I'm dropping below the Poly Select.
| | 05:00 | There is that mapping.
| | 05:02 | I'll press 1 for the gizmo and I'm
going to slide it over until the plank is
| | 05:06 | in the right place.
| | 05:07 | My thought is on my table, I actually
want a plank every so often; that this
| | 05:12 | table has been assembled from lots of
pieces and this is a great approach so
| | 05:16 | that you can get lots and lots of what
looks like different pieces out of one
| | 05:20 | texture that just repeats on and on.
| | 05:22 | I'll right-click and choose Top-level,
and repeat this all the way through.
| | 05:25 | Now I have got a table top, at least the
color of it, that has patina and grooves
| | 05:30 | and things along it. It looks antique.
| | 05:32 | In reality, it's really one plank and a
couple of half planks that tile along here.
| | 05:37 | I'll repeat this process, making a
section of white paint with some scratches
| | 05:41 | and letting it map on all
over the rest of the table.
| | 05:45 | I'll finish this up and show it and
move on to things like normal maps.
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| Reusing parts to make a round table| 00:00 | In this video, I'm going to reuse
my table making a round version of
| | 00:04 | this farmhouse table.
| | 00:05 | That way I can make multiple props
with the same kit of parts, and it's very
| | 00:09 | common to do this, as we want to see a
continuity in design throughout our game,
| | 00:13 | especially in environments that have
either the same time period of pieces or
| | 00:17 | maybe made the same way.
| | 00:19 | I'll take this table, select it, and clone it.
| | 00:23 | I'll hold Shift as I move it to the side here.
| | 00:25 | What I've done here is I have finished
out that wood texture, adding in some
| | 00:29 | streaking along here, and I've
done it all using a UVW Map modifier.
| | 00:34 | So in case I need to modify pieces, I can
modify them and move that mapping around.
| | 00:39 | I can also rotate that
mapping to move that dark streak.
| | 00:42 | We can see it right here on the legs
and I could rotate it to fit nicely on
| | 00:46 | the skirt if needed.
| | 00:47 | Right now, the table looks gently patinaed.
| | 00:51 | I'll zoom over and hide my
existing rectangular table.
| | 00:55 | Now I'm going to make a round table.
| | 00:57 | I'm going to take the
existing long skirts and delete them.
| | 01:00 | I'll leave the stretcher alone, but
I'm going to do some cloning and moving.
| | 01:04 | I'll also delete the top for now.
| | 01:06 | In a top view then, I'm left with table legs.
| | 01:09 | I'll press F3 to change
to a wireframe and show it.
| | 01:14 | I'll take these objects except for
that stretcher, holding Alt to deselect it
| | 01:19 | and I'll rotate them pressing E for rotate,
making sure my angle snap is on and holding Shift.
| | 01:25 | I'll clone this 90 degrees over as an instance.
| | 01:30 | Now I'll delete those legs I had cloned.
| | 01:32 | I probably should've gone through and
selected them cleaner, but this will work
| | 01:35 | because it was quick to select and do.
| | 01:38 | I'll take these stretchers, holding Ctrl to
select multiple pieces and press S for Snap.
| | 01:44 | I'll press the Spacebar for Selection
Lock and register that snap, and then I'll
| | 01:48 | snap this over onto the leg.
| | 01:51 | I'll pull one down, zoom in and snap it on.
| | 01:56 | We could use the Align tool in this case,
but it works fairly nicely to simply
| | 02:00 | move and snap into place.
| | 02:03 | I'll put this right on.
| | 02:04 | I remember that I had moved the skirt in
by half an inch, so I'll put that in my
| | 02:09 | Offset Transform Type-In.
| | 02:11 | There's one skirt and I'll do the other.
| | 02:13 | Then I'll move the other set of legs into place.
| | 02:16 | I'll press Spacebar to release the
texture Selection Lock, select that skirt, move
| | 02:20 | it up, and zoom in.
| | 02:22 | I can't stress this one enough.
| | 02:23 | When you're working, zoom in.
| | 02:25 | If you can't see what you're doing huge
on the screen, you're not in close enough.
| | 02:30 | I'll move it up by half an inch, zoom out, and
grab the other leg assembly and pull it over.
| | 02:38 | I'll zoom in, press Spacebar for
Selection Lock, and snap that right on.
| | 02:43 | Now I just need to shorten that middle
stretcher and it'll work nicely for a round top.
| | 02:48 | I'll go by a Polygon or by a Vertex,
grab those ends, and pull them in.
| | 02:54 | I'm going to snap this right onto that skirt.
| | 03:00 | Now my table is ready for a round top.
| | 03:03 | Round tops are curious animals.
| | 03:05 | In a game, we want our
round pieces to look round.
| | 03:08 | However, round means spending a lot of polygons.
| | 03:11 | So the question is, how round is round enough.
| | 03:14 | I'm going to make a cylinder
and experiment a little bit.
| | 03:16 | I'll click and drag out a
cylinder, release and drag.
| | 03:20 | First, I need to get the height
right, and I'm going to say that this
| | 03:24 | tabletop is pretty big.
| | 03:25 | It's got a 30-inch radius
and is that standard 0.75 tall.
| | 03:29 | I'll take this object and I'm going to
center it on my skirts using the Align tool.
| | 03:34 | I'll pick the skirt and I'll align
from Center to Center on the X axis.
| | 03:40 | I'll hit Apply and now I'll go on the Z
Position from Minimum to Maximum, and it
| | 03:46 | snaps to the top of that skirt.
| | 03:48 | I'll click OK and there's that tabletop.
| | 03:52 | I'll check in the top view and see if I'm on.
| | 03:54 | Looks like I need to align on one more axis.
| | 03:57 | I'll pick that center stretcher and
align it on the X from Center to Center.
| | 04:04 | This is not enough.
| | 04:05 | It's not enough geometry to look round.
| | 04:08 | We may see this in games where we
really have to restrict down polygon limits.
| | 04:11 | 96 is beautiful and smooth, but really is
a lot of geometry we don't need to spend.
| | 04:17 | Somewhere in here is that
interim size that works. Here's 24.
| | 04:21 | This is pretty good, although
I can still see some facets.
| | 04:24 | If I go into a perspective and shade
this view, it looks close enough to round.
| | 04:30 | Good enough that in an oblique view
like this, with other stuff going on in the
| | 04:33 | scene and a good texture, I'll
perceive this as round enough.
| | 04:37 | I'll go through and
finish that alignment as well.
| | 04:39 | What we want to make sure of is
when we're splurging on round tables;
| | 04:43 | we have just enough facets that the
illusion of roundness is there without
| | 04:47 | completely blowing out our polygon count.
| | 04:49 | But we want to see that
something is round as opposed to faceted.
| | 04:53 | Somewhere in there is a happy medium
and what it's worth doing is crafting the
| | 04:56 | round elements as cylinders and using
those parametric attributes, sliding up
| | 05:01 | and down that number until it looks right.
| | 05:04 | This same principle holds true on
chamfered objects; much as I'd love to chamfer
| | 05:09 | or bevel all these legs.
| | 05:11 | Really, they look pretty good and the
game is going to anti-alias and there will
| | 05:16 | be other lighting and things going on.
| | 05:18 | So do I need to bevel the corners of
these as much as I'd like to make them beveled
| | 05:22 | and really nice and round? Not really.
| | 05:24 | Only when things get above maybe a half
an inch round or so do we need to start
| | 05:29 | to add extra geometry to make it look round.
| | 05:31 | For my table, once I get this in,
this will look like that farmhouse table
| | 05:35 | and the texture will hold up and the poly
count is reasonable for this kind of a piece.
| | 05:40 | What I'd finish this out with is
repeating that same tiling of the wood up on
| | 05:44 | the top so it looks like
it's made of those same planks.
| | 05:48 | I'll get it in the right
place and reuse that texture.
| | 05:51 | Within reason, I can probably get a
couple more tables, and if I'm feeling
| | 05:54 | really smart, a cabinet out of the same parts;
that white wood with patina and wood tops.
| | 06:00 | So I can make myself a whole
kitchen or farmhouse to run around in.
| | 06:04 | This technique of tiling UVs and using
sections of them over and over again is a
| | 06:09 | really powerful one, and I'll use it a
lot to really get the most bang for my
| | 06:14 | buck out of the texture.
| | 06:15 | It lets me craft a smaller texture with
better detail and use it and make things
| | 06:19 | look like they're made of
all kinds of different parts.
| | Collapse this transcript |
|
|
5. Painting a Wood Texture from ScratchUnderstanding the importance of painting textures from scratch| 00:00 | In this chapter, I'll look at painting wood
grain from scratch for use on props in a game.
| | 00:05 | It's important to be able to paint
your textures from scratch occasionally.
| | 00:08 | We need to make sure that
the texture is the right size.
| | 00:11 | For example, in this farmhouse table,
we need to make sure that there is enough
| | 00:15 | wood grain in each plank, and getting
a photograph of this may be difficult.
| | 00:19 | We also want to be able to paint the
patina dirt where we want it, and painting
| | 00:23 | a texture from scratch
is a great way to do this.
| | 00:26 | In Photoshop we'll look at how to paint
a large chunk of wood grain for use, so
| | 00:30 | we can chop it into planks.
| | 00:31 | This also help you start on
building up a texture library.
| | 00:35 | it's good to have a library going, and
then you can call from it again and again.
| | 00:39 | Making textures that are
either singular or repeat.
| | 00:42 | We'll also look at blending modes,
looking at ways to blend wood grains together
| | 00:46 | and overly patina, dirt, pox, dings,
and general abuse, so that the table looks
| | 00:52 | well-used and well-loved.
| | 00:54 | This is actually the
texture for the table we'll make.
| | 00:57 | As we can see here, it's four boards,
two whole and two split and repeating, plus
| | 01:03 | a big chunk of white
paint with some dirt along it.
| | 01:05 | With some careful mapping, this'll
go on and look like that hand hewn
| | 01:09 | French farmhouse table.
| | 01:11 | Painting a map from scratch is a great
way to do this, and also a great way to
| | 01:15 | learn about how big should a texture
be on an object, and how much texture do
| | 01:18 | you need relative to the size of the
map, and how it's going to be seen.
| | Collapse this transcript |
| Creating the initial grain lines| 00:00 | In this video, I'll make a large
section of wood grain for use as a texture.
| | 00:04 | The idea here is to make a large
enough sample of wood grain we can cut out
| | 00:08 | boards or other pieces for multiple props.
| | 00:10 | We'll start out by making a
new document choosing File > New.
| | 00:15 | I'll make this initial one 1000 square.
| | 00:17 | We're going to resize this later.
| | 00:19 | The Resolution will always be 72;
| | 00:21 | that's for screen use.
| | 00:22 | And an RGB Color space and 8 bit is fine.
| | 00:26 | I'll click OK and then fill this
with a 50% gray choosing Edit > Fill
| | 00:31 | or pressing Shift+F5.
| | 00:33 | In the Fill dialog, choose 50% Gray at 100%.
| | 00:38 | Now we're ready to make the grain.
| | 00:39 | The reason for the gray is so that when we
put the grain on, it doesn't blow out to white.
| | 00:44 | I'll choose Filter > Texture > Grain.
| | 00:48 | In the Grain dialog, change
the Grain Type to Vertical.
| | 00:51 | There's our initial grain.
| | 00:52 | We want to take the Intensity and
Contrast down so it's not so vibrant.
| | 00:57 | I'll pull the Intensity
back and the Contrast back.
| | 01:01 | This is our starter grain.
| | 01:03 | We have one more step to kind
of smooth it out a little bit.
| | 01:05 | As we can see, it's
fairly dotted like film grain.
| | 01:08 | I'll choose Filter > Blur > Motion Blur,
and in the Motion Blur, I'll change the
| | 01:14 | Angle to 90 and I'll push the Distance
up a little bit, maybe 15, 20, somewhere
| | 01:20 | in there is fine, just to smooth out those dots.
| | 01:23 | Now we have wood grain.
| | 01:25 | Actually, we have far-too-perfect wood grain.
| | 01:27 | In the next videos, we'll
actually mess this up quite a bit.
| | Collapse this transcript |
| Adding value variation across the grain| 00:00 | Now that I've got my absolutely
perfectly straight wood grain, I can add some
| | 00:04 | variation across it to simulate
the growth patterns in a tree.
| | 00:07 | Remember that trees are always
curves and boards are cut straight.
| | 00:11 | So when we take a straight saw and cut
across a curved tree, we get lines that
| | 00:16 | vary in width and tonal range.
| | 00:18 | I'll start first by varying the
width, choosing Filter > Liquify.
| | 00:23 | The Liquify filter is
fantastic for adding variation.
| | 00:26 | First, I'll zoom out pressing Z
for zoom and holding Alt to zoom out.
| | 00:31 | I'll choose B for the Bloat tool, and
in the Bloat tool, I'm going to take the
| | 00:35 | Size fairly high but leave the
Density and Pressure very, very low;
| | 00:38 | 7 or 8 or 9 is fine.
| | 00:41 | Now with the Bloat tool, I'll try to keep my
hand fairly steady as I run down the grain.
| | 00:46 | I want to avoid making large zigzags,
although small ones are okay, and I'm
| | 00:50 | going to right off the document.
| | 00:52 | I'll come back up to the top and
again, go right off the top of it.
| | 00:56 | That way the grain is fairly
continuous from top to bottom.
| | 00:59 | This is not a tileable map.
| | 01:00 | We're not going to map this in
large squares across an object.
| | 01:04 | Rather, we're going to cut planks out of it.
| | 01:06 | We're making about a 4-foot
square piece of wood grain.
| | 01:09 | So as long as I get the grain looking
reasonably, I can cut sections out as I need.
| | 01:14 | After every few bloats, I'll change the
brush size using the square bracket keys
| | 01:18 | to upsize and downsize the brush.
| | 01:21 | I may also take the Rate down.
| | 01:23 | That way it gives me a little more variation.
| | 01:25 | I'll repeat this five or six times so
that my grain has some good width across it.
| | 01:31 | I want to avoid things like I just did,
making large swirls or zigzags, as that
| | 01:35 | looks a little strange.
| | 01:37 | I'll press Ctrl+Z to undo and try it again.
| | 01:40 | This may take a couple of tries
and it's okay to do it a few times.
| | 01:44 | If you're finding that it's spreading the
grain out too much, play with the brush size.
| | 01:48 | That one looks okay, but I
don't want to repeat it too often.
| | 01:52 | I'll downsize the brush and finish
this up and press OK when I'm done.
| | 01:56 | Once I've returned out of Liquify, I'm going
to add tonal variation across this wood grain.
| | 02:01 | The grain structure works
but it's far too consistent.
| | 02:04 | I'm going to press D for default colors to
give me my black and white, and B for brush.
| | 02:10 | I'll right-click and pull up the Brush palette.
| | 02:12 | I want the Size somewhere around
100 and the Hardness down at 0.
| | 02:16 | That way, the color fades off softly.
| | 02:19 | In the Brush Mode because I'm painting
in black, I'll paint with a Multiply with
| | 02:23 | an Opacity somewhere in the 6-7% is fine.
| | 02:27 | Now I'll paint along the grain.
| | 02:29 | And again, it's okay to
really have your hand wave.
| | 02:32 | In this case, this is the
place to use another layer.
| | 02:35 | I just painted variation along the grain,
but getting back and editing it would be tough.
| | 02:40 | What I'll do is press F7 to pull up the
Layers palette and Ctrl+Shift+N for a new layer.
| | 02:45 | It doesn't really matter
what this layer is called yet.
| | 02:49 | Now I can brush independently on this layer,
and if I mess up, I can go back and fix it.
| | 02:55 | Notice that I'm zoomed out far
enough to see blank canvas around, and I'm
| | 02:59 | actually starting my
brushstrokes outside of the document.
| | 03:02 | That way I don't end up with a
funny dot in the middle from overlapping
| | 03:06 | multiplying strokes like I've just shown.
| | 03:09 | I'll start outside and
drag fairly straight down.
| | 03:13 | After every few strokes, I'll upsize
or downsize the brush using my brackets.
| | 03:17 | This gives me tonal
variation in the width as well.
| | 03:20 | Finally, I'll switch the colors by
pressing X and I'll change the Brush Mode
| | 03:25 | over to a Soft Light.
| | 03:27 | I may need to increase the
Opacity in this one up to 12% or 15%.
| | 03:32 | I'll zoom out to make sure
I can start cleanly outside.
| | 03:34 | Press B for brush and add
in some lighter streaks.
| | 03:38 | We want to be careful that
they're not too grand in the variation.
| | 03:42 | That's almost too big
between the dark and the light.
| | 03:44 | I'll lower down the Opacity just a little bit.
| | 03:47 | There's my final tonal
variation across the wood.
| | 03:50 | The last step is to resize.
| | 03:52 | I'll press Ctrl+Alt+I and go
into the Image Size dialog.
| | 03:56 | I'll upsize this to 3000 square.
| | 03:59 | Photoshop is terrific for resizing
imagery, and when it does that, it
| | 04:02 | interpolates new data for us.
| | 04:05 | By doing this, we add a little
bit of blur across the grain.
| | 04:08 | So again, it's not so perfect.
| | 04:10 | Now we're ready to add the overall
curve into the grain and localized
| | 04:14 | features such as knots.
| | Collapse this transcript |
| Warping and curving the grain| 00:00 | With my grain made and local width and
tonal variation added, now I can start to
| | 00:05 | add the curves in the wood that really
simulate the growth patterns in a tree.
| | 00:09 | First, I'll merge down my overlay or
my tonal variation layer by pressing
| | 00:13 | Ctrl+E. Then I'll go back into Liquify.
| | 00:16 | I'll choose Filter > Liquify.
| | 00:19 | In the Liquify filter, I'm going to
zoom out again, making sure I can see
| | 00:23 | cleanly around the document.
| | 00:25 | I'll use the Forward Warp tool
and I'm going to bring the brush out
| | 00:28 | to ridiculously big.
| | 00:30 | Well past a 1,000 is just fine.
| | 00:32 | As always with liquifying on wood, we want
to bring the Density and Pressure way down.
| | 00:38 | A Pressure of 9 or 10 is just fine.
| | 00:41 | Now we'll start to add
in some very subtle curve.
| | 00:44 | I'll click and drag and just pull
that wood grain across, trying not to
| | 00:48 | make large zigzags.
| | 00:49 | Occasionally, it will
accidentally clip or pull in that side.
| | 00:53 | It's fine to take this Warp tool
and actually push it back and even
| | 00:56 | overcompensate because it adds
a nice width across the grain.
| | 01:00 | I'll do this a few more times, adding a
general direction to the wood and trying
| | 01:04 | not to form any large zigzags.
| | 01:07 | Big sweeping curves are just fine.
| | 01:09 | Once you've got this in place, you
can click OK in the Liquify dialog.
| | 01:14 | If you need further variation or more
pronounced artifacts, such as whirls or
| | 01:18 | loops, we can use the Puppet Warp tool.
| | 01:21 | I'll double-click on the Background layer to
make it editable and click OK for the name.
| | 01:25 | It doesn't really matter at this point.
| | 01:27 | Now under Edit, I can choose Puppet Warp.
| | 01:31 | The idea on the Puppet Warp is it lays
a mesh over this that we can then pin
| | 01:35 | and warp as we need.
| | 01:37 | I'll start to click on the mesh and add
pins in, and as I add more pins, I can
| | 01:41 | drag this mesh and pull it.
| | 01:43 | I may want to make sure this is fairly
locally pinned down first before I start
| | 01:47 | just rotating the whole thing.
| | 01:49 | I'll put in two or three pins and then
start to pull the middle and we can see
| | 01:53 | how very nicely I can add
in curve in this wood grain.
| | 01:57 | I'll use other pins to pull this back.
| | 01:59 | This gives an opportunity to add either
localized loops or additional curves or
| | 02:05 | waves depending on the grain you need.
| | 02:07 | This is also letting me, as we can see
in the top left corner, really stretch
| | 02:10 | this out if needed, again,
contributing to the width variation in the grain.
| | 02:15 | Once I'm done, I'll press OK or Enter.
| | 02:18 | There's my Puppet Warp and I don't mind
that it's sort of missing at the bottom.
| | 02:21 | I could go back and fix
that with Liquify if needed.
| | 02:24 | The big deal here is I have structures
that are gently curving and bent in the
| | 02:29 | grain ready to accept knots.
| | Collapse this transcript |
| Adding knots| 00:00 | With the warp grain done, I'm
ready to add knots if needed.
| | 00:04 | Knots are a nice to have;
| | 00:06 | we don't always need them, but
they can add character in a wood map.
| | 00:09 | If we're doing more straight grain pieces,
like tools, we may not want to add too many knots.
| | 00:15 | Knots, however, look really good in furniture.
| | 00:17 | I'll show the process on them and you
have the option of adding them in or not.
| | 00:22 | To start, I'll go back in the
Liquify tool, choosing Filter > Liquify.
| | 00:26 | Now in Liquify tool, instead of doing
giant broad strokes, we want to work in
| | 00:31 | more localized areas.
| | 00:33 | I'll press B to go back to the Bloat
tool, I'll take the Brush Size way down,
| | 00:38 | probably in the 200 range is just fine, and
again, Density and Pressure are very low.
| | 00:43 | First I'll start to bloat open areas for
knots where the wood grain has a little
| | 00:48 | bit of a wave like this.
| | 00:50 | I may want to bring up
the Brush Size a little bit;
| | 00:52 | I'll start to add in local places for
knots, being careful again not to make
| | 00:56 | giant zigzags in the wood. I'll add a
few in and then come back and move them
| | 01:02 | around a little bit.
| | 01:04 | With my knot spaces in place, now
I'll switch over to the Twirl tool.
| | 01:09 | In the Twirl tool, zooming in on the
knots by using the Zoom tool, I'm going to
| | 01:13 | twirl in a knot structure. I'll take the
Brush Size way down, and again, Pressure
| | 01:20 | and Rate are very low.
| | 01:21 | With twirl, what we really
need is a roundness in here.
| | 01:25 | It doesn't even have to be a complete knot
as much as a spot that we recognize as such.
| | 01:30 | Remember that this is a map we're
going to take pieces out of for wood.
| | 01:34 | I'll press Ctrl+0 to zoom out.
| | 01:37 | We can see that I have a knot-like
structure in that one place and I'm ready to
| | 01:41 | do other knots in other places.
| | 01:43 | We perceive it as a knot even though if we
look closely, it's really more of a smudge.
| | 01:48 | I'll zoom in on the next bloated area,
press C to switch to my Twirl tool, and
| | 01:53 | grab a little bit of the
darkness and twirl it in.
| | 01:56 | What we want to avoid is twirling
forever, getting us endless loops
| | 02:00 | and pixelated circles.
| | 02:02 | Really what we're after is some kind
of oblong or off looking ring structure.
| | 02:09 | I'll continue to zoom in on my knots
and twirl them in and it's perfectly fine
| | 02:14 | in this to have incomplete knots in places,
| | 02:17 | where they're more of a smudge that
could have been a knot farther along. It's
| | 02:22 | also fine to have light areas
for knots that cross dark grain.
| | 02:26 | What we're after here is the structure
we recognize in the wood, not necessarily
| | 02:31 | a picture-perfect depiction of it.
| | 02:33 | Remember also, we're going to take
this and probably upsize or downsize it
| | 02:37 | and fit it onto an unwrap, and so as
long as our structure is pretty good,
| | 02:42 | this will work nicely.
| | 02:43 | I'll click OK when I'm done and give it
a minute to return that liquefied result.
| | 02:48 | My wood grain is ready.
| | 02:50 | I've got tonal variation and knots,
and also areas around the knots that the
| | 02:55 | grain has been distorted.
| | 02:57 | Now I'm ready to finally add color
into this and use it as part of a map.
| | Collapse this transcript |
| Colorizing the grain and planning for stains| 00:00 | With the wood grain structure
in place, I'm ready to add color.
| | 00:04 | I'll do this on a separate layer, that way
I can add color variation under the grain.
| | 00:09 | I'll press Ctrl+Shift+N to make a new layer.
| | 00:13 | I'll call this new layer Color.
| | 00:15 | And I'll make sure I slide it
underneath my Layer 0, which is my grain.
| | 00:20 | I'll rename that to Grain.
| | 00:22 | As a side note, stay organized in your
layers. It's much use easier to find the
| | 00:26 | grain layer when it's called
grain than Layer 0 or Layer 1.
| | 00:30 | Now I'll pick my wood color,
choosing the Color layer, and in the Color
| | 00:34 | Picker, picking something that is the
color I want, but brighter and paler,
| | 00:39 | we'll see why in a minute.
| | 00:40 | I'm going to pick a medium warm tan.
| | 00:43 | And I'll use my Paint
Bucket just to fill this in.
| | 00:47 | Now, we can't see any of our color.
| | 00:49 | We need to change the blending
mode over on the Grain layer.
| | 00:52 | I'll select the Grain, and in the
Layers palette dropdown in the blending mode,
| | 00:56 | depending on the type of wood we're dealing
with, we may want different blending modes.
| | 01:01 | For more rich saturated woods, we'll use
Color Burn, and what this gives us is a
| | 01:05 | burn in the darker areas of the grain,
and we start to get the tonal variation
| | 01:10 | showing, as well as the grain
structure in that wood color.
| | 01:13 | Notice that it is deeper and more
saturated than the initial color I chose.
| | 01:17 | To adjust this, pick the Color layer
and press Ctrl+U for Hue/Saturation.
| | 01:24 | In the Hue/Saturation dialog
you can adjust the Hue as needed.
| | 01:28 | Be careful not to go too extreme.
| | 01:30 | It's very easy to end up with odd
looking pink wood or blue wood or
| | 01:34 | something rather strange.
| | 01:36 | So a little bit goes a long way.
| | 01:38 | I'm adding just a couple of points in
of warmth in there, so it's got a little
| | 01:42 | more of a bronze tone to it
than just that pale color.
| | 01:45 | You can also Saturate, and again,
be careful not to go too big.
| | 01:50 | Finally, on Lightness, be
careful how much you do.
| | 01:53 | Remember that we're adding a color burn
over this and so that color is getting
| | 01:58 | burned in or deepened and saturated.
| | 02:00 | So again, with Lightness, a little bit
goes a long way and it's very easy to make
| | 02:05 | the wood unreadable.
| | 02:06 | Now with the color set, we can add
tonal variation under the wood grain.
| | 02:12 | What I'll do is turn off the Grain
layer, press I for eyedropper and
| | 02:16 | eyedropper my base color.
| | 02:19 | Then I'll turn back on the Grain, and
in the Color Picker I'll vary the Hue and
| | 02:23 | Brightness of this color just a little bit.
| | 02:26 | I'll take my Hue, and using my
arrow keys I'll nudge up a little bit.
| | 02:30 | Takes me into just the
tiniest bit yellower range.
| | 02:35 | I'll press B for brush, upsize the
brush using the bracket keys and paint in a
| | 02:39 | normal blending mode at maybe 80 or 90%.
| | 02:44 | I want to zoom out and make sure
that I can brush right off the edge of
| | 02:47 | the document again.
| | 02:48 | I'll brush in, just a little
bit of variation along the grain.
| | 02:52 | It's very subtle, but it's going to
give us a very wood-like appearance.
| | 02:57 | I'll do this a couple of more times,
again, choosing the Color Picker and
| | 03:01 | varying Hue and Brightness just a little bit.
| | 03:04 | Here is my Brightness from 84 down to
80, which is actually fairly drastic.
| | 03:08 | And as we start to paint this under,
we can really see that streak coming in.
| | 03:12 | That four point difference may have been too much.
| | 03:17 | Instead of 80, I'll try 82 in the
Brightness, and now as I brush under that
| | 03:23 | Grain layer, I can start to accent
some of those grain structures, but stay
| | 03:28 | within that overall tonal
range under the Color Burn.
| | 03:31 | As always, when you're adding variation,
use your bracket keys to upsize and
| | 03:34 | downsize the brush after every few strokes,
and let your hand be fairly on the grain.
| | 03:40 | It's okay if it wiggles a little bit.
Wood changes color over the course of a tree.
| | 03:45 | My wood grain is fairly ready.
| | 03:48 | We can start to take this and cut
pieces out, flatten layers as needed, or add
| | 03:53 | other variation or dirt.
| | 03:54 | As a side note, depending on what kind
of grain you're dealing with, you may
| | 03:58 | want to play with the blending modes.
| | 04:00 | Right now I've got a Color Burn, and
this is approximating anything from a pine,
| | 04:04 | to a fir, to an oak.
| | 04:05 | By switching over this blending mode I can get
different looks, depending on the wood I want.
| | 04:10 | A Soft Light gives me my light woods.
| | 04:13 | Lot of furniture may be done in a very
light tone, a birch or something similar.
| | 04:18 | This gives us that light pleasing
variation without seeing that heavy
| | 04:21 | blackness in the grain.
| | 04:26 | A Linear Dodge goes far too bright.
| | 04:28 | We can see that under color needs to
come way down in brightness to compensate.
| | 04:33 | Changing from a Linear Dodge over to a
Multiply is neat, although it tends to
| | 04:38 | introduce a lot of black.
| | 04:39 | Learn your blending modes;
| | 04:41 | Multiply takes the Red, Green, and Blue
values, multiplies them by each other,
| | 04:45 | and divides by the color space.
| | 04:48 | The result is always darker and always blacker,
versus the saturation we get from a Color Burn.
| | 04:53 | So unless you need dark tones in the
wood like this, stay away from Multiply.
| | 04:59 | Now we have wood in the library and
it's ready for use in a Texture Map for
| | 05:03 | cutting out into planks or putting onto
an unwrap, and the addition of localized
| | 05:07 | dirt specific to the model we're making.
| | Collapse this transcript |
| Cutting out boards for a UV layout| 00:01 | In this video I'm going to cut some
planks out of a sample of wood grain and get
| | 00:05 | the texture for these
tabletops looking a little better.
| | 00:08 | I made these in Chapter 4 on furniture,
and now that I've got some wood grain
| | 00:12 | painted, I want to get these really
sharp looking; getting those rough planks in
| | 00:17 | that antique farmhouse look.
| | 00:19 | Here in Photoshop, I've opened up that
raw wood grain, and it has got its two
| | 00:23 | layers, Grain and the Color underneath.
| | 00:25 | I'm working out to a texture atlas that right
now has one full board and two halves on it.
| | 00:30 | What I need are actually more boards
and longer boards so it looks right.
| | 00:35 | I'm going to downsize this image, and
then cut some boards out and space them
| | 00:39 | out a little better.
| | 00:40 | I'll press Ctrl+Alt+I
and pull this down to 2048.
| | 00:45 | I'm going to make my boards big, cut
them, and space them, and then place them in.
| | 00:49 | I can adjust the Color by pressing Ctrl+U,
and picking for my under color, my
| | 00:54 | board color, something closer to the reference.
| | 00:57 | I'm going to bring up that Saturation
and dial down that Lightness, and also
| | 01:01 | give it a little more warmth, until
I start to get that farmhouse color.
| | 01:04 | As an alternate, I can Eyedropper from
the reference one of the wood colors;
| | 01:08 | I'll take the light color here, and fill
in using the Paint Bucket my under color.
| | 01:14 | That works fairly nicely and I've
got good wood grain and good variation.
| | 01:18 | I can still come back
and adjust color as needed.
| | 01:22 | Now I'm going to merge down the layers.
| | 01:24 | Always keep a layered PSD of your
wood grain working, so you can build up a
| | 01:28 | library and then take out
pieces and save them out.
| | 01:31 | I'll press Ctrl+E to merge down those layers,
and I'm going to use a fixed size marquee.
| | 01:35 | I'll press M for Marquee and I'm going to
make my fixed size marquee 2048 by 256 wide.
| | 01:43 | This is going to give me longer boards
and let me have more boards in that given
| | 01:47 | space once I'm done.
| | 01:49 | I'm going to select across here, pressing
Ctrl+C for copy and Ctrl+N for new in the case.
| | 01:55 | I'm going to make this 1024x2048.
| | 02:00 | I'll paste this board in and come back
to that drawing and grab another board.
| | 02:04 | I'm going to go and grab this dark
one here, copy it, and paste it over.
| | 02:09 | I'll repeat this until I've got four
boards here and space them out, snapping at
| | 02:14 | the document bounce.
| | 02:16 | I've cut and pasted my four boards in,
and I've made sure that the grain is not
| | 02:21 | a direct match from board to board.
| | 02:23 | Now what I'll do is slide two of these
up and down and clone them to make half
| | 02:27 | boards so this map tiles.
| | 02:29 | I'm going to pick the second board over,
slide it up and hold Shift to constrain.
| | 02:33 | I'll watch for the board to snap
onto the center of the other layers.
| | 02:38 | I'll right-click on the fourth
board, pick it, and do the same;
| | 02:42 | dragging up, and holding Shift and snapping.
| | 02:45 | Now I'll hold Alt and clone this
board down while holding Shift.
| | 02:50 | I'll snap it down right onto its
counterpart, and repeat it with the other
| | 02:55 | board, right-clicking to select the
layer, holding Alt, and dragging it down.
| | 03:00 | Now I have a tiling map with board ends
at one and three at the top, and two and
| | 03:05 | four splitting halfway.
| | 03:07 | I can come in and add in some variation
and also grooves and wormholes and nail
| | 03:12 | holes on the boards.
| | 03:14 | This is a good tiling map
and I have more grain on here.
| | 03:17 | I'll add some variation and then
bring it into my texture atlas.
| | 03:21 | To start on the variation, I'm going to
hold Ctrl and select the layer thumbnail.
| | 03:27 | There is a marquee around, well, half a board.
| | 03:29 | I'll put a new layer over this
and brush in a little bit of patina.
| | 03:34 | I'll press Eyedropper, one of my
browns, I'll press B, and with a very low
| | 03:40 | Opacity and set to Multiply, I'm going
to darken in that board just a little bit.
| | 03:45 | It may take quite a bit of clicking to do this.
| | 03:47 | Don't be afraid to really build that up.
| | 03:49 | When I deselect, I can
really see that board edge.
| | 03:53 | I'll finish this out and then shrink it down;
| | 03:57 | instead of 1024x2048, this will be 512x1024.
| | 04:02 | I can paste it into this document here,
my texture atlas, and I'll have more
| | 04:07 | boards in that space.
| | 04:08 | It will look better on the table with
more grain that's a smaller size and not
| | 04:12 | nearly as spread out.
| | 04:13 | Finally then, I'll finish out some
patina and do it with blending modes so I get
| | 04:18 | depth and grit or dirt overlaying on the table.
| | Collapse this transcript |
| Adding patina and wear to a final texture| 00:00 | In this video, I'll add a little
final polish or patina on these boards.
| | 00:05 | I've got my board spaced out
and I have shrunk down this image.
| | 00:08 | It's now 512x1024.
| | 00:10 | I have added a layer underneath everything
that's all black in cases there's any gaps,
| | 00:14 | that way it shows up as kind of a shadow line.
| | 00:17 | Then I've added some layers over
the top where I am painting in dirt.
| | 00:21 | On Layer 6 here, I've been painting in black.
| | 00:25 | I press D for the default colors and I'm
painting in a Color Burn at an Opacity of 4.
| | 00:31 | What I've done is then hold Ctrl and
select the board and just brush in a little
| | 00:37 | bit of burning along the edges.
| | 00:39 | The selection acts as a mask, thereby
giving me just a little bit of weathering
| | 00:44 | or patina along the edge of the board,
but not spilling over to the adjacent one.
| | 00:48 | I've used this to make sure that the
ends actually stick out quite a bit at both
| | 00:52 | top and bottom on the
middle boards and the ends here.
| | 00:55 | Now I'm going to burnish
the middle of the boards.
| | 00:58 | I'll switch my Foreground Color to one
of those lighter honey tones, making sure
| | 01:03 | I pull up the Brightness and down the
Saturation, and probably swing a little
| | 01:07 | more towards yellow on the Hue.
| | 01:11 | I've got a new layer over the top.
| | 01:12 | I am going to make my brush fairly big
and instead of painting in a Color Burn
| | 01:17 | to deepen the colors, I am going to
paint in a Soft Light or a Linear Dodge
| | 01:21 | and see how this looks.
| | 01:24 | Again my Opacity is very low.
| | 01:26 | I'll select one of my boards by holding Ctrl
and clicking on the thumbnail for that layer.
| | 01:30 | And now just right through the
middle, I'm going to click and drag in a
| | 01:35 | little bit of lightening.
| | 01:36 | It just gives it that shine
in the middle of the board.
| | 01:40 | I'll go through the other boards
and to do the same thing, holding Ctrl
| | 01:43 | and selecting their layers, and right through
the middle just burnishing them a little bit.
| | 01:48 | It's okay to have my hand wiggle a little.
| | 01:50 | It makes it more organic.
| | 01:51 | I'll do this on the other pieces.
| | 01:53 | Holding Ctrl and the selecting the
layer and now for this one, I am going to go
| | 01:58 | right through the top.
| | 01:59 | Here's how I'll make this work
actually on one of the split boards.
| | 02:02 | I've got the bottom part selected and
I really like to have that patina
| | 02:06 | match from top to bottom.
| | 02:07 | I held Ctrl and selected Layer 5
copy, that's that bottom board.
| | 02:12 | Now I'll hold Ctrl+Shift and as I mouse
over the thumbnail, you can see the hand
| | 02:16 | has a plus on it over in the Layers palette.
| | 02:19 | I can select and add to that selection.
| | 02:22 | I'll zoom out, hitting Z
for Zoom and Alt to zoom out.
| | 02:27 | Zoom out a couple of times, switch
back to my brush and make sure I am on the
| | 02:31 | right layer, Layer 8 in this case.
| | 02:33 | I'll start outside, click and drag and
stroke right down through that board.
| | 02:38 | There is that patina crossing cleanly over.
| | 02:41 | I'll do one more time to really lighten it.
| | 02:43 | I don't mind losing a
little bit of the intensity.
| | 02:46 | What I am really after is that
consistently from top to bottom, I've got that
| | 02:50 | correct coloration and because I'm
starting outside and holding Shift, that
| | 02:55 | patina is exactly vertical and it tiles nicely.
| | 02:58 | I think I've got pretty
good burnishing on my boards.
| | 03:01 | I'll do the same thing on the last
boards here and then bring this into 3ds Max
| | 03:04 | and see how it looks.
| | 03:06 | I'll deselect and now I'm going to
save a piece of this or copy and paste it
| | 03:11 | into my texture and see how this looks.
| | 03:13 | I am going to take my layers,
press Ctrl+G and group them.
| | 03:17 | I'll take this group and hold Alt and clone
it and then Ctrl+E and flatten that group.
| | 03:23 | That way I've got my working
group in case I need to play with it.
| | 03:27 | But I'm going to test it by taking
the flattened copy and pasting it in.
| | 03:31 | I'll press Ctrl+A to select all, Ctrl+C
for Copy, go over to that wood texture
| | 03:36 | I've been using and paste this in.
| | 03:38 | I'll slide it over into the right place,
snap on the document bounce and save out a copy.
| | 03:44 | I'll press Ctrl+Shift+S and save this out.
| | 03:48 | I'll uncheck Layers, saving As a Copy,
and put it right over my wood texture.
| | 04:00 | Here in 3ds Max, I've pressed M
to pull up my Material Editor.
| | 04:03 | I'll pick my material that Multi/Sub
that has both the white and the wood in it.
| | 04:08 | I'll go into that wood and go into the
Diffuse Map by clicking on the M. I'll
| | 04:13 | make sure it's loading the
right one, in this case TableC.
| | 04:16 | I can click on it and force it to reload.
| | 04:19 | There's also a Reload
button down here at the bottom.
| | 04:22 | Once that's done, I should see
those wood planks in the table.
| | 04:26 | And there on this long table, I've got
smaller planks and I can see the patina on them.
| | 04:31 | I can also see where I can adjust the map size.
| | 04:35 | Because I haven't collapsed the
Modifier stack yet, I can get to any one of
| | 04:38 | these UVW Map modifiers, change the size
and move those planks around.
| | 04:43 | This looks pretty good, as if the top
was put together and years of views have
| | 04:47 | darkened some of the
corners and joints between boards.
| | 04:51 | I can see on the top of the round table
that I want to reduce the size a little
| | 04:55 | bit and slide that mapping around.
| | 04:58 | Overall, it's working pretty nicely.
| | 05:00 | I've paid particular attention in here,
not only to the size of the grain and
| | 05:04 | the boards, but how the patina
works and how it's going to tile.
| | 05:07 | I've stylized my render just a little
bit, getting away from exactly on the
| | 05:11 | reference to something that's very workable,
in terms of reusing resources for this texture.
| | 05:17 | I can continue on with this, using
additional blending modes and additional
| | 05:20 | layers to put in things like nail
holes pits, pocks, wormholes and so forth,
| | 05:26 | things that add character.
| | 05:27 | I can also add in nicely repeating
scratches, dings and chips in the paint
| | 05:32 | for the white part.
| | 05:33 | We can use this approach of a
tileable texture and the right size of the
| | 05:38 | texture, plus blending modes for
patina and dirt to really bring some life to
| | 05:42 | our game objects, adding in as much
wear and tear as we want and reusing it
| | 05:46 | effortlessly and seamlessly.
| | Collapse this transcript |
|
|
6. Workflow and IntegrationUnderstanding the importance of a low poly count| 00:00 | In this chapter, I'll look at a
high poly to low poly baking workflow.
| | 00:04 | I will be creating normal maps.
| | 00:06 | As you can see here I have two
shipping containers, however they are pretty
| | 00:10 | different in terms of poly count.
| | 00:12 | Here is the difference;
| | 00:13 | on the left side is a high poly container.
| | 00:15 | I have modeled a lot of detail down to
tessellating the sides and denting them
| | 00:20 | in, using my sculpting and soft selection tools.
| | 00:23 | On the right side is my low poly
container from previous chapters.
| | 00:26 | When the normal map is applied, we can
see that they really do start to look
| | 00:30 | alike, the right side one
would be terrific for a game;
| | 00:33 | it looks like it's got a lot of detail.
| | 00:35 | It's a great workflow, because it let's
you utilize all those terrific modeling
| | 00:39 | tools we've got in 3ds Max.
| | 00:41 | Taking full advantage of your
graphite modeling tools, your sculpting, your
| | 00:45 | selection, your free forming, and
also all the tools in the editable poly.
| | 00:49 | It also lets you just model in things,
using other primitives and other objects
| | 00:53 | to make detail, like hinges and pins and bolts.
| | 00:57 | We can also really not
worry about polygon count.
| | 00:59 | We're only going to make a high poly
object for the purpose of baking, and then
| | 01:03 | we can save it but essentially
discard it, and just use the low poly in our
| | 01:08 | game, and our low poly will
look like it's got all that detail.
| | Collapse this transcript |
| Overview of normal maps| 00:00 | In this video, I'll be looking at the
differences between normal maps and bump
| | 00:04 | maps and examining what
it is normal maps do.
| | 00:07 | A normal map then, as the name
suggests, distorts the surface normals.
| | 00:12 | Each of these polygons, as I've
got selected here on the shipping
| | 00:16 | container, faces out.
| | 00:17 | The normal map then makes it look like there
is more detail, as if this side was corrugated.
| | 00:23 | Normal maps include both strength in
the blue channel and a red and green
| | 00:27 | channel for direction of the surface.
| | 00:29 | As I pass this light by that shipping
container, it looks like the light is
| | 00:33 | shining dynamically on those surfaces that
the surface is oriented to the light correctly.
| | 00:39 | Here in 3ds Max, I've taken that
sledgehammer and created and applied a normal
| | 00:43 | map for it in Mudbox.
| | 00:45 | In this case, what I've done is
subdivide that mesh, making a very, very high
| | 00:50 | poly sledgehammer and then sculpting in
a lot of detail, as if somebody really beat
| | 00:54 | up the head of this.
| | 00:56 | I've baked that out or
rendered that into a normal map.
| | 01:00 | I've pulled up the normal map.
| | 01:01 | What we're seeing here is that the
blue channel is strength, and red and green
| | 01:06 | are direction, and as we zoom in on the
head of the hammer we can see that all
| | 01:09 | of this mashing and swirling going on
is actually going to distort the surface
| | 01:14 | normal of that hammer, making it look
like that head has a lot of detail on it
| | 01:18 | by reorienting that surface.
| | 01:21 | Normal maps are a great way for us
to add a lot of detail to a model.
| | 01:25 | We can craft them as grayscale bump
maps in Photoshop, as we have seen, and
| | 01:29 | then export them as normal maps by
using a plug-in, such as xNormal or nDo or
| | 01:33 | the NVIDIA plug-in.
| | 01:35 | In this chapter, we're going to look at
sculpting in Mudbox and baking, taking
| | 01:40 | high poly meshes and
baking them onto low res meshes.
| | Collapse this transcript |
| Modeling a high-poly work for projection| 00:00 | In this video, I'll start out with a
low-res mesh of my container and I'm
| | 00:04 | going to add some high-res detail to it,
that then I can bake into a normal map and use.
| | 00:10 | I'm going start out here by taking
this container which is already unwrapped,
| | 00:14 | and pressing Ctrl+V to clone it.
| | 00:16 | I'll clone it as a copy
and name this ContainerHigh.
| | 00:21 | I'll right-click and Hide
the Unselected low poly.
| | 00:24 | Now I'm going to start to subdivide
these sides, first adding in their
| | 00:28 | corrugations and then denting them.
| | 00:31 | I'll right-click and
choose Convert to Editable Poly.
| | 00:35 | Now by polygon, I'm going to pick
this long face here and subdivide.
| | 00:39 | I'll scroll down to the Edit
Geometry rollout in the Modifier panel.
| | 00:43 | In the Edit Geometry rollout,
there is Mesh Smooth.
| | 00:46 | I'm going to click on the dialog here
for the settings and it pulls up the caddy.
| | 00:50 | I'm going to subdivide this by clicking
on the plus and applying and continuing.
| | 00:54 | I'll subdivide it once,
twice, three and four times.
| | 01:00 | This will give me places for my
corrugations as well as adding dents.
| | 01:04 | Then, I'll check OK and now I am
going to move some things around.
| | 01:09 | I'll go in the Top View by
pressing T, and F3 for Wireframe.
| | 01:13 | I'm going to switch to Vertex for
this and press 1 or click on Vertex.
| | 01:18 | I'll zoom in and grab pairs of vertices.
| | 01:21 | I'm going to take the first pair here,
skip 2, hold Ctrl and take the next.
| | 01:26 | It's actually taking a column of
vertices here instead of just one.
| | 01:30 | I'm going to skip 2 and take the
next and work my way along here.
| | 01:34 | I'm holding Ctrl as I select
and picking pairs of vertices.
| | 01:38 | This is going to help me
move these in and out quickly.
| | 01:41 | Now with all those vertices selected,
I'll press W for move and pull them back
| | 01:47 | and there's the
corrugated sides on my container.
| | 01:50 | I'll spin out and go back to a
shaded view and see if this works.
| | 01:54 | It looks pretty good,
although it's wavy instead of crisp.
| | 01:57 | What I want to do now is pick this
element, so I can grab all the polys at once
| | 02:02 | and clear off the smoothing.
| | 02:04 | By subdividing it, it has respected the
original smoothing and I want to have facets.
| | 02:08 | I'm going to scroll down to the
Smoothing Groups and clear them.
| | 02:13 | Everything is in Group 1.
| | 02:15 | By releasing it, the sides
of my containers are faceted.
| | 02:19 | This will bake into a normal map nicely.
| | 02:21 | Now I'm going to sculpt a little bit
and dent this as if this container has
| | 02:25 | seen some rough times.
| | 02:28 | I've clicked on the Freeform tab in the
Graphite Modeling tools and I'm going to
| | 02:32 | work by polygon using the Push
and Pull and Relaxing and Softening.
| | 02:37 | This'll allow me to mesh up
this container a little bit.
| | 02:40 | I'll press 4 for polygon and
maybe turn on the Wireframe again.
| | 02:44 | I'll press F4 and here are my Freeform tools.
| | 02:48 | I'll pick Push/Pull and I'm
going to push them back and forth.
| | 02:51 | There is a tool caddy with the size.
| | 02:53 | As I start to push this, we
can see those surfaces distort.
| | 02:57 | That may be a little much, as I'm
making some pretty drastic bumps.
| | 03:00 | I'll undo and take the Size up a
little bit and the Strength down.
| | 03:06 | I'll pull that strength
way down in the .2 range.
| | 03:11 | I'll hold Alt while I push and
pull and dent this surface in.
| | 03:14 | As I brush along, we can see
those mesh lines distorting.
| | 03:18 | I'm gently mashing the surface of this
container as if something has scraped along it.
| | 03:22 | This is useful for a normal map, as not
only is it giving me my large contours,
| | 03:27 | but it's giving me the local surface dents.
| | 03:29 | I can really subdivide this quite
a lot and continue to sculpt it.
| | 03:33 | As long as I've got the look I want,
the polygon count doesn't matter.
| | 03:36 | I'm going to bake this back
onto my flat plane in later videos.
| | 03:40 | I'll continue sculpting along here.
| | 03:42 | This is one approach for adding
detail, taking the existing mesh and
| | 03:46 | sculpting it by pushing, pulling,
moving, soft selecting or any of the tools
| | 03:50 | we have at our disposal.
| | 03:52 | I'll turn off that Wireframe and we
can see that I've got not only the
| | 03:56 | corrugated sides of my
container, but they've been dented.
| | 03:59 | Something has scraped along and dented them in.
| | 04:03 | I can come back and play with the
smoothing if needed and this is going to give
| | 04:05 | me a very nice normal map.
| | Collapse this transcript |
| Overview of the pipeline| 00:00 | The pipeline for working in a
high-poly to low-poly workflow is
| | 00:04 | fairly straightforward.
| | 00:05 | We're going to start out with a low-res
object, one that's ready to go into the
| | 00:10 | game, and then we're going to take that
and subdivide it making a ridiculously
| | 00:15 | high poly mesh with all kinds of detail.
| | 00:17 | Finally, we're going to bake that
mesh from high poly to low poly.
| | 00:22 | I've started out with a low poly and I've
started to sculpt in some high poly detail.
| | 00:27 | What I'll do is look in the Render To
Texture dialog to show off this process.
| | 00:31 | I'll right-click and choose Unhide by Name.
| | 00:34 | I'm going to unhide my Container leaving
Box001, my original bounding box still hidden.
| | 00:40 | I'll press 0 and that pulls up
the Render To Texture dialog.
| | 00:44 | In this Render To Texture dialog as
part of our pipeline, I'm going to
| | 00:47 | select the low poly.
| | 00:49 | Notice that as I click, it
wants to grab the high poly first.
| | 00:52 | I can click in the same place to
cycle the selection in 3ds Max.
| | 00:56 | Now with my low poly Container selected,
I'm going to set what kind of map I'm using.
| | 01:01 | I'm going to project and enable the Projection.
| | 01:05 | I can automatically apply a Production
Modifier or I can pick a certain object,
| | 01:11 | I'm going to pick the source object by
clicking on the Pick dialog and in here,
| | 01:15 | I'll pick ContainerHigh and choose Add.
| | 01:17 | In Projection, I can choose either
an Existing Channel or a new channel.
| | 01:23 | I'm going to use the Existing Channel 1,
that's applied to the low poly and for
| | 01:27 | the Sub-Objects, use our
Existing Channel 1 as well.
| | 01:30 | In the output then, once I've chosen
this, I'm going to add in a NormalMap.
| | 01:35 | What this says then in this dialog is
here is the low poly, we're going to
| | 01:40 | project the high poly onto it.
| | 01:42 | We're going to use the unwrap I've
already got and we're going to make a NormalMap.
| | 01:48 | In that NormalMap then we have choices
over the size and format and where it's going.
| | 01:54 | I'll run this usually fairly high, 1024 will
work nicely and then I'll downsize it later.
| | 02:00 | Once this is all sculpted, I can hit
Render and 3ds Max will project from the
| | 02:04 | high poly into the unwrap space of the low poly.
| | 02:08 | Notice as part of that process, it
applies a Projection Modifier on that container.
| | 02:12 | We also have choices in that projection
over the envelope size to make sure any
| | 02:16 | detail we add onto the
surface gets included correctly.
| | 02:19 | I'll continue with this
sculpting in the next video.
| | 02:22 | This is a brief overview of the process.
| | 02:24 | We need to be aware of what we're going to
do with this, so we can sculpt correctly.
| | 02:29 | As part of this, we can add on really
all the detail we can stand to add that
| | 02:33 | will be visible from our game.
| | 02:34 | We want to make sure we're adding on
the right detail and understanding how it
| | 02:38 | projects and what we'll do with it is key.
| | Collapse this transcript |
| Planning edge flow for elegant modeling| 00:00 | In making a good high poly mesh,
preserving a good edge flow is important,
| | 00:04 | that way you can model in the detail and
project it correctly without artifacts.
| | 00:08 | I'm going to take my container and
start to subdivide a lot of the pieces.
| | 00:12 | So when I project a normal from them,
we get the right normals on places like
| | 00:16 | the steel, making sure instead of boxes
that this steel work is rounded as if it
| | 00:21 | was rolled, and then
thoroughly dented after years of use.
| | 00:24 | I'm going to start in on one of
the corner boxes on the frame.
| | 00:27 | I'll round it over and then crunch it gently.
| | 00:30 | I'll select this object, which I've
already converted back to an Editable
| | 00:32 | Poly bakings in the UVs.
| | 00:35 | I'll pick by element, that frame box on
the corner, and press Z to zoom extents.
| | 00:40 | I'll pull back just a bit.
| | 00:41 | Now rather than select all the edges I
want to chamfer, I can convert a selection.
| | 00:46 | I'm going to hold Ctrl and click on
the Edge button on the Modifier panel.
| | 00:50 | Now all the edges that were adjacent to those
polys are selected as part of that element.
| | 00:55 | I'll right-click and choose
the caddy next to Chamfer.
| | 00:59 | In the Chamfer dialog, I'm going to
pull down the Amount, maybe a quarter inch
| | 01:03 | will work and then I'll up
the amount of subdivisions.
| | 01:06 | It's okay really to make these vary round.
| | 01:09 | We're going to use this ridiculously high poly
mesh, render the normals and then discard it.
| | 01:13 | So a mesh count that would destroy a
game engine is really not of consequence
| | 01:17 | here, because we are not going to
import the final in, only the map.
| | 01:21 | I've got a lot of subdivisions.
| | 01:22 | So these are nice and rounded. I'll check OK.
| | 01:25 | I'll press F4 to turn on wire on shaded and
that way I can see what I'm doing a little clearer.
| | 01:31 | This is a good edge flow.
| | 01:32 | I can select by rings or by
loops and catch my edges nicely.
| | 01:36 | What I'm going to do is add some edges
along here, and then dent in a part of it
| | 01:40 | as if it's been dropped or fallen.
| | 01:42 | I'll click to deselect
and pick one of these edges.
| | 01:45 | I'll press Alt+R to ring select that,
and then I'll right-click and use the
| | 01:50 | dialog next to Connect.
| | 01:52 | Connecting edges allows us to put
edges, or edge loops, between edge rings.
| | 01:57 | I'm going to up the number of
Segments here to 3 and then I'll check OK.
| | 02:02 | I can also scale these in
or pinch them if needed.
| | 02:05 | I'm going to push them
back together a little bit.
| | 02:07 | I've got a slide to pull them side-to-side.
| | 02:10 | Having a good edge flow is letting me
do this very easily, adding in detail and
| | 02:15 | moving it to where I want it.
| | 02:16 | When I've got it in the
right place, I'll check OK.
| | 02:19 | Now I'm going to add some more on the other
side and dent in this corner. I'll pick an edge.
| | 02:24 | Press Alt+R to ring that, right-click
and choose Connect and use the dialog
| | 02:29 | to slide those around.
| | 02:31 | I'm going to slide it back a
little bit and open those up just a bit.
| | 02:35 | If you find these are in the
wrong place or not behaving correctly,
| | 02:38 | there's another option.
| | 02:39 | I'll check OK on the
Connect and press R for Scale.
| | 02:43 | We can scale selected sub-objects.
| | 02:45 | I want to make sure in my Scale that
instead of using the Pivot Point Center,
| | 02:49 | which is going to let each loop pivot
around itself, that I flyout this dialog
| | 02:53 | and choose the selection center.
| | 02:55 | Now I can scale on the Y axis and open these up.
| | 02:58 | I'll open them and move them over.
| | 03:01 | I'll make sure before I move
that I press S and turn off my Snap.
| | 03:05 | I'll pull this over and I'm
ready to start to add my dents.
| | 03:09 | Now I'm going to use my sculpting, or
just moving, and I'm going to pick the polys
| | 03:13 | on the edge here, and start to pull them down.
| | 03:16 | I think what I'll do is I'll pick one
poly, hold Shift and pick the next one.
| | 03:21 | That picks a face ring.
| | 03:23 | Alternately, I can pick one and
hold Ctrl and add to that selection.
| | 03:28 | It's up to you how you want to select.
| | 03:30 | I'm going to pick these and pull them
down slightly on the Z axis as if this had
| | 03:34 | fallen and gotten crunched.
| | 03:36 | That's going to distort this surface
normal and give me a variability and the
| | 03:39 | shine as if this has seen
some serious wear and tear.
| | 03:43 | I can also take these outside pieces
and just pull them down a little bit.
| | 03:47 | The corner block is starting to look like
it has, well, been crunched or been fallen on.
| | 03:51 | I'll select these last
vertices here, and pull them down.
| | 03:55 | I'm really working on minor pieces, but
in the scheme of a normal map, this is
| | 03:59 | going to add enormous amount of realism.
| | 04:01 | In this same vein, I can continue
on these frames, and round them over.
| | 04:05 | I can also model in things like the
locking system on the doors or if there is
| | 04:10 | welding seams or anything else,
maybe this container has been patched.
| | 04:13 | I'll also go through and subdivide
either using Smooth or Connect and add the
| | 04:18 | corrugation in on the side.
| | 04:19 | I'll model this fairly extensively;
all the detail I can put in, even
| | 04:24 | overlapping geometry if needed, and
then I'm going to get ready to bake it.
| | Collapse this transcript |
| Smoothing groups| 00:00 | Part of the process of modeling high
poly work for projection to normal maps is
| | 00:04 | subdividing a mesh, and I'm going to
show another method for subdividing this
| | 00:08 | using edge creasing to get the
subdivision in the right place.
| | 00:12 | This can work in concert with our
smoothing groups, so that we get subdivision
| | 00:15 | where we need it, and we can really
sculpt this high poly mesh very elegantly.
| | 00:19 | I'm going to work on one of the frame
members here, but I'm going to subdivide
| | 00:22 | this whole mesh using my NURMS, my
Non Uniform Rational Mesh Subdivision.
| | 00:28 | I'll select my low poly container, which
already has a high poly corner on it, and
| | 00:32 | I'll right-click and choose NURMS Toggle.
| | 00:34 | NURMS subdivides this mesh wherein
every polygon gets divided, for every one
| | 00:40 | iteration I'll get four new polys.
| | 00:43 | I'm going to turn off the Isoline
Display and I can show the original cage here.
| | 00:48 | With the Isolines off, we can
see where those subdivisions occur.
| | 00:52 | It's nice-looking, although it's
rounded over some of my frames.
| | 00:55 | What I'm going to do here is zoom in
a little bit and play with the edge
| | 00:59 | creasing on this top frame member.
| | 01:02 | I'll press 2 to go into Edge and then
I'll make sure that my Cage is showing.
| | 01:07 | With the Cage on, I can
see the orange original mesh.
| | 01:11 | I can pick by edge and I'm going
to pick these original edges here.
| | 01:15 | With the original edges selected, I can see
the additional subdivided edges highlighted.
| | 01:20 | What I'll do is I'll scroll down to
the Edit Edges section and crank up their
| | 01:24 | creasing, pulling that mesh back to a square.
| | 01:27 | Under Edit Edges, we have got a
Weight and we have got Creasing.
| | 01:31 | I'm going to crease these edges out
and we can see how it affects that mesh.
| | 01:35 | All the way up at 1 pulls it back
to a square, 0 lets it round over.
| | 01:39 | What I can also do is play with the Weight.
| | 01:41 | As I start to drag this Weight out,
especially working with Crease and Weight,
| | 01:46 | I'll start to see that this mesh returns.
| | 01:48 | I can subdivide it and I also
get a much more organic shape.
| | 01:52 | Increasing the Iterations in
NURMS still respects that creasing.
| | 01:56 | This can be again a ridiculously high
poly object, but this is another nice way
| | 02:00 | to really subdivide the mesh and smooth it over.
| | 02:03 | I'll right-click and pick Top-level
and turn off the wire so we can see it.
| | 02:07 | The one corner block that's dented
looks pretty good and this frame is starting
| | 02:11 | to get its corner back.
| | 02:12 | I may want to play with the combination
of chamfering that and subdivision along
| | 02:17 | with creasing and weighting
to get it in the right shape.
| | 02:20 | It depends on the mesh you're dealing with.
| | 02:22 | In this case, this may benefit more
from chamfering and beveling than it does
| | 02:26 | from subdivision on all the different places.
| | 02:28 | I may want to come in and smooth out the
panels using MSmooth or Mesh Smooth, and
| | 02:34 | instead, not use the NURMS, doing
local subdivision instead of global.
| | 02:39 | The big deal is really
getting the dented model you want.
| | 02:42 | How you do it can vary wildly.
| | 02:44 | I'll start to look at adding
additional detail by using additional meshes on
| | 02:48 | this in the next video.
| | Collapse this transcript |
| Adding details by beveling and extruding| 00:00 | In this video, I'll continue modeling
and refining the shipping container, adding
| | 00:04 | more and more high poly
pieces to bake into my normal map.
| | 00:08 | I'm going to work on the doors, and I'm going
to detach this door polygon as a separate object.
| | 00:13 | I'll select that shipping container,
which I've already started to chamfer all
| | 00:16 | the edges of the framework on,
| | 00:18 | and I'll go to the Modifier panel and I'll scroll
down to the Edit Geometry menu and choose Detach.
| | 00:25 | In detaching, I have some options of
pulling it out as a separate element or
| | 00:28 | as a separate object.
| | 00:30 | Being that I can detach and recombine as needed,
I'm going to pull it out as a separate object.
| | 00:35 | I'll click OK, right-click and choose Top-
level and right-click and choose Hide Selection.
| | 00:41 | Now I can just work on the door.
| | 00:43 | What I'm going to do is to add in
divisions across and then panels.
| | 00:47 | Then I'll add in the split
between the doors themselves.
| | 00:50 | I'll go By Edge, picking one edge,
holding Ctrl, and clicking on the other side.
| | 00:55 | I'm going to right-click and
choose the dialog next to Connect.
| | 00:59 | I need to reset my connection as it
still reflects what I had originally done on
| | 01:04 | that chamfered frame box.
| | 01:06 | I'll right-click on those spinners.
| | 01:08 | Anytime, we have a spinner in 3ds Max,
we can right-click on it and reset it
| | 01:12 | back to its default value.
| | 01:14 | That value may not always be 0, it
may be 1 in this case, as I need at least
| | 01:18 | one segment to connect.
| | 01:20 | I'll bring this up.
| | 01:21 | I would like to have four
panels on the door and I'll check OK.
| | 01:25 | Now I'm going to connect across these
to make the split between the doors.
| | 01:29 | I'm going to add to this selection, holding
Ctrl and picking the top and bottom edges.
| | 01:34 | I'll right-click and choose Connect
again and in the dialog, I'll take these
| | 01:38 | Segments down to 2, but then I'll use the
Pinch and Slide to pull them into the right place.
| | 01:44 | I'm going to scroll down doing a
negative Pinch until it's a very tiny
| | 01:47 | space between the doors. I'll check OK.
| | 01:50 | And now I'm ready to
extrude in these door panels.
| | 01:54 | I'll switch over to Polygon and pick all
eight of what will be the panels on my door.
| | 02:00 | I'm going to right-click and choose the
dialog next to Bevel to pull up the caddy.
| | 02:05 | I'm going to bevel this not
by Group, but by Local Normal.
| | 02:09 | And instead of popping out, I'm going
to reset this back and just push in.
| | 02:14 | Rather than switch around tools
between outline and inset, sometimes I'll use
| | 02:18 | Bevel for both of those.
| | 02:19 | I'll right-click, reduce the Height down
to 0, and drag the inset of the bevel in.
| | 02:25 | Now I realize that Local Normal
isn't quite the right setting.
| | 02:28 | So I'm going to switch this over.
| | 02:30 | One of the great things about the
caddy is it lets you see what you're doing
| | 02:33 | before you're committed.
| | 02:34 | Instead, I'm going to work By Polygon,
and there's my door panels showing up.
| | 02:39 | I'll reduce the amount of this just a
little bit, maybe -4 looks better, and
| | 02:44 | there's the start of the door panels.
| | 02:45 | I'll click on the plus and now I'm
going to bring these down by -1.5, so it's
| | 02:51 | got some good distance, and
in by that same distance -1.5.
| | 02:56 | So I've got an even chamfer in there.
| | 02:59 | There's the start of the panels in the door.
| | 03:01 | I can continue on the bevel or I
can come back and round these over.
| | 03:04 | I'm going to check OK, and now I'm going
to extrude in the space between the doors.
| | 03:09 | I'll zoom in and pick one of those polygons.
| | 03:12 | I'll pan up to the top, hold Shift
and click on the end of that face ring.
| | 03:17 | Now I've got that whole face selected in there.
| | 03:20 | I'll right-click and extrude it in.
| | 03:25 | I'm going to push this back, how far,
well, a couple inches will work.
| | 03:28 | As long as it's dark, it'll be fine.
| | 03:30 | What this will also let me do by creating
that additional geometry is to pick those edges.
| | 03:36 | The original edges are still selected
right here, and I'm going to chamfer them,
| | 03:40 | rounding over those edges as if
the doors are made from rolled steel.
| | 03:44 | I'll right-click and choose Chafer and
in my Chamfer dialog, probably 3 Segments
| | 03:49 | will work nicely, and
there's my quarter inch round.
| | 03:52 | I'll check OK and there is my door.
| | 03:55 | It's working nicely.
| | 03:56 | Now as I've said, this is a
ridiculously high polygon count for a game,
| | 04:00 | but for our purposes for
baking this will work very well.
| | 04:04 | Lastly, you can see I need to work
over the Smoothing Groups as I've got some
| | 04:08 | faceting going on, on the doors.
| | 04:09 | The unwrap being squished
around doesn't bother me too much.
| | 04:13 | I'm going to project this into the
unwrap of the low poly container, so that I'm
| | 04:17 | distorting it here is just fine.
| | 04:19 | I'll keep going, adding hinges on and
refining detail, chamfering and rounding
| | 04:24 | edges wherever I can to make it look less crisp.
| | Collapse this transcript |
| Adding hinges| 00:00 | With the doors beveled on my shipping
containers, I'm ready to add in the hinges.
| | 00:04 | These are the kind of details that may
be easier and better to model than to
| | 00:08 | paint, as we can get probably a better
accuracy in the modeling and project at
| | 00:12 | the res we need, versus trying to
paint a very small object and fit it in.
| | 00:16 | To make my hinges, I'm
going to start out with the box.
| | 00:19 | I'll begin in the Left View,
so I can see that door.
| | 00:22 | I'll zoom in and I'm going to
start a separate model here.
| | 00:25 | As part of the high-res process or high
poly modeling, we can add on other pieces.
| | 00:30 | Because these are going to project into
the low-res UVs, we can add other parts on.
| | 00:35 | I'll hold Ctrl and right-click and choose Box.
| | 00:38 | I'm going to make a nice big hinge here.
| | 00:41 | This one will be on the Modifier panel, 3
inches tall, a foot wide and half an inch thick.
| | 00:47 | I'll right-click and
convert this to an Editable Poly.
| | 00:51 | I'll zoom in on it and pick By Vertex,
pressing 1 to select vertices and
| | 00:56 | scale down that end.
| | 00:58 | I'm going to make sure for Scale that
I'm using the Selection Center, flying out
| | 01:02 | those pivot points and
choosing that middle option.
| | 01:05 | Now I'll scale down on the Y to give
that hinge a nice taper towards the end.
| | 01:10 | I'll take this hinge and snap it onto that door.
| | 01:13 | I'm going to go into a Top View and move it.
| | 01:17 | Another option would be to use the Align tool.
| | 01:19 | I'll pull this over, get it in the
right place and then hit Z to zoom in.
| | 01:24 | I'll press Spacebar for
Selection Lock and S for Snap.
| | 01:28 | I'm going to move first on the Y axis,
snapping this up to the edge of the door
| | 01:32 | and then moving it on the X.
| | 01:35 | As a note here, it's
difficult to see what I'm doing.
| | 01:38 | Because I'm working in just shaded view,
this is a chance to either switch to a
| | 01:41 | Wireframe or turn on Edged Faces.
| | 01:44 | I'll press F4 for Edged Faces and now
I can see where I'm suppose to snap to.
| | 01:49 | I can't stress this one enough.
| | 01:51 | When you're modeling things,
move to where you can see.
| | 01:54 | If you can't see the model clearly,
like I just couldn't there, change the
| | 01:58 | view or move around.
| | 01:59 | Now I've selected the X axis and I'm
going to move this over to snap onto the door.
| | 02:05 | I'll spin down and get this
aligned where I need it to be.
| | 02:08 | I'll go back to my Left View, hit Z to zoom
and I'm going to snap it using the Pivot Point.
| | 02:13 | I have got mesh lines across the
door from that original panelization.
| | 02:17 | I'm going to hold Shift and
right-click and turn on Pivot Snap.
| | 02:22 | I'll constrain on the Y axis and
snap in the middle of this object. We can see
| | 02:26 | the pivot registering.
| | 02:28 | I'll pull this down and
snap it onto those vertices.
| | 02:31 | So now it is centered between the panels.
| | 02:34 | Now I'll hold Shift and right-
click and turn off that Pivot Snap.
| | 02:38 | I'll press the Spacebar to deselect.
| | 02:40 | I'm going to use some six-sided
cylinders to make the bolts on that hinge.
| | 02:44 | I'll hold Ctrl and right-click.
| | 02:46 | Now cylinder is not on here, but that's okay.
| | 02:49 | Sometimes what I'll do is make
something and jump to cylinder.
| | 02:53 | As an alternate, we could go to
Customize > Customize User Interface and add
| | 02:58 | Cylinder on to that quad menu.
| | 03:00 | I'm going to make a cylinder, give it a
height and jump to the Modifier panel to modify it.
| | 03:05 | I'll say that this has a Radius of
half an inch, a Height of half an inch,
| | 03:10 | 1 Height Segment, and 6 Sides, and as a rare
thing for me to do, I'll turn off Smooth.
| | 03:17 | This gives me a faceted cylinder,
which is one of the bolts that holds it in.
| | 03:21 | Now I'm going to use my Align
tool to get this in the right place.
| | 03:24 | It's way out there and that's okay.
| | 03:27 | I'm going to zoom back and click on
the Align tool and pick that hinge.
| | 03:32 | There is my Align box and what I'll do
is go from the Minimum to the Maximum
| | 03:37 | and hit Apply or OK.
| | 03:40 | As an alternate, I can go from Center to
Center and hit OK and then zoom in on it.
| | 03:47 | The Align tool is a handy way when
you're making things that are flung out in
| | 03:50 | space to get it in the right place.
| | 03:53 | Now I can either use the Align tool again
or move it to get it just sit on the surface.
| | 03:57 | I'll use my Align tool and in this
case, moving the Align tool over, I'm
| | 04:02 | going to work on the X axis only,
unchecking Y and Z, and going from the Current Object
| | 04:08 | Minimum to the Target Max.
| | 04:10 | If that's not it, I'll try them in reverse.
| | 04:13 | Maximum to Minimum seems to do it and now
that bolt has firmly planted on the surface.
| | 04:18 | I'll click OK or even Apply.
| | 04:21 | What's the difference here?
| | 04:22 | Clicking on Apply says okay, we
are done, let's do another alignment.
| | 04:27 | I'm going to align this now on the Y
axis, from Maximum to Maximum, or from
| | 04:33 | Minimum to Maximum, snapping it on,
Minimum to Minimum seems to work the best.
| | 04:39 | Trying out these options is a big deal.
| | 04:40 | We can see it before we're done.
| | 04:43 | I'll hit OK and go back into my Left View.
| | 04:46 | I'm going to move this up using my
Offset Transform Type-In and pulling it up by
| | 04:51 | .5, maybe even a little extra .25.
| | 04:54 | I'll duplicate it by holding
Shift and dragging it down.
| | 04:57 | There is two of the hinge bolts
and I'll clone it as an instance.
| | 05:02 | I may want to pull these over a little bit.
| | 05:04 | It's okay to kind of massage the design of it.
| | 05:06 | That's perfectly fine.
| | 05:07 | I'm going to take this and hold
Shift and clone it over again.
| | 05:12 | There is one, cloned as an instance, pulled down,
and snapped on that vertex and cloned again.
| | 05:19 | We may as well put some
detail in since we are modeling it.
| | 05:23 | There are two of them using the
number of copies almost as an array.
| | 05:27 | Now I have got my hinge bolts on my hinge.
| | 05:29 | So when these project as a normal, I'm
going to get all kinds of good detail here.
| | 05:34 | I'm ready to keep adding detail and to
take this and clone it, snapping on those
| | 05:38 | vertices and filling out
all eight hinges on this door.
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| Using Push/Pull and Soft Selection to add dents| 00:00 | In this video I'll show some final
detail and polish on the container.
| | 00:04 | I've added in corrugated sides on
the sides, tops, bottoms and end.
| | 00:08 | I've also put in the hinges on the door
and the door panels are beveled in and
| | 00:12 | split, there is a tiny groove there.
| | 00:14 | I've continued to round over the frame
elements and now I am ready to add in
| | 00:18 | some dents on the sides.
| | 00:20 | What I've done then, I'll press F4 to
show, is connected to make the edge loops
| | 00:24 | for the corrugations and then connected
those edges across again, so this whole
| | 00:28 | side is grided and it's
ready for additional working.
| | 00:32 | Remember in a high poly workflow like
this, we can tessellate a mesh like crazy
| | 00:36 | and we can really sculpt it and get a
good feel and good wear on it if we need,
| | 00:40 | and then bake it to a normal.
| | 00:42 | I'm going to use under Freeform in my
Graphite Modeling tools my Push/Pull a little bit;
| | 00:46 | then I'll show a little bit
of Soft Selection as well.
| | 00:49 | I'll press 4 to switch to Polygon and
under Freeform turn on that Push/Pull tool.
| | 00:56 | I've got a tool caddy off to the side
of the Paint Options, I've got Size,
| | 00:59 | Strength and I can even access the brush
settings so it falls off sharp or hard,
| | 01:03 | depending on what I need.
| | 01:05 | I am going to brush along this while holding
Alt and that's going to push that surface in.
| | 01:10 | Doing it well not holding Alt
makes that surface bulge out.
| | 01:13 | And what I'd like to have, as you can see
here, is that my container has been well
| | 01:18 | dented. Somebody has run something
along it and crunched in that side slightly.
| | 01:21 | This is going to can help on my
normal map, adding reasonable wear.
| | 01:25 | I'll add a few more dents still
holding Alt and maybe adjust the Strength on
| | 01:28 | this just a little bit.
| | 01:30 | I'll put this down to point 0.5
to get some more subtlety.
| | 01:33 | This side of my container is now thoroughly
dented as if this container has been well abused.
| | 01:37 | I can continue doing this, tessellating
the other sides and deforming the geometry.
| | 01:42 | Another way to do this instead of using
the Push/Pull is to use a Soft Selection.
| | 01:47 | Over in the Modifier panel, down
under Selection is our Soft Selection.
| | 01:52 | This is a feature that's been there
for a long time, but surprises many
| | 01:55 | folks when they see it.
| | 01:56 | The idea in of Soft Selection, if I
turn it on, is that once we have something
| | 02:00 | selected such as a Polygon,
there is a Falloff Radius.
| | 02:04 | I'll press 4 for Polygon and select a
poly, and we can see on this mesh that Soft
| | 02:09 | Selection is drawn in color.
| | 02:11 | Now as I take this one poly and
push it around you can see the whole
| | 02:14 | Mesh deforms with it.
| | 02:15 | What I'll do then is just grab
a poly or two and nudge it in.
| | 02:20 | This simulates a large scale dent and
helps make that surface wave a little bit,
| | 02:24 | as if this container was well abused.
| | 02:26 | I'll pick a couple of polys and
play with the Falloff in the Soft
| | 02:30 | Selection, pulling this up or down affects the
color, shown as a selection on the edges here.
| | 02:35 | And we can also change Pinch and
Bubble affecting how does that selection
| | 02:39 | falloff, is it sharper or softer?
| | 02:41 | I'll turn on the Shaded Face Toggle and it
gives me a very clear read on how this looks.
| | 02:47 | The Soft Selection is in blue
through green yellow and orange in the
| | 02:51 | actual selected mesh.
| | 02:53 | I'll pull these in and out and
dent the side of that container.
| | 02:57 | This is good for normal maps.
| | 02:58 | What this will produce is some
variability in the surface, so it shines slightly
| | 03:02 | differently, as if this object has
been worn down or crunched over time.
| | 03:07 | When I've got it
all together, I'll be ready to bake.
| | 03:09 | The last steps in that are to make
sure I've got one mesh going and I have my
| | 03:13 | low poly mesh setup.
| | 03:14 | Go ahead and really crunch these
meshes in, don't be afraid to get some good
| | 03:18 | detail going and model in
things like dents, scratches, dings,
| | 03:22 | mashed surfaces, and maybe other things
that have been put on, patches that have
| | 03:27 | been welded over, and so forth.
| | 03:28 | Put the detail in, you're going to
render it and use it and then discard
| | 03:32 | it essentially.
| | Collapse this transcript |
| Baking the high-poly mesh onto the low-poly model to produce a normal map| 00:00 | In this video I'll get to baking
the high poly onto the low poly.
| | 00:04 | That way I get the right normals on my
container, with all the detail I've added.
| | 00:08 | I've taken my high poly and crunched
the sides in, tessellating that mesh
| | 00:12 | and adding in detail.
| | 00:13 | I've rounded over the corners of the
frame and even modeled in detail on the doors.
| | 00:17 | I've got hinges and bevels on all the panels,
even down to the groove between the doors.
| | 00:23 | You can model a lot of detail in and then
render it and then discard the high poly.
| | 00:28 | First, I'll get things attached together.
| | 00:30 | I'll select my ContainerHigh and right-
click and choose the dialog next to Attach.
| | 00:35 | I am going to attach in
all the things I've added.
| | 00:38 | The boxes are my hinges, I'll click
and drag and select down through the
| | 00:41 | Cylinders, which are my bolt heads,
and down to Object001, that's the door I
| | 00:44 | had detached earlier.
| | 00:46 | I'll click on Attach, and there
is everything attached in one mesh.
| | 00:51 | Now I'll right-click and Unhide by Name.
| | 00:54 | I'll Unhide ContainerLow;
| | 00:56 | Box001 is my original bounding box.
| | 00:59 | I'm ready to project.
| | 01:01 | ContainerLow is already unwrapped and
I'm going to project into its existing
| | 01:04 | map channel, Channel 1.
| | 01:07 | I'll press 0 for Render To
Texture and I'll select ContainerLow.
| | 01:10 | If you notice, I cycled my selection by
clicking in the same place over and over
| | 01:16 | until it picked the right object.
| | 01:19 | There is ContainerLow listed
in the objects I want to bake.
| | 01:22 | I'll check Projection
Mapping and pick my source object.
| | 01:26 | In the Pick dialog, I'll pick ContainerHigh.
| | 01:29 | This is why naming is such a big deal;
| | 01:30 | I want to be able to pick my high poly easily.
| | 01:33 | I'll click on Add and scroll down
to the Mapping Coordinates section.
| | 01:37 | I'm going to make this run in the
existing channel, Channel 1, and the
| | 01:40 | sub-objects will use the
existing Channel 1 as well.
| | 01:43 | That way it doesn't do an automatic unwrap,
splintering the mesh into convenient pieces.
| | 01:48 | I wanted to use the map I've set out
with the resolution and placement of
| | 01:51 | objects as I've got them.
| | 01:53 | Finally, in the Output
section, I'll click on Add.
| | 01:56 | I'm going to add in a
NormalsMap and choose Add Elements.
| | 02:00 | You can bake multiple things, but I am
just baking a normal map in this case.
| | 02:04 | I'll scroll down and in
those Common Element Settings;
| | 02:07 | there is a name and a file format.
| | 02:09 | I am going to let this
run with the default name.
| | 02:11 | I'm assuming for a game import
I'd be renaming and organizing.
| | 02:15 | And I'm going to run it as a TARGA;
| | 02:17 | we can take in TIFFs, TARGAs, DDS files, JPEGs
as Normals, but TARGA will work fine for now.
| | 02:23 | I'm putting it in the Target Map Slot
of Bump, and it will be a normal map, and
| | 02:27 | there's that background.
| | 02:29 | As far as Resolution, I tend to run mine big.
| | 02:31 | I am going to run this at 1024.
| | 02:33 | I'd rather render out the detail and
reduce down, if I need, either manually
| | 02:38 | mipmapping or letting something like
either Photoshop or Unity handle it.
| | 02:42 | But I want to start out
with good detail initially.
| | 02:45 | It's much harder to go up from a small
map than it is down from a larger one.
| | 02:49 | Finally in the Unique Settings, I'll
check Output into Normal Bump, that way it
| | 02:53 | puts it in the right slot so I can test it.
| | 02:56 | Down in the Baked Material, I've
got Output Into Source selected.
| | 03:00 | This means instead of making a new
material with a shell and putting it
| | 03:03 | in there, it will just put it in the Bump Slot
of the material I have on, my checkered map.
| | 03:08 | And I want to Keep my
Source Materials in this case.
| | 03:11 | Again, I'm not trying to replace materials;
| | 03:13 | I want it to add in.
| | 03:14 | When I'm ready I'll hit Render.
| | 03:17 | As we can see, the render is
interesting, perhaps a little odd looking.
| | 03:22 | Really I don't care about the color render here;
| | 03:24 | this is simply a function
of projecting those normals.
| | 03:27 | I'll see how it looks and if it
worked and what tweaking I need to do.
| | 03:31 | We'll use maps like this when we're
rendering things like complete maps or
| | 03:34 | diffused maps, where possibly we're
rendering procedural textures into an unwrap
| | 03:39 | or lighting and baking that light in.
| | 03:42 | I'll close this, close the Render To
Texture dialog and right-click and choose
| | 03:46 | Hide Unselected, because I
have my ContainerLow selected.
| | 03:49 | What we can see in here is my
normal map was baked and applied.
| | 03:54 | It's working pretty nicely;
| | 03:56 | there is the detail on the doors, the
detail on the top, and my side is even crunched.
| | 04:01 | I can see I have some places I should refine.
| | 04:04 | As an example, right here on the side I
could use some Smoothing Groups so that
| | 04:08 | the crunching follows the lines of
the corrugation, and instead of showing
| | 04:11 | triangles, it's dented, but we still
see the crisp lines of those sides.
| | 04:16 | I need to adjust the
projection cage in the back.
| | 04:18 | I've got a flat side when
I should have corrugations.
| | 04:22 | Because of the way I unwrapped it, we
can see that normal actually comes around
| | 04:25 | to the other side, and that's okay.
| | 04:27 | I don't mind that this container
is crunched the same on both sides.
| | 04:31 | Again, it's difficult to see four sides of it.
| | 04:34 | And because of the way I've
unwrapped, I'm sharing that texture space.
| | 04:37 | This is something to be conscious
of if you are unwrapping and you want
| | 04:41 | different dents, or crunching, on different sides.
| | 04:44 | Here's how I'll solve some of
this, and I'll try it again.
| | 04:47 | It's okay to bake it, see it,
and try it one more time.
| | 04:50 | By selecting it you can see that it's
put a Projection modifier onto the object,
| | 04:55 | and in that projection we have distance.
| | 04:57 | What it looks like is that it's not
projecting out enough here on this side.
| | 05:02 | I'll click Element and
select that blank face here.
| | 05:07 | I'll scroll up and make sure
it's got the right object selected.
| | 05:11 | I can take this projection and move it
around by pressing W for Move and pulling it.
| | 05:16 | Alternately, I can go to the Cage
section and there is a Cage Push/Pull Amount.
| | 05:21 | I'm going to shade that Cage so I can see
it, and I'm going to push that amount out.
| | 05:26 | I can play with the Push and the
Tolerance and really get that in the right place.
| | 05:30 | I'll push it out just a little bit
and up that Tolerance in the Auto-Wrap
| | 05:34 | and I'll try it again.
| | 05:36 | This may take a couple of
tries to get that right.
| | 05:38 | As an alternate, I can always go and
grab a section of corrugation here and copy
| | 05:43 | and paste it over in Photoshop.
| | 05:45 | We have options on this, but we
can get the projection on as we want.
| | 05:49 | It's a great technique, because it
lets you model in all kinds of detail, and
| | 05:52 | use the modeling tools
that 3ds Max is famous for.
| | 05:56 | We have a whole selection up here in
the Graphite Modeling tools and even more
| | 06:00 | over here on the Modifier panel, so
you can really work in all the detail you
| | 06:03 | want and not be concerned about polygon count.
| | 06:06 | After all, you're going to use it and
then just discard that mesh, well, not
| | 06:10 | import it into the game anyway.
| | 06:11 | It will get projected onto the low poly.
| | 06:14 | We need to make sure we start out with
a good low poly foundation and an unwrap
| | 06:18 | like we wanted, with the
texture space allocated correctly.
| | 06:21 | Then when we bake our normals, they look
right and are on the right surfaces, in
| | 06:26 | the right proportion.
| | 06:27 | I'll continue to adjust this and
keep trying it to get it right.
| | 06:30 | Alternately, I can go and fix it, and
then I'll make sure it works with my
| | 06:34 | diffuse map, my rust, my other
pieces, my logo, and any other details.
| | Collapse this transcript |
|
|
7. Sculpting and Painting in MudboxOverview of Mudbox| 00:00 | In this chapter, I'll introduce
Autodesk Mudbox into the pipeline.
| | 00:04 | Mudbox is a digital sculpting application
and is widely used in the game industry.
| | 00:09 | What we can do is take our reasonably low-res
mesh out of 3ds Max, bring it into
| | 00:14 | Mudbox and subdivide it pretty heavily.
| | 00:17 | As we can see here, this
mesh has a lot of polys.
| | 00:20 | We're dealing in 77,000 for just this hammer.
| | 00:23 | What this will let us do is sculpt in all the
detail we want and then bake out a normal map.
| | 00:29 | We can take that normal map, either
out of Mudbox here or out of 3ds Max.
| | 00:33 | In 3ds Max, we can project or we can
simply import the normal map in and apply
| | 00:38 | it to see how it looks.
| | 00:40 | I've dented and scratched
the head of the hammer here.
| | 00:42 | Finally, we'll look at how these show
up in Unity, does it come across well and
| | 00:47 | are we getting the results
we want on our low poly model.
| | 00:49 | We want to think of digital
sculpting applications as a vital part of our
| | 00:53 | pipeline for adding detail and
realism while not blowing out poly counts.
| | Collapse this transcript |
| Preparing for a smooth export to Mudbox| 00:00 | In this video I'm going to get this
large sledgehammer ready to go over
| | 00:03 | to Autodesk Mudbox.
| | 00:05 | We have a couple of export options and
different things that can come across
| | 00:08 | depending on how we want our workflow to go.
| | 00:11 | We've also got options as how
to bring things back and forth.
| | 00:14 | I want to bring this over to add some
dents, as if this hammer has been well used.
| | 00:19 | I'm going to make sure my unwrap works.
| | 00:22 | I'll open up my UV Editor and look at the UVs.
| | 00:25 | I've scaled them out and moved them over
to make sure I have enough wood grain,
| | 00:29 | and I've also made sure that they don't
have any overlapping UVs in this case,
| | 00:33 | because I want the two sides
of the hammer to be unique.
| | 00:36 | If you do have overlapping UVs and you
sculpt on them, the same dents will show
| | 00:40 | up in multiple places
wherever those UVs overlap.
| | 00:43 | So you want to be careful on how you're
unwrapping things if you're going into
| | 00:46 | a sculpting pipeline.
| | 00:47 | I'll also want to and make sure my
smoothing groups are set up right.
| | 00:51 | I've got a couple of
options to export as I said.
| | 00:54 | And depending on how I do it, I can
have smoothing groups come across into
| | 00:57 | Mudbox 2013 and therefore keep my
crisp edges, while subdividing and adding
| | 01:02 | detail on the softer areas.
| | 01:05 | I'll drop down to the Editable
Poly and now Max is going to give me a
| | 01:08 | warning message here.
| | 01:09 | What this simply says is, if you move
things around in the Editable Poly, you
| | 01:13 | may affect the unwrap.
| | 01:15 | In this case, because I'm not moving
things I'm just applying smoothing groups, I
| | 01:19 | am going to hit Yes and OK to this message.
| | 01:22 | I'll press 4 to go in to polygon,
what I'm going to do is work over the
| | 01:25 | smoothing groups and the head quickly.
| | 01:27 | I'll select them all and scroll
down to the Polygon Smoothing Groups.
| | 01:33 | Right now what I can see is that
some, but not all of these faces are
| | 01:37 | in Smoothing Group 1.
| | 01:39 | I'm going to clear them all off and then I'm
going to pick the striking face of the hammer.
| | 01:44 | I'll pick one, scroll around
and hold Ctrl and pick the other.
| | 01:49 | I'll press F2 to shade those
faces so I can see them more clearly.
| | 01:53 | I'll scroll back up and grow that selection.
| | 01:58 | With this selection grown out, I'm going
to put these in one smoothing group, so
| | 02:02 | that they smooth over to round
but they keep their crisp edges.
| | 02:07 | I'll put them in group 1 and then I'm
going to pick other parts of the head and
| | 02:11 | put them in their own groups.
| | 02:13 | I'll pick the sides here, here
is one and put it in Group 2.
| | 02:17 | I'll pick these facets and put them in
3 and these triangles one, two and three
| | 02:24 | and four and put them in 4.
| | 02:26 | I'm going to back and pick these
bottom facets and put them in 3.
| | 02:30 | As long as I'm making a break in those
smoothing groups, Mudbox will respect it
| | 02:34 | when it comes across.
| | 02:35 | This will be in Group 14 because it
sounds good, and these two and those two on
| | 02:41 | the bottom will be in 31.
| | 02:43 | Finally these last triangles here
are going to go in their own group.
| | 02:47 | What I'm doing here is not necessarily
working in an order but getting them all
| | 02:51 | smoothing apart from each other.
| | 02:55 | The bottom will be in Group 23
and I think my hammerhead is done.
| | 02:59 | Now when I bring this in and subdivide it,
Mudbox will respect those smoothing groups.
| | 03:05 | I'll right-click choose Top-
level and I'm ready to send it over.
| | 03:08 | A little prep here is going to make
for an easier send to Mudbox and a better
| | 03:12 | job and a more fun time on the sculpting.
| | Collapse this transcript |
| Importing from Mudbox: choosing the right resolution| 00:00 | I'm ready to take my hammer over to Mudbox.
| | 00:02 | I've got a couple of ways to do this.
| | 00:04 | The first is to select it and
under the Max icon go down to Send to.
| | 00:10 | What Autodesk has done starting in
2012, and now improved in 2013, is given us
| | 00:15 | Send to options to
different Autodesk applications.
| | 00:18 | This is really neat, because it lets me
work in a connected workflow with Mudbox.
| | 00:23 | I'm going to send this over as a New Scene.
| | 00:25 | What's going to happen is it will open
up Mudbox, import that file and show me
| | 00:30 | at the bottom of both Max and Mudbox
that there is a live link, so if I want to
| | 00:34 | update back and forth, I can
see it in the other application.
| | 00:37 | I'll click Send as a New
Scene and see my hammer in Mudbox.
| | 00:42 | I am up here in Mudbox.
| | 00:44 | Down in the bottom right of Mudbox it
says Connected to 3ds Max and I have a
| | 00:48 | like message in Max.
| | 00:50 | This is a great way to work, as you can
sculpt and paint in Mudbox and see it in
| | 00:54 | Max, or work in Max and
update the change in Mudbox.
| | 00:57 | And it leads to a very iterative, easy cycle.
| | 01:00 | Now I'm going to start to subdivide this mesh.
| | 01:03 | Our basic workflow in Mudbox
is to subdivide and sculpt.
| | 01:07 | We'll get into Paint tools later, but
first I want to add some dents on my
| | 01:11 | hammer, it's been well used.
| | 01:13 | I'm going to scroll in.
| | 01:14 | The navigation here is actually similar
to Maya, we can remap if needed, but
| | 01:19 | for now I'm using Alt and the mouse
wheel to pan around, and Alt and the Left
| | 01:24 | mouse button to orbit or tumble.
| | 01:27 | I'll scroll in on the head and I'm
going to subdivide by pressing Shift+D or I
| | 01:33 | can choose Mesh > Add Subdivision
Level if I want to use the top menu.
| | 01:36 | By subdividing it I can see that it is
subdividing the mesh, taking every polygon
| | 01:41 | and dividing it by 4.
| | 01:43 | Mudbox is showing me a new poly count
up here in the top right, and I am going
| | 01:48 | to add in quite a bit.
| | 01:49 | Now this is now a 70,000
face hammer, that's okay.
| | 01:53 | We're going to sculpt it and either
extract to normal map here from Mudbox or
| | 01:58 | take it back to Max and Project.
| | 02:00 | This high-density hammer won't get
into the game, but it's going to let me
| | 02:04 | put in that detail.
| | 02:05 | Here is the things we can see on the export.
| | 02:07 | Although the Send to work nicely and
looks good for organics, it took the
| | 02:11 | detail out of my hammer.
| | 02:12 | I'll press W to turn off the
wireframe and we can see that my hammer has
| | 02:16 | melted a little bit. This isn't good.
| | 02:19 | So I have some other options in export.
| | 02:21 | The big deal is really,
how would you like to work.
| | 02:24 | If we use the other option, a manual FBX
export, we can get the smoothing groups
| | 02:29 | to come across correctly.
| | 02:30 | If we use the Send to Option, it's
fantastic for organic objects like this.
| | 02:34 | But when subdividing we lose those crisp edges.
| | 02:37 | I'm going to go back to Max and
manually export the FBX and import it and
| | 02:41 | show the difference.
| | 02:42 | Here in Max I've got my smoothing groups set
up and I'll choose under the Max icon Export.
| | 02:48 | I am going to export this out as HammerHigh.
| | 02:52 | I'll save it as an FBX file and in the
FBX dialog I've got a preset here for
| | 02:58 | Autodesk Mudbox or
Autodesk Media and Entertainment.
| | 03:01 | I'm going to use Mudbox and under the
Include Geometry I'm going to make sure
| | 03:05 | that my smoothing groups come across.
| | 03:08 | I'll click OK and then I'll go
into the Mudbox and open that FBX.
| | 03:14 | I'll click File Open, notice that
Mudbox has the native .mud file and can take
| | 03:19 | in other formats such as OBJs and FBXs.
| | 03:22 | I'll go find that FBX in my
Export Directory in my scene.
| | 03:27 | Here in my Game Props 3ds Max project
folder there is an export directory and in
| | 03:32 | there is my HammerHigh FBX file.
| | 03:35 | I'll click Open, I'm not going to save this
export and I'll bring it and see how it looks.
| | 03:41 | Here are the things we need to watch out for.
| | 03:43 | I didn't export a selected object;
| | 03:45 | I exported the whole scene,
so I got both hammers.
| | 03:48 | However, my smoothing groups came
across nicely. Let's see if this works.
| | 03:53 | I'm going to subdivide;
| | 03:54 | I am going to pick that active geometry here
by using the Select tool and pick that object.
| | 04:00 | When I subdivide it, those smoothing groups hold.
| | 04:03 | I'm subdividing this mesh and by
pressing wireframe I can see I've added a lot
| | 04:07 | of density, so I can sculpt the faces of
this hammer or add some dents on, but it's
| | 04:12 | preserved my smoothing groups.
| | 04:13 | This is a big deal when sculpting as we
went through a lot of effort to get that
| | 04:17 | geometry looking right.
| | 04:18 | Now I'm ready to get sculpting.
| | 04:20 | In the next video I'll look at the
sculpting tools and finally touch up the
| | 04:23 | texture with some painting on the object here.
| | Collapse this transcript |
| Using the sculpt tools in Mudbox| 00:00 | In this video I'll start sculpting my
hammer, adding dents and dings to it
| | 00:04 | to simulate some wear.
| | 00:06 | I've brought this in now as a single mesh.
| | 00:08 | I've used the Export Selected dialog out of
3ds Max and converted my wnits to centimeters,
| | 00:14 | that way the scale of things works.
| | 00:16 | I'll zoom in and subdivide.
| | 00:18 | The big deal with Mudbox is that it's
meant to work with zillions of polys, okay
| | 00:23 | not zillions, many, many thousands so
that we can get a really good subdivision
| | 00:27 | on the mesh and sculpt in a lot of detail.
| | 00:30 | We're going to take it and bake it into
a normal, so we're not going to use all
| | 00:34 | those polys in the end.
| | 00:35 | I'll press Shift+D to subdivide and we can
see it's going to tell me my polygon level.
| | 00:40 | I'll do this a couple of times,
taking my hammer up to 77,000 polys.
| | 00:45 | That's fine for sculpting;
| | 00:46 | it's going to let me add in a lot of detail.
| | 00:48 | In Mudbox the tools are down at the bottom;
Sculpt, Paint, Curve, Pose and Select and Move.
| | 00:53 | I am going to work primarily in my
Sculpt tools here and whichever tool I
| | 00:57 | have selected down here on the bottom shows
up in the Properties palette on the right.
| | 01:02 | Right now my brush is very big, so if
I start to Sculpt on this I'm going to
| | 01:06 | make giant bumps on my hammer.
| | 01:08 | I'm going to pull this down, bringing
down the sides either using the bracket
| | 01:12 | keys or the slider and
bringing down the Strength as well.
| | 01:15 | I'm going to bring the Size down to
point 0.5 and the Strength down there as
| | 01:19 | well and see how this looks.
| | 01:21 | I'll zoom in nice and close.
| | 01:22 | As I start to Sculpt I can see I
am adding in bumps to that surface.
| | 01:26 | I'll bring up the Strength a little
bit more and change that brush around.
| | 01:30 | We've got a lot of control including tablet
sensitivity, so we can get a very good sculpt.
| | 01:35 | If we scroll down, we can see in
addition to stamping and mirroring there is a
| | 01:39 | Falloff, and this affects how
that brush falls off as we sculpt.
| | 01:43 | I'm going to push that surface out a
little bit, or hold Ctrl and dish it in.
| | 01:47 | Alternately I can switch brushes
around and try things like a Flatten brush.
| | 01:52 | Right now this front face
of the hammer is very curved.
| | 01:55 | I am going to bring out my Flatten
Brush size and start to give it some facets,
| | 02:00 | brushing along here to gently move that surface.
| | 02:03 | I'll scroll up and bring the Size
up too, I'll bring the Strength down a
| | 02:07 | little bit and push that.
| | 02:10 | I'm flattening out that mesh. It's a
very subtle technique but it's going to
| | 02:14 | give me a nice result.
| | 02:15 | I'm also going to mash and flatten
some of those contours on the side, as if
| | 02:19 | this hammer has been dropped a few times.
| | 02:21 | We can get an amazing amount of detail in.
| | 02:24 | I'll switch back and use a different brush here.
| | 02:27 | I'm going to use my Imprint brush
in this case and start to put in some
| | 02:31 | additional patterning on this.
| | 02:33 | Down here on the bottom we've
got stamps and stencils we can use.
| | 02:37 | We can stamp something in with the Imprint,
clicking and dragging and letting it go.
| | 02:42 | The strength is way too high as we can see as
I just made giant jets come out of that hammer.
| | 02:47 | I'll undo this and bring that
Strength way down, here is at 0.2.
| | 02:51 | Now when I start to imprint on that
face it gives me bumps and pockmarks.
| | 02:57 | I'll zoom out and orbit
over so I can see it clearly.
| | 03:01 | I'll drag my imprint out here and mess
up the face of that hammer a little bit.
| | 03:07 | I can also work through a stencil.
| | 03:08 | And this is kind of nice, instead of
imprinting, to let me brush in a pattern.
| | 03:13 | I'll click on Stencil and here's
stencils; really we can take in any image we
| | 03:18 | want to be a stencil, these are
just the ones that come with it.
| | 03:21 | If you want to make a custom stencil
in Photoshop and bring it over you can.
| | 03:25 | And by clicking on this Add
Stencil button we can bring it in.
| | 03:29 | I'm going to use some
cloudiness here, some wrinkles.
| | 03:33 | And I'm going to sculpt through them.
| | 03:35 | As I start to sculpt through there we
can see I'm adding that pattern across.
| | 03:39 | I've got navigation for my Stencil in
the bottom left and I can move the face
| | 03:44 | of that hammer around.
| | 03:45 | I'll hit Q to hide that stencil and
I can see how I've dented that face.
| | 03:49 | I can hold Ctrl+Alt+Stenciling and push it in.
| | 03:52 | This is going to let me really mess up the
face of this hammer, as if it's being well used.
| | 03:57 | I'll continue sculpting, subdividing
as needed and then come back and look at
| | 04:01 | painting and refining.
| | Collapse this transcript |
| Painting in Mudbox| 00:00 | In this video I'll start to paint this object.
| | 00:03 | I've already got a base diffuse texture,
| | 00:05 | although I could easily paint that here
in Mudbox too. I've continued to sculpt
| | 00:09 | this a bit, as we can see on this part
of the hammer I've mashed some of these
| | 00:13 | edges and dented and scraped the top
using the stencils, both sculpting through
| | 00:17 | them and imprinting in.
| | 00:19 | I've used the Grab tool and Smoothing
and Pinching to massage these edges, so
| | 00:23 | that they are not as perfect, to
really simulate some wear on this.
| | 00:26 | Finally there is this other side that's
just really beaten up, as if it had been
| | 00:31 | completely chipped away.
| | 00:32 | For painting, we can switch to the
Paint tools, and we have a lot of familiar
| | 00:37 | brush tools available.
| | 00:38 | I'll go over my Paint layers, and
right now what it shows is, in the Diffuse
| | 00:42 | channel is Map #6, the
original map that came across.
| | 00:45 | I've got a strength on this, which
I can dial up and down if needed.
| | 00:49 | What I'm going do is, make a new diffuse layer
and add some additional rust and wear on here.
| | 00:54 | I'll quick on my layers and make a new layer.
| | 00:57 | What Mudbox asks is, how big should
this be? What's it called? What format is
| | 01:02 | it, and where should it go?
| | 01:03 | I am going to put this in the Diffuse
and I'm going to paint as a TIFF at 1024,
| | 01:09 | so it's an over-paint, it's little big,
but it'll let me get good detail in, then I
| | 01:12 | can reduce if needed.
| | 01:14 | I'm going to name this rust.
| | 01:18 | With my Paintbrush selected, I've got
standard paint controls, Color, Size,
| | 01:23 | Strength, Mirror, all the familiar things.
| | 01:26 | I'll click on the color and I'm
going to choose a rust colored here.
| | 01:31 | If I get started to paint
I'm going to get giant streaks.
| | 01:34 | What I usually like to do to paint is
reduce down the strength of that brush and
| | 01:39 | set this over as a blending mode.
| | 01:42 | We've got in here different blending
modes for our layers and these are our
| | 01:45 | standard familiar blending modes.
| | 01:47 | I'm going to blend this over as a
Multiply, just like with a shipping container.
| | 01:51 | As I paint here with a nice low strength,
I'm going to add some rust over this.
| | 01:57 | I'll multiply in some rust for some
darkness on the bottom here, and then I'll
| | 02:00 | come back and change this over instead
of painting as a Multiply, I'll switch
| | 02:05 | into a normal layer.
| | 02:06 | I can also add in other pieces and other
layers to really kind of get that look together.
| | 02:12 | I'll add in some rust, change the color
and go a little darker, then I'll take
| | 02:17 | that strength up just a bit and use my
brackets to upsize the brush, and I'll
| | 02:21 | over-paint, just a little
bit of darker rust on this.
| | 02:25 | As if this handle had maybe water
dripping on and it started to rust in this part.
| | 02:29 | It's a great way to be able to paint
straight on an object, as long as our UVs
| | 02:33 | are wrapped nicely, we'll get the paint
where we wanted, and we can add in a lot
| | 02:37 | of layering and detail here.
| | 02:39 | We'll export these maps and
bring them in as our material.
| | 02:42 | But this is a great way
to get objects fine-tuned.
| | 02:46 | I'll add in a little bit more rust here
on the top, just making those scratches
| | 02:50 | really kind of shine.
| | 02:52 | Here's a little bit of rust on the
face. I thought it was too clean, so I'm
| | 02:57 | going to dock this in just a little bit.
| | 02:59 | We can also work with a
Wacom or a Cintiq if needed here.
| | 03:02 | Finally we can paint in other layers.
| | 03:04 | Right now I'm painting in the
Diffuse color, but I'd like to paint some
| | 03:07 | specularity as well.
| | 03:09 | I'll click on New Layer, and instead
of painting in the Diffuse Channel, I'm
| | 03:13 | going to paint in the Specular.
| | 03:15 | I'll paint this at 1024
and I'll name this Shine.
| | 03:21 | I'm going to paint here in the Specular
Color, so I'll switch that color up to
| | 03:24 | something brighter, when this rust
is shiny it maybe much yellowier.
| | 03:30 | I'll start to add in that specular color,
and actually what's going on, as you
| | 03:35 | can see as I orbit around, is when that
rust is shiny, it shines in this color.
| | 03:40 | It's pretty cool to be able to paint that.
| | 03:42 | What it lets us do then is put in all of
our different channels and see how they
| | 03:47 | react, so that when we bring them into
game, they're going to work correctly.
| | 03:51 | I'll add in one more and then start to export.
| | 03:54 | I'll put in a new layer and instead of
Specularity, I'm going to do a Gloss channel.
| | 04:00 | Glossiness determines how shiny is the object;
specular is what color is it when it shines.
| | 04:06 | In my gloss I'm going to paint in a near white.
| | 04:11 | I'll go in the hammerhead and start
to paint in my glossiness, what this is
| | 04:15 | doing for me is, letting this shine more.
| | 04:19 | As I spin around, I get
more of a shine on that head.
| | 04:23 | I'll do it again up here on the top
in the scratches so we can see it.
| | 04:27 | I'll pull that shine down, and as
I start to paint, I get my color.
| | 04:32 | Now I may want to play with this a bit as it's
getting too dark and it's too big of a brush.
| | 04:38 | I'll pull my brush way down and I'm going
to paint a very, very low strength on this.
| | 04:43 | I'll start to paint in right there where
those scratches are, and here it is less shiny.
| | 04:50 | I'm actually taking out part of
that specularity and custom tuning it.
| | 04:54 | What I have put in here
are long, rusted scratches.
| | 04:57 | As we orbit around, we can see that
shine changing on the model and this is
| | 05:01 | pretty cool to be able to paint it
and see it, to get good use out of the
| | 05:06 | viewport and see how it's
going to behave in a game.
| | 05:08 | As I move around we can see that head
has been scratched and that specular
| | 05:12 | color shows through.
| | 05:13 | It's going to be here in the normal map
for the scratches, plus the glossiness,
| | 05:17 | and a specular color in
addition to the diffuse map.
| | 05:20 | We can get some really rich painting
going on, and use those channels in
| | 05:23 | different ways in our game.
| | 05:24 | When I'm all done painting, I'm going
to export these out and I can either
| | 05:28 | bring them out into Photoshop or take
them straight in Engine or back into 3ds
| | 05:32 | Max to see how they look.
| | Collapse this transcript |
| Exporting paint layers from Mudbox| 00:00 | In this video I'll look at taking the
paint layers out, exporting them out of
| | 00:05 | Mudbox and taking them both into Adobe
Photoshop for further editing, as well as
| | 00:09 | exporting flattened layers
for use in Unity or 3ds Max.
| | 00:12 | I have two channels going here, a
Diffuse channel and in there are three layers
| | 00:16 | and a Specular channel with one.
| | 00:18 | I've got different ways I can
export depending on my needs.
| | 00:22 | I'll take my Diffuse channel, select
any of the layers inside it and on the
| | 00:26 | flyout here choose Export Channel to PSD.
| | 00:29 | We can take a layered PSD out of
Mudbox including the template or mesh
| | 00:33 | overlay, and further edit it, or use
the tools in Photoshop that are more
| | 00:37 | suited to what we need.
| | 00:39 | I'll choose Export Channel
to PSD and I'll name this.
| | 00:43 | I'll put it in my
sceneassets > images > working folder.
| | 00:46 | Remember I have a working folder
here so that PSDs are not available for
| | 00:50 | choosing as a texture.
| | 00:52 | In case I have a lot of other working data in
there, that I don't want Max to be confused with.
| | 00:57 | I'll call this one
HammerWorking and I'll click Save.
| | 01:01 | It's going to pull it up here in Photoshop.
| | 01:04 | There is my hammer, including the base mesh,
and I'm ready to do other work on it if needed.
| | 01:09 | What it gave me is a layer that's the
base mesh, essentially our template we
| | 01:13 | can turn off and on.
| | 01:15 | It put out each of my paint layers as
separate layers here, and finally it added
| | 01:19 | in a neutral gray background, in case
there are any gaps or goofs in there.
| | 01:25 | There is the paint work I've done, with
the rust on the head and the dirt on the
| | 01:28 | handle I've put on. I can now keep
editing this if needed or downsize it, then
| | 01:33 | I'll export it out and use it in my game engine.
| | 01:36 | I'll save this out, choosing File > Save As.
| | 01:41 | We don't always have to take it out as
a PSD, but some of the times it's handy
| | 01:45 | to be able to do that for other workflows.
| | 01:47 | I'll call this one HammerC and
I'll place it up one directory in my
| | 01:52 | sceneassets > images folder.
| | 01:54 | I'll make this a TIFF image, turning
off Layers and turning off the Alpha
| | 01:58 | Channel, because I don't need transparency here.
| | 02:01 | What I may end up doing, and this is
a possibility we'll look at in future
| | 02:04 | chapters, is taking this Diffuse and
combining the Specular into the alpha
| | 02:09 | channel in Photoshop.
| | 02:10 | That way Unity will see it, but for now, I'm
just going to bring out this Diffuse channel.
| | 02:15 | I'll click Save and click OK.
| | 02:17 | Now I can bring this into my hammer in
3ds Max into the material and apply it.
| | 02:22 | I'll go back to Mudbox first and
take that Specular channel out.
| | 02:25 | Here in Mudbox, I'm going to right-
click on my Specular layer and instead of
| | 02:29 | exporting out of PSD, I'm going to
take out this map as a single image.
| | 02:33 | I'll right-click on that
layer and choose Export Selected.
| | 02:37 | As an alternate, I can use the menu up
at the top and choosing Export Selected.
| | 02:43 | This let's me take out a
single layer out of the channel.
| | 02:46 | I'll put it into sceneassets >
images and call it HammerS for Specular.
| | 02:53 | Now I've got my paint layers out.
| | 02:55 | In the next videos we'll look at how
to take the normal maps out and also the
| | 02:59 | base mesh in case we've moved them around.
| | Collapse this transcript |
| Extracting and exporting a normal map from Mudbox| 00:00 | In this video I'll extract the
normal map from my high poly sledgehammer.
| | 00:05 | This is a process something like the
Render To Texture in 3ds Max, and it's
| | 00:09 | really a personal preference and
workflow choice which one you use.
| | 00:12 | I'll show this and then we'll
show this hammer in 3ds Max as well.
| | 00:17 | It's really a question of where do you
want to do the baking, and what gives
| | 00:21 | you the best result?
| | 00:22 | Baking in Mudbox is pretty easy. I'll
choose Maps > Extract Texture Maps. I'll
| | 00:27 | do a New Operation and in that
operation, I've got some choices.
| | 00:31 | I'm going to take out of here a Normal Map.
| | 00:35 | Once I click on Normal Map, it
takes me down to the Normal Map
| | 00:38 | Extraction parameters.
| | 00:40 | The first thing I want to look at
is are my Source and Targets correct.
| | 00:44 | My Target Model is the level 0
hammer, my source is the highest res.
| | 00:49 | These don't have to stay at the defaults.
| | 00:51 | We can res-up and res-down, using the
Page Up and Page Down keys to step up and
| | 00:56 | down in the subdivision levels
depending on where we need to bake.
| | 00:59 | As an example, you may start out with a
level 0, subdivide the level 1 and sculpt
| | 01:04 | and bake from level 5 to level 1.
| | 01:08 | In this case, I'm going to
bake down to the lowest res mesh.
| | 01:11 | I'm going to use the Creases & Hard
Edges and Smooth the Target Models.
| | 01:16 | I'll scroll this down
and look at the parameters.
| | 01:19 | The defaults are pretty good.
| | 01:21 | What this covers for us is how are we
choosing to sample, are we going from to
| | 01:25 | the outside points to the inside,
and also what size is the image.
| | 01:29 | What I'll do is generate one map at
1024 square and turn on some Antialiasing,
| | 01:34 | so it smoothes out my normals nicely.
| | 01:37 | In the Normal Map Output I want
to pick which way I'm working.
| | 01:40 | Maya and Softimage have a different
flipping of the X and Y, or the red and
| | 01:45 | green than 3ds Max.
| | 01:47 | We can always go in and change these
around if needed, but I am going to make my
| | 01:51 | Compatibility 3ds Max in this case.
| | 01:53 | We want Tangent Space normals, as this
determines how it's reorienting those
| | 01:57 | surface normals apparently with that map.
| | 01:59 | I'm going to put this out as a texture.
| | 02:02 | We have an option here for Ptex if you
are working out to a RenderMan workflow.
| | 02:06 | For games I'll put it out as a Texture
and I'll put it in the Base File Name and
| | 02:10 | browse it over to where I want it.
| | 02:12 | I'm in my Exercise Files >
Game Props > 3ds Max project.
| | 02:16 | I'll put this into the
sceneassets > images folder.
| | 02:19 | We have some options here about
how to put out our normal maps.
| | 02:22 | Although the default is PNG, we
have a lot of different possibilities.
| | 02:26 | I'm going to choose this
as a TIFF and put a name in;
| | 02:29 | I'll call this HammerN for normal.
| | 02:33 | I'll click Save and when
I'm ready, I'll click Extract.
| | 02:37 | Mudbox will take a minute, extract
out this normal and ding when it's done.
| | 02:43 | The extraction finished successfully.
| | 02:45 | If it was unsuccessful, if I had made
that mesh go irrational or crossover
| | 02:49 | itself, or have places with volume of
zero, it would give me a warning then, but
| | 02:54 | it looks like everything worked nicely.
| | 02:56 | Now I'm going to go back into 3ds
Max and add this into my material.
| | 03:02 | Here in 3ds Max I'll press M
to pull up my material editor.
| | 03:05 | I'm going to make a new
material for my dirty large hammer.
| | 03:09 | I'll click on a material and in my
Diffuse channel I'm going to put a bitmap.
| | 03:13 | I'll click on the Map Slot and choose
Bitmap for my Standard maps, and in there
| | 03:19 | will go my hammer image I've painted.
| | 03:21 | There is HammerC, that's my Diffuse Texture.
| | 03:25 | I'll pick that one, go up to the
parent and scroll down to the bump.
| | 03:30 | Into the Maps and the
Bump I'll put a Normal Bump.
| | 03:35 | I'll double-click on Normal Bump,
click on Normal and add in a Bitmap.
| | 03:40 | Remember we need to do this to let Max know
that this is a normal, not a standard bump.
| | 03:46 | We can also add an additional bump if needed.
| | 03:49 | I'll scroll down and there's my
HammerNormal that I've baked out.
| | 03:53 | I'll take a closer look and what we
can see here is that the handle has some
| | 03:57 | variants to it and really all that subdivision
showed up in the normal map here on the head.
| | 04:03 | That's all my sculpting in that
face and there are those scratches.
| | 04:07 | I'll click Open and see
if this worked correctly.
| | 04:10 | I'll go up to the parent,
rename this material and assign it;
| | 04:14 | I'll call this Hammer Large.
| | 04:19 | I'll select the object and
assign the material to this selection.
| | 04:23 | I'm going to turn on the Show Shaded
Material in Viewport toggle and I'm going
| | 04:27 | to make sure my bump
looks good at strength of 100.
| | 04:31 | We can modulate a bump if needed, but
it's a good practice in here to make sure
| | 04:35 | your bumps or your normal
maps run fine at full strength.
| | 04:39 | Not all game engines will accept
modification, it may be simply a choice of
| | 04:43 | there is a bump or normal or not.
| | 04:46 | I'll deselect, go around and see if it worked.
| | 04:49 | There is that rust
painting and it looks pretty good.
| | 04:52 | I can tell my normal map is working
when I put a light in, but so far the
| | 04:56 | rusty head looks nice.
| | 04:59 | I'll click on my Standard lights, add a
point light in and see if this worked.
| | 05:06 | I think it's working, I'm going to
make sure under Realistic that I choose
| | 05:10 | Materials and Realistic Materials with Maps.
| | 05:13 | Just to verify that my normal map is on.
| | 05:16 | And there it is. It's always
good to put a light in and see that
| | 05:19 | change dynamically.
| | 05:21 | I'll pull this over and there are
those scratches; looks like my sculpting
| | 05:25 | worked nicely and now I appear to have
a lot more detail on this object than
| | 05:29 | it started out with.
| | 05:30 | In reality it's still the same
number of polygons and there's that
| | 05:33 | specularity and the rust.
| | 05:36 | I'm ready to take this across into
Unity, but before I do, I'm going to show
| | 05:40 | another method of projecting
in 3ds Max in the next video.
| | Collapse this transcript |
| Projecting normal maps from a Mudbox model| 00:00 | In this video I'm going to export this
hammer out and bring it into 3ds Max.
| | 00:05 | I'm going to try my projection
and baking for normals there.
| | 00:08 | Which workflow you choose is really up to you.
| | 00:11 | It really depends on the look you want, and
the control you want when you bake your normals.
| | 00:15 | What I'm going to do is take this down
a level of subdivision before exporting.
| | 00:20 | I'll press Page Down and there's that Level
4 subdivision shown, with 19,000 polygons.
| | 00:27 | I'll go down to my Select/Move tools,
pick Objects and select my hammer.
| | 00:32 | I can also pick it over here on the object list.
| | 00:35 | I'll choose File > Export Selection.
| | 00:37 | We can send to 3ds Max, either
updating a current scene or sending, or
| | 00:42 | exporting as a new scene.
| | 00:44 | I'll choose Export in this case,
and I'm going to name this hammer.
| | 00:49 | I'll put it out as an FBX into my
Game Props Project > import folder.
| | 00:54 | That way when I go to import it in
3ds Max, it looks in the right place.
| | 00:59 | Mudbox exported out my mesh and now I'm
ready to go over to Max and pull it in.
| | 01:04 | Here in 3ds Max I've got my low res hammer
and my high res should overlap it exactly.
| | 01:09 | What I will do is rename this low res,
selecting it and putting Low at the end.
| | 01:15 | That way there's not a name conflict coming in.
| | 01:17 | I'll choose on the Max icon, Import.
| | 01:21 | And under Import I'm going to import in my FBX.
| | 01:26 | I'll pick that hammer FBX.
| | 01:28 | Notice how that project
management really applies here.
| | 01:30 | When I went to import it, pulled it
straight in from the right directory.
| | 01:34 | I'll click Open, and in the dialog that
comes up, I'm going to choose my Current Preset.
| | 01:39 | I'm working on the
Autodesk Media & Entertainment.
| | 01:42 | If we need to customize, such as in
Geometry, importing Smoothing Groups we can.
| | 01:46 | I'll click OK and it should
bring in my high res hammer.
| | 01:50 | It looks like my hammer worked
nicely and actually there are two of them
| | 01:53 | perfectly overlapping.
| | 01:54 | What we can see here, and you can tell
by the flickering is that the low and the
| | 01:58 | high res hammer are right over each other.
| | 02:00 | So I'm ready to bake.
| | 02:01 | I'll press 0 for Render To Texture,
and I'll click and make sure I select
| | 02:06 | HammerLargeLow as my base object.
| | 02:09 | I'll check Projection
Mapping and pick the high res.
| | 02:12 | There is my high res hammer and I'll click Add.
| | 02:16 | I'm going to use my existing Map Channel and
Use the Existing Channel for the Sub-Objects.
| | 02:21 | I'll add in a NormalsMap and click Add Elements.
| | 02:25 | I'll scroll down and I'm
going to run this out at 1024.
| | 02:29 | It seems big but I'd rather
make it large and then downsize it.
| | 02:32 | I'm going to leave the name alone as I
may come in and rename things when I'm
| | 02:36 | ready for importing.
| | 02:37 | I'll output this into the Normal Bump
and scroll down and make sure that I'm
| | 02:41 | outputting in the source, so
it goes in the right place.
| | 02:44 | I'll click Render when I'm ready and
I should see my normal map shortly.
| | 02:49 | Max rendered out our Diffused
Texture and we can see the two meshes
| | 02:52 | overlapping somewhat.
| | 02:54 | I'll turn that off and close
the Render To Texture dialog.
| | 02:59 | I'll right-click and choose Hide Unselected.
| | 03:02 | Now I can see my hammer cleanly and
I'll make sure that normal map came in.
| | 03:06 | I'll press M for Materials and, there's my
material; it actually put it into the wood.
| | 03:12 | I'm going to put this in
another material so I can see it.
| | 03:15 | I'll click on a material and in this
material into the Diffuse Map I'm going to
| | 03:19 | put that hammer paint that I had done.
| | 03:22 | I'll choose Bitmap and in my sceneassets >
images I'll scroll down and pick my painted hammer.
| | 03:30 | There's HammerC and it's got the rust on it.
| | 03:33 | I'll go up to the parent and I'll
scroll down or roll up the Blinn Basic
| | 03:37 | Parameters, and go into the Maps.
| | 03:41 | Here in the Bump Map, I'll click on the
None slot and I'll choose Normal Bump.
| | 03:46 | I'm going through and making a custom
material just to make sure it's all coming in clean.
| | 03:51 | In the Normal slot I'll click
on None and put in a bitmap.
| | 03:55 | I'll scroll down and
there's HammerLargeLowNormals.
| | 03:59 | I'll view this and see how it came out.
| | 04:02 | It looks pretty good.
| | 04:03 | I've got some maybe oddness in
the subdivision here, but it seems to
| | 04:07 | work pretty nicely.
| | 04:08 | And there's that head, the
one that's been beaten up.
| | 04:10 | There're the scratches
and all the different parts.
| | 04:14 | I'll click Open and I'll go up to the parent.
| | 04:16 | I'm going to make sure that the
Strength is 1, go up to the Root Maps and make
| | 04:21 | sure that Bump runs at a strength of 100.
| | 04:23 | As I've said before, it's good to make
sure that your Bump Maps run at full strength.
| | 04:29 | Often we have an option to have a
normal, not necessarily how strong is it,
| | 04:33 | but is it there or not.
| | 04:35 | So I've put it on and I'm going to make
sure I assign this material to that object.
| | 04:40 | I'll show this material in the
View and it looks pretty good.
| | 04:45 | The last test I'll do then is to put a light in.
| | 04:48 | I'll click under my
Standard lights and choose Omni.
| | 04:51 | I'll put a light in this scene,
press W to move and pull it over.
| | 04:55 | I'll pull it up and see if those scratches read.
| | 05:00 | I'm going to make sure I go under
Realistic > Materials > Realistic Materials
| | 05:06 | with Maps and the viewport configuration.
| | 05:09 | There's the normal map.
| | 05:10 | It looks like the projection may
have had a little trouble at some of the
| | 05:13 | corners as I'm getting star shapes.
| | 05:15 | This may be a function of the
projection cage which I can go back and tweak.
| | 05:19 | What this serves to illustrate is
that there is different ways of baking.
| | 05:23 | I can go back here in Max very easily
and play with that projection, and this
| | 05:27 | cage exploding out here may need to
slim down a little bit. That could be the
| | 05:31 | reason why I'm getting those odd shapes.
| | 05:34 | We can go back and tweak this if we
need or we can work straight out of Mudbox
| | 05:37 | extracting normals there.
| | 05:39 | Whichever way you do it is up to you.
| | 05:41 | It really depends on you getting the look
you want as part of your modeling process.
| | 05:46 | Now I'm ready to take these into Unity.
| | 05:48 | I'll pick the best version, pull it
in, light it and see how it looks.
| | Collapse this transcript |
| Importing and assigning objects and maps in Unity| 00:00 | I've exported my model out as an FBX,
and dropped it in the Unity Assets folder.
| | 00:05 | Unity recognizes that and
imports it automatically.
| | 00:08 | I've slid it over next to the other
hammer and I've also put the maps in that
| | 00:11 | same directory so they come in.
| | 00:13 | Here's HammerC and HammerN.
| | 00:16 | I need to change these around a little
bit to make sure they come in right and I
| | 00:20 | am going to put a material on my hammer.
| | 00:22 | HammerN is the normal map, what I
need to do is make sure Unity regards it
| | 00:26 | correctly, so under Texture Type I'll
dropdown under Texture and choose Normal map.
| | 00:31 | I don't want to create it from the
grayscale, as I've already made it, so I'll
| | 00:35 | uncheck this, and the filtering looks
good for now. I can always come back and
| | 00:39 | play with this if I need.
| | 00:40 | In here I can also set the max size. It
depends on how we are going to be using it.
| | 00:45 | A size at 1024 is maybe excessive for a
tool like this is and should really max
| | 00:50 | out of maybe 512, but I rendered it
nice and high, so that way I have the
| | 00:53 | flexibility if needed.
| | 00:55 | I am going to reduce this down.
| | 00:57 | I'll try it at 512 so it doesn't eat
up a ton of memory and I'll hit Apply.
| | 01:02 | My color is the same, it's a texture
that works nicely, but I need to reduce
| | 01:07 | this size down. I'll make it 512 and hit Apply.
| | 01:11 | Now I'm ready for the material.
| | 01:13 | I'll right-click in my Project
Window and choose Create > Material.
| | 01:17 | I'll name this material
and I'll call it HammerLarge.
| | 01:25 | In this material I am going to change
it over from a diffuse material to a
| | 01:29 | material with normal.
| | 01:30 | I'll dropdown under
Diffuse and pick Bumped Diffuse.
| | 01:34 | I can also do a Bump Specular if I need. I'll
see how this specular map looks in a minute.
| | 01:39 | In Bumped Diffuse I can drag my maps in.
| | 01:42 | I can either click on Select or I can
pull them straight from my Project Window.
| | 01:46 | I'm going to pull my HammerC and
throw it on that Diffuse texture, then I'll
| | 01:50 | pull that HammerN and pull it right in.
| | 01:54 | You can see here how naming
conventions are important; that I was able to go
| | 01:57 | and find those maps easily, and that's
a big deal when you're working with a
| | 02:01 | lot of objects in a game.
| | 02:03 | Now I'll take this HammerLarge
material and drag it right onto that hammer.
| | 02:08 | We can see here in the Inspector that
that material is now applied and when I
| | 02:13 | look at the hammer and zoom around it,
I can see that normal map working, even
| | 02:17 | at its reduced resolution.
| | 02:19 | There is that dented head, there is
the rust, the scratches, all the fun
| | 02:23 | things I put in there.
| | 02:25 | The detail in Mudbox really comes across.
| | 02:27 | I'm ready to use this in part of my game,
make it something a player can pick up
| | 02:32 | and bang on things, or leave it
around as general color in the scene.
| | 02:35 | Digital sculpting apps are
important in the game pipeline.
| | 02:38 | As they let us add in a lot of
realism in detail while not blowing out
| | 02:42 | our polygon counts.
| | 02:43 | We always want to keep our polys
fairly low, and really maximize how we are
| | 02:48 | using our texture's space, and as part
of that being able to sculpt in really
| | 02:52 | good detail and painted on a model is important.
| | 02:54 | I want to use a mixed workflow in Max,
Mudbox and Unity to get what I need and
| | 03:00 | to get it right and on time.
| | 03:01 | I want to stay organized while I do it,
and I can get really good-looking stuff.
| | 03:06 | In this case it's a really good-
looking large rusty sledgehammer.
| | Collapse this transcript |
|
|
8. Ambient Occlusion and SpecularityOverview of ambient occlusion and specularity| 00:00 | In this chapter, we'll look at adding
realism and detail to our game props
| | 00:05 | using Ambient Occlusion imagery baked
out of 3ds Max, as well as Specular maps
| | 00:09 | painted directly from the
Diffuse channel in Photoshop.
| | 00:12 | We'll look at how to put them easily into an
alpha channel and how they show up in a game.
| | 00:17 | We can really see a difference
when an object has and does not have.
| | 00:21 | That rust on the left side
is just as shiny as the paint.
| | 00:24 | On the right side, the paint is
definitely more shiny than the rust, which is
| | 00:28 | eating through the surface.
| | 00:29 | It's a great way to add realism and
detail to your game objects and not
| | 00:33 | increase the poly count.
| | 00:35 | When it's done right into the
existing UVs it's a tremendous plus in
| | 00:38 | the realism.
| | Collapse this transcript |
| Setting up ambient occlusion as a texture| 00:00 | In this video, I'll look at getting
ambient occlusion set up as part of a texture.
| | 00:04 | We can use ambient occlusion as a
foundation for rust and dirt and we need to
| | 00:09 | have an understanding of what
it is and what it does first.
| | 00:11 | Ambient occlusion is the blocking of
bounce light between adjacent objects.
| | 00:16 | As we can see here in this rendering,
the container is adjacent to the ground
| | 00:20 | and has blocked the bounce
light, returning darkness for us.
| | 00:23 | This also shows up right under the top of
the corrugations here and along the edge.
| | 00:27 | It's a great way to make
detail pop out on a model.
| | 00:30 | We can use it as a foundation for dirt
or rust and also to make all the little
| | 00:35 | shadows we expect to be there, have some punch.
| | 00:37 | Here's my container and I am going
to get it optimized for occlusion.
| | 00:41 | I'll select the container and open
up the UV Editor and take a look.
| | 00:46 | This looks fine, at least for our
texturing it works nicely, but for ambient
| | 00:50 | occlusion this will cause some problems.
| | 00:52 | Because I've got multiple objects
overlapping their occlusions will overlap when
| | 00:56 | I render to texture.
| | 00:57 | So I'm going to optimize this mesh a
little bit just for projecting out occlusion.
| | 01:02 | I'll drop back down to the Editable Poly and
I'll click Yes to the warning that pops up.
| | 01:07 | I'll press 5 for Element and I'll
turn off my Soft Selection that was on.
| | 01:12 | What I'm going to do is leave this
side here, but I'll spin around and delete
| | 01:17 | the other corrugated side.
| | 01:19 | I'm also going to delete the
bottom and that way the top gets its
| | 01:22 | occlusion correctly.
| | 01:24 | Finally, I'll go into that unwrap and grab
some of the shells and move them out of the way.
| | 01:29 | I'll right-click choose Top-level and go
into the Unwrap dialog and into the Editor.
| | 01:35 | Where I've got multiple elements overlapping
is going to cause a problem in the occlusion.
| | 01:39 | What I'm going to do then is take one
of each and leave them in here and take
| | 01:44 | the others and scale them
into a place I'm not using.
| | 01:47 | I'll do this and then get ready to bake.
| | 01:50 | I've optimized this UV
layout a little bit as well.
| | 01:53 | I've taken lot of those linear
elements and scaled them down here just out of
| | 01:58 | the way, leaving me a couple of
singular corners and just two of the linear
| | 02:02 | elements for the sides.
| | 02:04 | This is a place where thinking through how
you stack those UVs is a really good idea.
| | 02:09 | You could even run the ambient occlusion and
stack the UVs on top of it for the right look.
| | 02:14 | Now I'm ready to bake.
| | 02:15 | I've got that mesh optimized
and so it should bake nicely.
| | 02:19 | I'll click on the Render Setup and
make sure down in the bottom of the common
| | 02:22 | parameters under the Assign Renderer
dialog that I assign mental ray to the
| | 02:26 | Production Renderer.
| | 02:27 | I'll click on the Choose
Renderer button and select mental ray.
| | 02:32 | I'll go to the Indirect
Illumination tab and turn off Final Gather;
| | 02:35 | I don't need that for my occlusion.
| | 02:37 | I'll go to the Renderer tab finally
and change my Minimum Sampling to 1, so I
| | 02:41 | get better anti-aliasing, smoother quality.
| | 02:44 | I'll close this and then press 0 to
pull up the Render To Texture dialog.
| | 02:48 | I've got my ContainerHigh selected and
I'll scroll down, making sure I'm using
| | 02:53 | the Existing Channel, Channel 1 in the unwrap.
| | 02:56 | Now under the Output Size I will
click on Add and there is the Ambient
| | 03:00 | Occlusion. I'll click Add Elements
and it wants to put it in a Map Slot.
| | 03:05 | I'm not going to put a Target Map Slot
in as I don't want it to go in as part of
| | 03:09 | a material, instead I want to use it
as a foundation for texture painting.
| | 03:12 | I'll let it be the default name and
change the Resolution, I am going to
| | 03:17 | run this it at 1024.
| | 03:18 | Here in our Unique Element Settings
there is our ambient occlusion parameters.
| | 03:22 | The Max Distance of 0 means everybody
occludes everybody, no matter how far apart.
| | 03:26 | I am going to pull this is up to 18, so
I get local occlusion that really makes
| | 03:30 | all the detail pop out.
| | 03:32 | Spread determines how that occlusion sits
in the corner or spreads out into that zone.
| | 03:38 | Finally Samples are our quality;
| | 03:39 | I am going to kick mine up to 32
to eliminate some dots and spotting.
| | 03:44 | The Bright and Dark colors determine
from no occlusion to full occlusion what
| | 03:48 | color do we get. I'm going to leave
those alone so I get the maximum range.
| | 03:52 | I'll hit Render and I'll wait for the
occlusion and I see how it looks when I am done.
| | 03:57 | It brought an error
message for me, and this is okay.
| | 04:00 | All it's saying is, you didn't want
to put this anywhere, is this okay?
| | 04:04 | And yes it is, because I just want the image.
| | 04:06 | I click Continue and Overwrite an existing file.
| | 04:12 | My rendering is finished and although
it presented me a nice looking diffuse
| | 04:15 | render, it's not what I need. I'll close this;
| | 04:18 | this is a byproduct of any Render To Texture.
| | 04:21 | And here I can view my occlusion without
leaving the Render To Texture dialog to
| | 04:24 | see if it worked right.
| | 04:26 | I'll click on the File Name and Type
chooser button and it pulls up out of my
| | 04:30 | sceneassets > images, all the images available.
| | 04:33 | I'll scroll down and there is
that Container High Occlusion image.
| | 04:37 | I'll select it and check View; there
is the occlusion and it worked nicely.
| | 04:42 | We can see in here where the occlusion
may have issues, especially in places
| | 04:46 | with overlapping polygons
like those corner blocks.
| | 04:49 | I need to go through and optimize those further.
| | 04:51 | But down here where I've got this
corrugated mesh hitting that linear framing
| | 04:56 | element, and along here there's
my side, it worked beautifully.
| | 05:00 | The occlusion gave me darkness on the
corners and really makes all the detail pop out.
| | 05:04 | The neat thing is that this is the
natural place where rust will happen, and so
| | 05:08 | this is a great foundation for rust
and dirt in the model, and adding what we
| | 05:12 | perceive as more detail.
| | Collapse this transcript |
| Using ambient occlusion as a foundation for rust and dirt| 00:00 | In this video I'll explore multiple
occlusion passes, as different ways
| | 00:04 | of dealing with dirt.
| | 00:05 | I've got my shipping
container, or well, half of it anyway.
| | 00:08 | I've done some optimization so
the occlusion bakes out cleanly.
| | 00:12 | I want to go through and do a little
more at some point, but now I'm going to
| | 00:16 | bake out multiple occlusion passes.
| | 00:17 | Sometimes we want two
different parts to the occlusion.
| | 00:20 | We want local very tight occlusion in
all of the corners to really make those
| | 00:24 | details pop out, and then a bigger
more spread occlusion for things like dirt
| | 00:28 | and rust that creeps up surfaces.
| | 00:30 | I'll press 0 and pull up the
Render To Texture dialog again.
| | 00:34 | I'm going to leave all the parameters
set as they have been, using the existing
| | 00:38 | channel and making an occlusion image.
| | 00:40 | But I'm going to rename this one.
| | 00:42 | Right now I've got an occlusion
with the default name already rendered,
| | 00:45 | ContainerHighAmbientOcclusion.
| | 00:47 | I'll click on the button that lets me choose
where it's going to go and I'll put it 2 in here.
| | 00:52 | I'm going to render this out as a Targa.
| | 00:54 | As an important note, when you're
rendering intermediate textures like this, use
| | 00:58 | a format that's uncompressed.
| | 01:00 | Disk space is relatively cheap, and
losing data by compressing, such as with a
| | 01:04 | JPEG, means you may have
artifacts in your texture.
| | 01:07 | So for the intermediate files that you
are going to render, use and then throw
| | 01:11 | away, render them uncompressed
so you get your full data there.
| | 01:15 | I'll click save and OK.
| | 01:18 | In this case, what I'm going to do
is vary that distance of occlusion.
| | 01:22 | The original distance I'd done was at
18 and that really let the occlusion spread
| | 01:26 | decently in local areas.
| | 01:28 | Now I'm going to push
that Max Distance a little farther out.
| | 01:31 | I'll push it out to 48 and I'm going
to play with this Spread a little bit.
| | 01:36 | This is going to give me a foundation
for overlaying rust in all of the corners,
| | 01:40 | and starting to build in places where
may be streaks have occurred from water
| | 01:43 | running down the container.
| | 01:45 | I'll take this Spread down just a little bit.
| | 01:48 | At 0.7, a little more of the
darkness will hang out towards the corners.
| | 01:52 | Now I'm ready to render.
| | 01:53 | I'm going to render this and I'll pull
up the images plus the diffused texture
| | 01:57 | in Photoshop, layer them together and
start to see how this is going to look.
| | 02:02 | Again with rendering, I get this error message.
| | 02:04 | If it bothers you, you can check the
Don't display this message again box, and
| | 02:08 | then just hit Continue.
| | 02:10 | It's just noting that this is not
specified to go to a material slot.
| | 02:15 | I've rendered out the occlusion and
I'll check it out and see how it looks by
| | 02:19 | clicking on the chooser
button and scrolling down.
| | 02:22 | There's that Occlusion2.
| | 02:24 | I'll click View and see how this came out.
| | 02:27 | What I'm getting here is a little
bit more of a spread in the occlusion.
| | 02:30 | I may want to vary this, adding in
other objects to further deepen it or
| | 02:35 | reducing the amount of occlusion.
| | 02:36 | I bring these into Photoshop now and
lay them together and see how it looks.
| | 02:41 | I've opened up my working shipping
container in PSD in Photoshop and I've got
| | 02:45 | the ambient occlusion image open as well.
| | 02:47 | I'm going to take that occlusion image
and copy and paste it after I've reduced
| | 02:51 | it into this container map.
| | 02:53 | As we can see up here in the
top, the sizes are different.
| | 02:56 | This container was drawn at 2048;
| | 02:59 | the occlusion map was rendered at 1024.
| | 03:02 | I do have some options in here.
| | 03:03 | I could either shrink the container map
or render the occlusion up a higher res.
| | 03:08 | I'm going to take this
and blow it up a little bit.
| | 03:10 | I'll press Ctrl+Alt+I and upsize this to 2048.
| | 03:17 | Now I'll select all by pressing Ctrl+A, Ctrl+C
for Copy, and paste this into my container.
| | 03:24 | It pastes right over and looks pretty neat.
| | 03:26 | Here's how I'm going to make this work.
| | 03:28 | I'll turn off that Rust group, and
take this Occlusion group and colorize it.
| | 03:33 | I'll press Ctrl+U for Hue/Saturation
and colorize that image.
| | 03:38 | The white gets left alone and I'll
shift the Hue around over to a rusty shade.
| | 03:43 | I'll click OK and set its
blending mode to Multiply.
| | 03:46 | What this gives me is the start of a
rust foundation on my container, in this
| | 03:52 | case on the green one.
| | 03:54 | I'll zoom in and see how
well it worked. It's not bad.
| | 03:58 | I can see places where I should
probably render a higher resolution.
| | 04:01 | But the nice thing with it is
I'm getting all the detail and the
| | 04:04 | corrugations popping out here, and
it's getting me the shading along those
| | 04:08 | corrugations correctly.
| | 04:10 | This is really going to add to that model.
| | 04:12 | What I can do now is on this layer
actually paint in white and start to erode or
| | 04:17 | erase some of that rust.
| | 04:19 | Alternately, I can paint in that same
rust color on the occlusion, and further
| | 04:23 | enhance it, as if the rust had started
up here at the top and dripped down some
| | 04:27 | of the corrugations.
| | 04:28 | Occlusion is a terrific foundation for
things like dirt and rust, and is also a
| | 04:32 | fantastic way to simply make the detail pop out.
| | Collapse this transcript |
| Using ambient occlusion to add detail to textures| 00:00 | With the occlusion rendered out we can
use it not just to lay over an image, but
| | 00:04 | to help add detail in as a
foundation for our rust and dirt.
| | 00:08 | I've taken my occlusion and put
it into my PSD of my container;
| | 00:11 | I've turned off the other layers
so we can see the occlusion clearly.
| | 00:14 | Right now the occlusion is very even, top to
bottom it's just about the same on each shell.
| | 00:20 | It works nicely down on the bottom;
| | 00:22 | I'll turn on that base blue so we can see it.
| | 00:24 | And it gives us a some good
grounding darkness and dirt.
| | 00:28 | When I turn on the rust it really
accents nicely on the bottom, as that rust is
| | 00:31 | nice and deep where it should be.
| | 00:33 | However on the top it needs a little
bit work here and I'm going to alter it
| | 00:37 | a little bit, brushing in some pieces and
actually taking out some parts to add some detail.
| | 00:41 | The big deal is that when you render
occlusion you shouldn't just use it
| | 00:45 | straight out. You've always got to
alter it, customize it, make it fit the
| | 00:49 | circumstance a little better.
| | 00:50 | I am going to work down here on the
long side of my container as that's one
| | 00:54 | the most visible parts.
| | 00:55 | I'll zoom in and I've got my
layer now called AO Rust selected.
| | 00:59 | What I am going to do is
start to paint over it in white.
| | 01:03 | I'll press B for Brush and I'm going to
work in a normal brush at maybe 50% or so.
| | 01:08 | I'll right-click and make
sure my brush is very soft.
| | 01:11 | What I'll do is mask out an area I want
to paint and paint in, in white, erasing
| | 01:16 | some of the occlusion, making
it a little bit more irregular.
| | 01:19 | I'll press M for Marquee and
select the top of that container.
| | 01:24 | I'm going to leave this nice darkness
here alone as I like the way that looks.
| | 01:28 | Now back in my Brush I'm going to just
add in a little bit of white in places,
| | 01:33 | taking out some of the
occlusion and leaving some alone.
| | 01:36 | I'll hold the Spacebar down, pan over,
press M for Marquee and pull that
| | 01:41 | Marquee over as a mask.
| | 01:43 | This means that I can only
paint in that Marqueed area.
| | 01:45 | Now I'll brush a little more.
| | 01:47 | I may even reduce down the
Opacity in places, just to vary it.
| | 01:51 | I've got a little dirt here
and there but not consistently.
| | 01:56 | The big deal is we don't want it to
be perfect and consistent, although it
| | 01:59 | rendered that way, we need to vary it around.
| | 02:02 | This is going to help add some detail
and I'll take this one out completely.
| | 02:05 | What this will do is give me more
natural looking dirt, as if this had weathered
| | 02:09 | and sat out for a while.
| | 02:11 | What we want to think of is, we're
going to put the dirt in but where did it go
| | 02:16 | and how did this
container get some wear and tear.
| | 02:18 | By extension with the rest of our
props with our occlusion renders, we can
| | 02:22 | render out the occlusion and then
erase it and paint over it to make a more
| | 02:26 | organic looking piece
that's weathered naturally.
| | 02:29 | I'll repeat this down on the bottom
adding just a little bit in this case.
| | 02:33 | I'll zoom in and I don't really need to mask
because I'm against the edge of the document.
| | 02:38 | If I need to do, I could use the Marquee again.
| | 02:40 | In this case, and let me turn off the
blue so we can see what's going on, I'll
| | 02:44 | eyedropper that bronzy rust color,
pressing I for Eyedropper and clicking on it.
| | 02:49 | Now I am going to brush in here.
| | 02:51 | Remember in Photoshop, when
in doubt use another layer.
| | 02:54 | I am going to put a new layer
in so I can see how this works.
| | 02:58 | I press Ctrl+Shift+N, made a new layer
and now I'm just going to accent that
| | 03:03 | occlusion a little bit, just a little
extra here and there, as if some of the
| | 03:07 | dirt had spread up the side.
| | 03:09 | A little extra just helps it get going.
| | 03:11 | And painting in that same
color makes it blend nice and even.
| | 03:15 | We want to do little bits at a time.
| | 03:17 | We don't want to just come in
and lay a giant streak over it.
| | 03:20 | We want to blend it in naturally using
the natural rise and fall the occlusion
| | 03:24 | to really accent and add that dirt.
| | 03:26 | In this case I am going to put a
large smudge right up the side.
| | 03:29 | Now when I turn on that Rust layer and
my Base blue again I get a good look, but
| | 03:34 | wait there is one more thing.
| | 03:36 | I had changed the AO Rust layer to a
Multiply blending mode, Layer 1 is not.
| | 03:41 | To make sure this works right when
painting detail like this, I'll take this AO
| | 03:45 | Rust layer back to a normal layer,
making sure it's at 100% Opacity and making
| | 03:51 | sure that Layer 1 is up as well.
| | 03:53 | Now I'll press Ctrl+E to merge those
down and now I'll switch this back over to
| | 03:58 | Multiply, turn on my other layers
and see how it looks, much better.
| | 04:04 | As a foundation for rust the AO blends
in beautifully, and it looks like this
| | 04:08 | container is really rusting right into the
grooves and all the detail is popping out.
| | 04:13 | Up here at the top, the dirt varies
nicely, as if this has sat out and gotten
| | 04:17 | water stains and other things.
| | 04:18 | It's good to render out AO, and it's
even better to come in and hand brush it
| | 04:22 | a little bit so it really looks like it
sat out in the rain for a couple of years.
| | Collapse this transcript |
| Painting a specular map| 00:00 | In this video, I'll start to look at
specular maps for our shipping container.
| | 00:04 | Most things look better with a
specular map and we have a couple of ways of
| | 00:08 | doing this and a couple
of ways of implementing it.
| | 00:11 | In this case what we're seeing is my low
-res container, the sides are actually
| | 00:14 | flat, and I haven't put on the
normal, just the diffuse to the ambient
| | 00:18 | occlusion, and already it
looks like there's a lot of detail.
| | 00:21 | Plus the rust is in the right place.
| | 00:23 | We can see in here where the upper
and lower framing elements need to be
| | 00:26 | remapped as the occlusion is in the wrong place.
| | 00:29 | But I knew that was going to happen and I
was going to iron out those shells later.
| | 00:33 | What I am going to do then is look
at a specular map and here's why.
| | 00:37 | Right now in this material, and this
is true in Unity as well, this has no
| | 00:41 | Specular Level and a barest bit of gloss.
| | 00:44 | If I pull up Specular Level to 25,
the whole surface starts to shine.
| | 00:49 | A little bit more Glossiness, say 25 as
well, and that highlight gets tighter,
| | 00:53 | but it's exactly even.
| | 00:55 | Putting in a normal map doesn't help either.
| | 00:58 | I'll go into Maps, and into the Bump Map.
| | 01:01 | In the Bump, I'll put in a Normal Bump.
| | 01:06 | In that Normal Bump, I'll add in my
Normal Map, choosing Bitmap and browsing
| | 01:11 | over for that image.
| | 01:13 | In my sceneassets >
images, I'll pick ContainerN.
| | 01:15 | That's the normal map I had
baked out. I'll click Open.
| | 01:19 | I'll make sure I go up to the
parent and show that material, and under
| | 01:23 | Realistic, I'll choose Materials
> Realistic Materials with Maps.
| | 01:28 | Max takes a sec and redraws, and
here's why we need a specular map.
| | 01:33 | We can see that the whole
surface looks lightly gray;
| | 01:36 | this is actually the specularity
shining across the whole thing evenly.
| | 01:40 | Although it looks like I've got a lot of
good detail, as I move around I can see
| | 01:44 | that gray going perfectly across.
| | 01:46 | I'll paint in a specular map, starting out
with a diffuse map and adjusting as needed.
| | 01:51 | Back here in Photoshop, I've got that
container PSD open, and there's my AO Rust
| | 01:55 | and things in there.
| | 01:57 | I need to make a specular map, and a
specular is really a grayscale map.
| | 02:01 | Where is it shiny and where is it not shiny?
| | 02:04 | That's different from specular color,
which is what color is it when it shines.
| | 02:08 | To make a specular map I am going to
start to take my layers and clone them.
| | 02:13 | I'll take my AO Rust and
drag it into that Rust group.
| | 02:16 | I'll make sure that in that Rust
group it's in the right place, up on top.
| | 02:21 | Now I'll take this Rust group
and hold Alt and clone it down.
| | 02:25 | I'll turn off the original, and I'll
double-click on the new Rust group and
| | 02:28 | rename it, I'll call this Rust spec.
| | 02:32 | I'll bring this up on top of my blue Base.
| | 02:34 | I am going to change the blue Base as well;
| | 02:36 | I'll take that blue Base, hold Alt
and drag it down, turn off the original
| | 02:41 | and rename the copy.
| | 02:42 | I'll call this Spec base.
| | 02:45 | To build up the specular map
then, I'll go into Spec base.
| | 02:49 | There is my letters and all
the colors I've got going on.
| | 02:52 | I'll pick my base color first and
desaturate it, pressing Ctrl+Shift+U. That
| | 02:57 | makes a nice even medium gray as my basis.
| | 03:00 | That way I can have things go
duller or shinier off that surface.
| | 03:04 | I'm also going to take those logos and text
and dim them down a bit, so it's not very shiny.
| | 03:11 | I'll pick the logo and press Ctrl+U and
dial down that lightness, so it barely
| | 03:16 | is shinier than the container.
| | 03:18 | I'll do the same with the other
text and then I'll look at the rust.
| | 03:22 | In my Spec base, I've taken down the
writing, so it's barely lighter than
| | 03:26 | the gray background.
| | 03:27 | Now I'll look at the rust.
| | 03:29 | What we can assume is that this
container started out clean and then over time
| | 03:33 | rusted and got dirty,
thereby getting less shiny.
| | 03:36 | In that rust spec what I'll do first is
pick that Rust layer and desaturate it.
| | 03:41 | I'll press Ctrl+Shift+U and
pull that into a grayscale.
| | 03:45 | Then I'll do the same with my Rust
streaks, pressing Ctrl+Shift+U or choosing
| | 03:49 | Image > Adjustments > Desaturate.
| | 03:52 | I've desaturated the Rust bubbles and
I've desaturated the AO Rust, now I am
| | 03:58 | ready to adjust these.
| | 03:59 | My thought is that I'd like
them to be a little bit darker.
| | 04:03 | I'll pick the Rust layer and
choose Image > Adjustments > Levels.
| | 04:07 | We have a number of ways working on
color, and really it's up to you how
| | 04:11 | you'd like to work.
| | 04:12 | I'll use my Levels and I'll dial up
and down the midpoint in my Rust, making
| | 04:16 | sure it's reasonably dark,
without being overly black.
| | 04:20 | Just a little bit of spreading
darkness in here will work nicely.
| | 04:24 | I'll do the same on the streaks and the bubbles.
| | 04:29 | In this case I am using Brightness/Contrast.
| | 04:31 | I'm pulling the brightness down on
those bubbles so that they are really pits,
| | 04:35 | they kind of pull in the light.
| | 04:37 | Finally, I'll work on the AO Rust layer.
| | 04:40 | I also use Hue/Saturation, pressing Ctrl+U
and simply using the Lightness slider.
| | 04:45 | It's really up to you
how you'd like to map this.
| | 04:48 | The idea though is that a
spec map is actually quite dim.
| | 04:51 | We don't want this to be terribly shiny
anywhere, we want to reserve our shines
| | 04:54 | for things like metals, and instead have
this be softly shiny and actually quite
| | 04:58 | dim in places it's rusty.
| | 05:00 | I'll reduce this down
after I save this working file.
| | 05:06 | Now I am going to resize.
| | 05:08 | This is why it's important to
manage your files carefully.
| | 05:11 | I want to reduce this after I've saved it,
so I don't always have to work on the
| | 05:16 | reduced version, so I don't lose any data.
| | 05:18 | I'll press Ctrl+Alt+I and take this
down to 1024 on a side. Now I'll save out
| | 05:24 | this image, pressing Ctrl+Shift+S for
Save As, saving it out as a TIFF image,
| | 05:30 | un-checking Layers, and putting
it in my sceneassets > images folder.
| | 05:34 | I'm going to call this one
ContainerB for blue and S for specularity.
| | 05:40 | This is one way to make it work and I'll
show a variation to take it into Unity.
| | 05:46 | Back here in 3ds Max, I'll add that specular
map into the specular level and see how it works.
| | 05:52 | I'll click on the None Bar for
specular level, I'll double-click on Bitmap in
| | 05:57 | the Maps, and I'll scroll down and choose it.
| | 05:59 | There is that ContainerBS specular map.
| | 06:03 | I'll click Open and see if this works.
| | 06:05 | There is my specular map, and very
quickly I can tell as I orbit around that the
| | 06:10 | shine changes on the rust.
| | 06:12 | I'll put a light in and I'll
be able to see this even better.
| | 06:15 | With a point light in the scene, we can
really see that specular map in action.
| | 06:19 | As I pull that light back and forth, we
can see that there is shine on the blue
| | 06:23 | and on the writing, but the rust is
definitely much duller and really behaves as
| | 06:27 | the right kind of material.
| | 06:29 | Spec maps are a great way to add to the
normal and the diffuse texture we built,
| | 06:33 | to really make that detail pop out.
| | Collapse this transcript |
| Streamlining the import process: placing maps in the right channels| 00:00 | Once a Spec Map is drawn, we're ready to put
it in the right channel to bring it into Unity.
| | 00:05 | Unity wants to take specular maps in the
alpha channel of an image, meaning that
| | 00:10 | we can bundle it along with our
diffuse and optimize our texture use.
| | 00:14 | To make this work properly, I'm going
to clone some layers and flatten them and
| | 00:18 | then do some copying and
pasting between channels.
| | 00:21 | Right now in my overall container map,
I have my specularity groups on and my
| | 00:26 | diffused groups for rust and
base blue and green are hidden.
| | 00:29 | I'm going to hold Ctrl while I pick a Rust
spec and Spec base, that way I select both.
| | 00:35 | I'll hold Alt and drag them down as copies.
| | 00:38 | I'll turn off the originals and press
Ctrl+E, flattening down both of those
| | 00:43 | groups into one image.
| | 00:44 | I want to make sure the
order is right before I flatten.
| | 00:47 | Now I'll take those and select them by
pressing Ctrl+A, Ctrl+C for copy and I'll
| | 00:53 | go over to the Channels palette.
| | 00:55 | Right now all I have is a Red,
Green, and a Blue channel;
| | 00:58 | there is no Alpha, no Transparency.
| | 01:00 | It's not that we want the container to
be transparent, but we can use the Alpha
| | 01:04 | for different things.
| | 01:05 | Because a specularity is a grayscale,
white is more shiny, black is duller, we
| | 01:10 | can use that in the alpha channel.
| | 01:12 | I'll click down here in my Channels
palette and make a new channel and paste
| | 01:16 | that in pressing Ctrl+V. Now I'm ready
to save this out. I'll reduce it in size
| | 01:21 | and save out one diffuse map with an
alpha channel and bring it into Unity.
| | 01:26 | I'll turn back on the
RGBs and turn off the Alpha.
| | 01:29 | I'll click upon the RGB
so I can access my layers.
| | 01:32 | Go back to the Layers palette, turn off
the Copy, and turn on Rust and Base blue.
| | 01:39 | As you can see in here, with an
organized layer structure it becomes very easy
| | 01:42 | to move around and turn off and things.
| | 01:45 | It's very difficult if things
aren't named right or grouped.
| | 01:48 | Now I'm going to reduce this, pressing
Ctrl+Alt+I to go to Image Size and I'll
| | 01:54 | set this to 1024 square.
| | 01:57 | I'm going to save out his image as a tiff.
| | 01:59 | I'll choose File > Save As.
| | 02:02 | In the dialog, I'll choose under Format,
TIFF and I'll uncheck Layers, but I'll
| | 02:08 | leave Alpha Channel check because I need it.
| | 02:10 | I'm going to put this up in my sceneassets >
images folder, and I'll call this ContainerBC3.
| | 02:20 | And this will be my final container
texture. I'll save it and then I'll go bring it
| | 02:24 | into Unity and see how it looks.
| | 02:28 | Here in Unity, I've done some organization.
| | 02:30 | In the next chapter, we'll get into
importing and organization in Unity.
| | 02:34 | What I've done is I've created a
folder in here for my textures and that
| | 02:38 | actually shows up as a file
folder in my Unity project.
| | 02:41 | Anything I put in there will
automatically import in, so I'm careful about
| | 02:45 | what I bring across.
| | 02:46 | In that Textures folder is now that
ContainerBC3, and when I select it,
| | 02:51 | I can see it here in the
Inspector and see its properties.
| | 02:54 | It looks fine for the moment.
| | 02:56 | I'll pick my shipping container and
it's already got a material on it.
| | 03:00 | I'll scroll down and there
is that container material.
| | 03:02 | I'm going to change this over.
| | 03:04 | I'll drop down under the Shader where it
says Bumped Diffuse and pick Bumped Specular.
| | 03:09 | What this will let me do is
introduce an alpha channel for specularity.
| | 03:13 | I'm going to take my ContainerBC3
image and drag it right across into
| | 03:16 | that Diffuse level.
| | 03:18 | There is a slight change and what happened
is that the alpha channel now is the Gloss.
| | 03:23 | The NormalMap is still the same and now
this object has a variable shine to it.
| | 03:28 | I'll grab one of the lights and pull it around.
| | 03:30 | As I move the light down we can see that
the rust is a little shiny and the side
| | 03:35 | of the container is much shinier.
| | 03:37 | We can see that shine travel
across and it's working nicely.
| | 03:40 | We can get a lot of realism in our game
props by using diffuse, specular and normal maps.
| | 03:46 | I'll test it and see how this looks in a game.
| | 03:50 | I've pressed Play and I'm in the
Preview Play mode here in Unity.
| | 03:53 | As I move around I can see that there is
a little bit of shine to the container,
| | 03:57 | the paint looks right and
the rust is definitely dull.
| | 04:00 | As my camera moves I can see
that changed just a little bit.
| | 04:04 | It's different from the green container,
whose shine is much flatter and more even.
| | 04:08 | It doesn't take a lot of time to do a
specular map and the results are well worth it.
| | 04:12 | It's usually a simple change of the
existing layers you've got, a gray scaling
| | 04:16 | and slight adjusting of the values,
| | 04:18 | then putting into the alpha channel and
using it, and Unity sees it right away,
| | 04:23 | and your materials on your objects
vary and change as real things do.
| | Collapse this transcript |
|
|
9. Importing into Unity and TestingOverview of importing into Unity| 00:00 | In this chapter, we'll look
at exporting things into Unity.
| | 00:03 | We'll place a premium on
organization, making sure that our objects are
| | 00:07 | registered correctly and
get the right maps on them.
| | 00:11 | Once we're in Unity, we'll look at
effective ways of cloning and setting up
| | 00:14 | a scene so we get the most bang for our
buck and the most flexibility in our resources.
| | 00:19 | Finally, we'll look at materials in
Unity, making sure that we get objects
| | 00:23 | looking like we intended.
| | 00:25 | Along the way we'll look at
optimizing our textures in Unity.
| | 00:28 | We'll place some lights in and look
at how to get some simple interactivity
| | 00:32 | for testing.
| | Collapse this transcript |
| Preparing and exporting large props to Unity| 00:00 | In this video, I'll look at preparing my
shipping container for export out to Unity.
| | 00:04 | We can work in all kinds of 3ds Max
scenes, but for export it's good to get
| | 00:08 | things ready. We'll get the pivot in
the right place and think about how we're
| | 00:12 | going to clone this.
| | 00:13 | First I'll work in the pivot. I'll
select the shipping container and go to the
| | 00:17 | Hierarchy tab, I'll press W for move
and turn on Affect Pivot Only. This will
| | 00:22 | let me move the pivot point of this
object to more logical place, I'm going to
| | 00:26 | put mine down in the bottom corner here.
| | 00:28 | I'll turn on Affect Pivot Only
and make sure my snap is on 3D Snap.
| | 00:33 | I'll also hold Shift+Right-click and
make sure that on my snap toggles Pivot and
| | 00:38 | Vertex are checked, this way I can
snap the pivot onto a bottom vertex.
| | 00:43 | I'll grab that pivot point and
snap it down here onto the corner.
| | 00:47 | If necessary, zoom in to see what's going on.
| | 00:50 | I'm going to let the pivot be
right here on the corner block.
| | 00:54 | That way if I snap this down onto
another container it will register evenly.
| | 00:58 | I'll turn off Affect Pivot Only and I'm
one step closer to having this object ready.
| | 01:03 | The other thing to consider is
how we're going to clone these.
| | 01:05 | It's very likely in Unity we'll end up
with multiple shipping containers just
| | 01:09 | swapping out the textures because
we've built up a library from our PSD.
| | 01:12 | What I want to do then is
export this out to a separate file.
| | 01:17 | That way when it comes in it's just this object.
| | 01:20 | Remember that in Unity, anything
you put in the assets folder will be
| | 01:23 | automatically imported.
| | 01:24 | And if there are multiple objects
in the scene those will come in too.
| | 01:28 | So part of my export then for thinking
about cloning my shipping containers,
| | 01:32 | is saving this out.
| | 01:33 | What I'll do to save this out is
choose under the Max icon > Export.
| | 01:38 | I'm going to export this out as an
FBX file to ensure compatibility.
| | 01:42 | Unity can take in 3ds Max files, but
there may be issues depending on the
| | 01:46 | version of Unity and the version of 3ds Max.
| | 01:49 | I'll choose Export Selected, that way
I'm only exporting that container, instead
| | 01:54 | of the high poly container in the light.
| | 01:56 | As we can see, this wants to go to the
Unity project I've exported before. What
| | 02:00 | I typically do is put this in the
export directory in my 3ds Max project and
| | 02:05 | then manually move it over, so I'm ensuring
that only the things I want are copied in.
| | 02:12 | Here in Game Props 3ds Max, I'll
put this into Export and I'll call
| | 02:16 | this ContainerFinal.
| | 02:20 | I'll click Save and in the Export
dialog I'm going to use the Autodesk Media &
| | 02:25 | Entertainment preset.
| | 02:27 | I'll make sure under Geometry that
Smoothing Groups are checked, because I've
| | 02:30 | gone to some length to make
sure that the flat sides stay flat.
| | 02:33 | I'll verify under Lights and Cameras
that I'm not taking Lights and I am
| | 02:37 | not taking Cameras.
| | 02:39 | That way they don't accidentally come across.
| | 02:41 | The last thing to do is under
Advanced Options, go into the Units,
| | 02:45 | and under Units, I'm going to uncheck
Automatic and make sure I convert this
| | 02:49 | scene across to Meters.
| | 02:51 | You can work in any units you want, but
converting to Meters here, ensures you
| | 02:55 | can put the scale in Unity at 1.
| | 02:57 | I'll click OK and my shipping
container is exported and ready for import
| | 03:01 | into Unity.
| | Collapse this transcript |
| Creating a new project in Unity and importing textures| 00:00 | In this video, I'll look at setting up
a project in Unity and bringing in the
| | 00:04 | assets from 3ds Max.
| | 00:06 | This is my test project.
| | 00:07 | I often keep one of these when I am
working, to be able to bring things into a
| | 00:12 | clean scene in Unity, put a few things
in like the lights, and navigate around
| | 00:15 | and see how it looks.
| | 00:17 | I'm going to build up a new Unity project and
bring in only the assets I need for my game.
| | 00:22 | Unity works in a project
structure much like 3ds Max.
| | 00:24 | I'll choose File > New Project.
| | 00:27 | What Unity will look for is a blank
folder and that way it can make its
| | 00:31 | project structure inside.
| | 00:32 | I've created a New Folder that I'll
browse to, clicking on the Browse button.
| | 00:36 | In the Exercise Files folder I've made
a new folder called Shipyard Chaos Game.
| | 00:41 | I'm assuming this game
will be down on a shipyard.
| | 00:43 | I'll have lots of containers around, the
sledgehammer I made, the ladder and other objects.
| | 00:48 | I'll click Select Folder and then
I'll choose what packages come in.
| | 00:52 | We have a lot of things we can
bring in; character interaction, lights,
| | 00:56 | cookies, and so forth.
| | 00:57 | But I'm going to just bring in a
few so I can get my game working.
| | 01:01 | I'll take in my Character Controller,
my Cookies, Flares, Particles, Physics,
| | 01:07 | Scripts and Skyboxes.
| | 01:09 | I don't need Mobile at the moment, and
I'm going to ignore Water and Trees and
| | 01:13 | Tunes. I can always bring
these in later if needed.
| | 01:16 | I'll click Create, and Unity is
going to make a blank project for me.
| | 01:21 | Here in Unity I've got my new project;
| | 01:24 | I'll close the Welcome screen.
| | 01:25 | There is a small note down at the
bottom, just saying that there is a script
| | 01:29 | overlapping. I can ignore this for now.
| | 01:31 | Right now there is nothing going
on, which is good, that's what I want.
| | 01:35 | What it's also done is to make some
additional directories in that Unity project.
| | 01:40 | Here in my Shipyard Chaos Game folder,
now I have directories for Assets,
| | 01:44 | Library, Project Settings, and Temp.
| | 01:47 | To bring things in, I'll put
them in the Assets folder.
| | 01:50 | Anything that's in Assets will be
automatically imported in Unity, so I want to
| | 01:54 | be careful what I bring in.
| | 01:55 | I'll go find some of my textures
and my FBX export and put it in there.
| | 02:00 | I'm in the sceneassets > images folder
and there is ContainerBC3 which has the
| | 02:04 | alpha channel for the specularity.
| | 02:06 | I'll pick that one and I'll scroll down
and pick the normal map for my container.
| | 02:11 | There is ContainerN, so I am going to
have multiple container colors with their
| | 02:16 | own specularity and one normal map.
| | 02:18 | I'll press Ctrl+C to copy them and I'll
paste them into that file in my Unity project.
| | 02:27 | Once those are pasted in, and I click
back in Unity, it's going to think for a
| | 02:32 | sec and then import them, and
there is those maps imported in.
| | 02:35 | Now I'll go grab that FBX file.
| | 02:42 | Here in my Game Props Export folder in my
3ds Max Project, I've got my Final Container.
| | 02:47 | I'll copy it pressing Ctrl+C and go
back to that Unity folder and insert it.
| | 02:54 | Here in Shipyard Chaos, in the
Assets folder, I'll paste this in.
| | 02:59 | Unity imports that container
and now I can get it streamlined.
| | 03:03 | When the object comes in, it's not in
the scene yet, it's simply in the project.
| | 03:07 | I need to do a few things
to make this work right.
| | 03:10 | The first one is I am going to make the
Scale Factor 1, because I export it out
| | 03:14 | as Meters in 3ds Max.
| | 03:17 | Generating Colliders is up to you.
| | 03:20 | I'm going to put a Box Collider on this
later, so I am going to leave that off,
| | 03:24 | that way I'm using fewer resources and
making the player able to run into this.
| | 03:28 | Finally, I'll scroll down here and click Apply.
| | 03:32 | This mesh is ready and I'm going
to drag it across into my hierarchy.
| | 03:36 | If you drag into the hierarchy, objects
appear at the point they were placed in 3ds Max.
| | 03:41 | If you drag from the project into the
scene, you can place them interactively.
| | 03:45 | There is my container and I'm
ready to deal with the materials on it.
| | 03:49 | What Unity did for me is
bring in that Shader from 3ds Max.
| | 03:53 | It calls it a Diffuse Shader which
is really just a Blinn Shading Model.
| | 03:57 | Under Materials then is that imported material.
| | 04:00 | I'm going to pick this material and
rename it and I get my maps in the right place.
| | 04:04 | Very quickly this project structure can
get enormous, so some organization and
| | 04:08 | proper naming is essential.
| | 04:09 | I am going to double-click and rename this.
| | 04:13 | I'll call this ContainerBlue, because
I'll have one blue container, one green,
| | 04:18 | and maybe one red later.
| | 04:20 | I'll drop down in the Shader here, and
instead of Diffuse, I'm going to make a
| | 04:24 | Bumped Specular Shader.
| | 04:25 | What this will let me to do is put my
normal map in, put my Diffuse Texture and
| | 04:30 | in the glossiness, in the alpha
channel, have that specularity map I made.
| | 04:34 | I'll pick my normal map and in the
Inspector I'm going to make sure this
| | 04:38 | registers as a Normal Map.
| | 04:40 | The Filtering I can deal with later, going to
leave it as Sharp for the moment. I'll click Apply.
| | 04:46 | Now back in my Material, I'll drag this
normal map in, and now I'll take that
| | 04:51 | ContainerBC3 image and pull that in as well,
dragging right across and there is my container.
| | 04:57 | Because it's already applied to
that object it shows up immediately.
| | 05:01 | I'll select my container,
press F to focus and zoom around.
| | 05:05 | It looks pretty good and I'm ready to
start bringing in other pieces or cloning
| | 05:09 | it and swapping out different parts.
| | 05:11 | We can see even in the default
lighting the specularity is holding up nicely.
| | 05:15 | Now I can start cloning this
object putting in lights and adding
| | 05:19 | interactivity to the game.
| | Collapse this transcript |
| Cloning props in Unity with different looks| 00:00 | In this video, I'll explore cloning
and prefabs in Unity, as well as getting
| | 00:04 | lights in so I can see my
properties on the container working.
| | 00:07 | Right now, the way I read this blue
text in the Hierarchy panel, is that this
| | 00:11 | is a prefab; that the changes here are
dictated by what's going on in the Project window.
| | 00:16 | I'm going to add on a Box Collider and then
clone this container but change its material.
| | 00:21 | I'll choose Component > Physics
and under Physics > Box Collider.
| | 00:26 | When I add that on, down here in
the Inspector, I can see I've got a
| | 00:30 | Box Collider on it.
| | 00:31 | This is cheaper on the rendering than
making it a Mesh Collider, as I want the
| | 00:35 | mesh to show for silhouette, but really
we can't tell if we are an inch off this
| | 00:39 | or not therefore a Box Collider is
easier to deal with than the physics.
| | 00:43 | Now I can take this container and duplicate it.
| | 00:46 | I'll press Ctrl+D and I have another
duplicated prefab, meaning if I change
| | 00:51 | one, they all change.
| | 00:52 | I'll slide this one off to this side
and I can snap it if needed by holding V.
| | 00:57 | I'll pull it over and just
space them out a little bit.
| | 01:00 | I'm going to make two more new materials.
| | 01:02 | As you can see down here in the
project, I've got two new maps to use.
| | 01:06 | I made a red version of this
container and there is my green.
| | 01:09 | Both of them have their
specularity in the alpha channel.
| | 01:12 | This was very easy to do because in
Photoshop, I had that layered PSD set up.
| | 01:16 | What I've done is make a new Base red
group and copy the holes up here, so they
| | 01:20 | show as black correctly.
| | 01:22 | The rust just rides over everything,
and as fast as I could save out different
| | 01:26 | maps, I have different containers.
| | 01:28 | If you're more advanced in Unity, you
may end up using the alpha channel to
| | 01:32 | swap out the color and have one container
map that simply has a base color underneath it.
| | 01:37 | Back here in Unity, I'm going to make a new
material and apply it to one of my containers.
| | 01:42 | I'll pick containerBlue because I
already liked how it was setup and press
| | 01:46 | Ctrl+D. It duplicates that
and I'll rename this material.
| | 01:50 | I'll call this one ContainerGreen.
| | 01:53 | I'll duplicate it one more
time and make ContainerRed.
| | 01:58 | Now I'm going to swap out the maps, just
dragging that new texture right onto that base.
| | 02:04 | There is the red and here's the green.
| | 02:06 | I have got multiple containers and
now I can have multiple materials.
| | 02:11 | I'll take my ContainerGreen and drag
it right onto one of my containers.
| | 02:16 | I'll duplicate one more pressing
Ctrl+D and sliding the duplicate over.
| | 02:21 | I'll zoom out a little bit by
scrolling back and pull that off.
| | 02:25 | Now I'll take this Red
material and drag it right onto it.
| | 02:29 | Because these are prefabs, they still
show up as blue, that means that they are
| | 02:33 | still retaining their like properties.
| | 02:35 | If I change something in the initial
Mesh or in that Box Collider, it'll
| | 02:39 | affect all of them.
| | 02:40 | It's working wonderfully and I'm
optimizing my use of resources in here.
| | 02:44 | Now to test it with the light to see
if the rusty containers shine correctly.
| | 02:49 | I'll choose Game Object >
Create Other > Point Light.
| | 02:53 | Point Lights are good for testing as we
may get a different read sometimes from
| | 02:57 | a spotlight or an area or a directional,
and I like to use a Point Light just to
| | 03:02 | make sure the secularity looks right at first.
| | 03:04 | I can delete it later, but
it will help for testing now.
| | 03:07 | I'll click on Point Light and
pull it out for my container.
| | 03:10 | They start out with a range of 10 meters.
| | 03:13 | Default Unity units are meters,
that's why we converted coming out of Max.
| | 03:17 | I'm going to leave that alone and just
pull this back and forth and I can see
| | 03:21 | that specularity working beautifully.
| | 03:23 | My containers are shiny where the original
paint is, but definitely, duller in the rust.
| | 03:28 | I'm ready to move on and
add some other lights in.
| | 03:31 | I also need a ground plane
and finally a player controller.
| | 03:34 | I can start to play with additional
material types as needed and keep cloning
| | 03:38 | these and stack them up to make my environment.
| | Collapse this transcript |
| Adding lights to test smoothing and textures| 00:00 | Now that I have got containers
imported in and cloning nicely, and I can vary
| | 00:04 | them just by adding a different material
on, I am going to put some other lights
| | 00:08 | in the scene and then import my other objects.
| | 00:10 | I'll choose GameObject >
Create Other > Directional Light.
| | 00:14 | This will be my sunlight.
| | 00:15 | I am going to switch my Pivot over to Global
and that way I can spin this around easily.
| | 00:21 | I'll click and drag on the Y axis and
pull this light into where I want it.
| | 00:25 | I'm going to angle that sundown a little bit
and I can pull it out of the way if needed.
| | 00:31 | The light is essentially overshooting,
catching everything in this scene.
| | 00:35 | It doesn't really have a width as
much as an intensity and a shadowing.
| | 00:39 | It's working nicely and I can see
the shine of my containers clearly.
| | 00:43 | I'm going to put a floor in as well.
| | 00:45 | I'll choose GameObject > Create Other > Plane.
| | 00:49 | If you don't have a mesh that's
actually a floor, a quick way to get around it
| | 00:52 | to navigate is to put a plane in.
| | 00:54 | I'll click on Plane and press R to Scale.
| | 00:57 | I'll scale this up and now I'm going to move
it down, snapping to the bottom my containers.
| | 01:03 | I'll press W for Move and V for Snap.
| | 01:06 | I'm snapping this down on the vertices
and now it's on the bottom of my containers.
| | 01:11 | I can put a material on this if needed,
but for now, I am going to leave it alone.
| | 01:15 | One more thing to test this;
| | 01:17 | I need to put a controller in.
| | 01:19 | I'll look down under Standard Assets
and there is my Character Controllers.
| | 01:22 | There is the First Person Controller and
I'll take it and just drag it into the scene.
| | 01:26 | The Controller is about 2 meters high.
| | 01:29 | So I want to make sure the
size of things looks right.
| | 01:31 | Looks like I'm in pretty good shape.
| | 01:33 | That seems to work nicely with
the height I made my containers.
| | 01:36 | I'm ready to play this or at least
navigate around and see if my scene works.
| | 01:41 | I'll click on the Play button and test it out.
| | 01:44 | The standard hotkeys apply W, A, S, D,
as well as the mouse for looking around.
| | 01:49 | I'll zoom around and see if this works well.
| | 01:52 | I'm playing in a full screen and it
looks really nice. My rust is bubbly.
| | 01:56 | I can see the dirt on my containers.
| | 01:59 | Everything is looking neat.
| | 02:00 | It's difficult to tell that
the rust is actually repeating.
| | 02:03 | I can see it a little bit on the green
and blue, but if I had other things in
| | 02:08 | here or a little less light, that would
go away, and I'm using one container with
| | 02:12 | essentially one map and
some slight color variation.
| | 02:14 | Looks like on the top of things as I jump
up using the Spacebar that it's working well.
| | 02:20 | It's important as you're making
things to test it, playing with the
| | 02:24 | controller and running around the
scenes, so you can see did you make this
| | 02:27 | right is a big deal.
| | 02:29 | Now I am ready to bring in some
other objects and I'll do it the same way,
| | 02:33 | exporting them singularly out as FBX
files and placing them in the Assets folder
| | 02:37 | in my Unity Project.
| | 02:38 | As a final note, I want to do some organization.
| | 02:42 | Right now, I have got the default
folders and my materials are in the
| | 02:45 | Materials folder, but I've got these
images and we can see I am going to have
| | 02:49 | a lot of them really quick.
| | 02:51 | I'm going to right-click in the
Project window and choose Create > Folder.
| | 02:54 | I'll name this new folder, Meshes.
| | 02:57 | And into it, I'll drag my container.
| | 03:00 | This doesn't change where it is in
the game, it's just a way of organizing.
| | 03:03 | I'll also right-click and choose Create >
Folder and I'll make this one, Textures.
| | 03:10 | I'll take all of my Container textures
and drag them into the Textures folder.
| | 03:14 | I'm going to jump over to look at my file
structure and where to bring in the new pieces.
| | 03:19 | I'm here in the Exercise
Files > Shipyard Chaos Game.
| | 03:22 | In the Assets folder are the
new folders I've just made.
| | 03:26 | So when I copy out new things and take
those new textures in, I am going to put
| | 03:30 | them in the right folders and they
will show up in the right places.
| | 03:34 | It's a really terrific
structure for organization.
| | 03:36 | And if you're organized in the game,
dealing with those hundreds of assets
| | 03:39 | becomes quite manageable.
| | 03:41 | We can continue to refine and add in
new things and we can also play with
| | 03:45 | new material types.
| | 03:47 | I'll bring in my hammer in the next
video and show some different material
| | 03:50 | possibilities for it.
| | Collapse this transcript |
| Refining materials| 00:00 | With my shipping containers in and
placed, I am ready to bring in the small
| | 00:04 | tools I've made too.
| | 00:05 | I've exported out my large and small
hammers as separate FBX files, figuring that
| | 00:09 | later I'd want the player
to pick them up and use them.
| | 00:12 | So I need to have them
unique so I can identify them.
| | 00:15 | Those FBX files are placed in the Meshes
folder and they immediately imported in Unity.
| | 00:20 | I am going to go through and
make sure they show up correctly.
| | 00:23 | Because I was converting out to
meters, I'll make that Scale Factor, 1.
| | 00:26 | For this, I'm going to Generate
Colliders and that's because I may want to
| | 00:30 | pick it up and have them player be
able to get to the handle, versus sort of
| | 00:34 | gripping around a box.
| | 00:36 | I'll scroll down and click Apply.
| | 00:39 | I'll do the same with the small
hammer, setting the size to 1 and
| | 00:45 | generating colliders.
| | 00:46 | Then I'll scroll down here and apply that.
| | 00:50 | Now for the Materials; because of
the import, it came in with its own
| | 00:53 | material called HammerC.
| | 00:56 | I'm going to delete this
and make a new material.
| | 00:58 | I'll press Delete and delete that folder.
| | 01:01 | Now that hammers don't actually have a
material and they're flagged in pink here
| | 01:05 | saying they have none.
| | 01:06 | What I'll do here is make a new
material in Unity by right-clicking in the
| | 01:10 | Project folder and choosing Create > Material.
| | 01:14 | I'm going to call this new material, Tools.
| | 01:17 | I can apply this on the ladder and the hammer.
| | 01:19 | I'm going to make this a
Bumped Diffuse material.
| | 01:22 | What that means is it has a base
color, the RGBs and a mormal map, but no
| | 01:27 | specularity, I haven't made one for the
hammer as it seemed like a bit of overkill.
| | 01:31 | Now I'll take my tools and put it in there.
| | 01:35 | I'll drag this across and into that material.
| | 01:38 | I'm going to optimize the
hammer normal a little bit as well.
| | 01:41 | One last thing before I do that;
this tools image is 512 square.
| | 01:46 | The default Max Size here shows
it's 1024, that's the Unity standard.
| | 01:50 | What I may do is downsize this
to 512, or even 256 once I see it.
| | 01:56 | I'll run it at 512 and click Apply.
| | 01:58 | It's going to take up
170 K, which isn't too bad.
| | 02:01 | However, once it's in the game and
other things are going on, I may be able to
| | 02:05 | squeeze this down further and use less memory.
| | 02:08 | Here in Photoshop, I have pulled up
that Hammer Normal I exported from Mudbox.
| | 02:12 | The head looks good, but the normals
here on the handle will interfere with the
| | 02:16 | ladder if it uses that same
image in that same material.
| | 02:19 | So I'm going to take that out.
| | 02:21 | You can edit normal maps just like
any other maps here in Photoshop.
| | 02:25 | What I'm going to do is draw a quick
marquee over roughly half the image and delete it.
| | 02:30 | I'll fill it in, well, anything
and then eyedropper that blue.
| | 02:34 | I'll press G for the
Paint Bucket and fill that in.
| | 02:36 | Now I realize this is almost an all
blank normal map, but that's okay.
| | 02:41 | I'm going to bring it in Unity and downsize it.
| | 02:44 | I'll save this out pressing Ctrl+Shift+S
and I'll place it in that Unity file.
| | 02:51 | I'm here in the Assets > Textures
folder and I'm going to call this HammerN.
| | 02:56 | I'll save it in there and
there is no Alpha, no Layers.
| | 03:01 | Back here in Unity, it's
imported that correctly.
| | 03:04 | I'll select that map and
I'm going to downsize it.
| | 03:07 | Right now, it's fairly big, 1024
square which is overkill for that hammer.
| | 03:12 | I'm going to make the Max Size on this, 256.
| | 03:14 | And I'm going to change the
Texture Type to a Normal map.
| | 03:18 | I'll let the Bumpiness be as it is,
uncheck Create from Grayscale, and let the
| | 03:24 | Filter Mode stay as Trilinear.
| | 03:26 | If I need some filtering, I can apply it.
| | 03:28 | What we want to think of, is when we
are bringing pieces in and we're using a
| | 03:33 | texture atlas, how do we use it in
different places and do we need to up res
| | 03:37 | or down res accordingly to get the most bang
for our buck in the least use of resources.
| | 03:41 | I'll click Apply and this map
now comes down to 85 K. That's a
| | 03:46 | noticeable improvement.
| | 03:48 | I'll take my large hammer
and drag it into the scene.
| | 03:51 | I'll pull it out from the shipping
container and there it is standing up cleanly.
| | 03:56 | I'll press F to focus and it's still
pink because I haven't applied the material.
| | 04:01 | I'm going to apply my material tools
and if you notice, it placed in the
| | 04:04 | Standard Assets folder.
| | 04:06 | I need to move this around.
| | 04:07 | I wasn't sure for a minute.
| | 04:08 | I looked and I said, wait a sec,
I know I made that where did it go?
| | 04:12 | This is why naming is such
a big deal and organizing.
| | 04:15 | I'm going to roll up that Textures
folder and make sure I drag this Tools
| | 04:19 | material into my Materials folder.
| | 04:22 | That way I can find it cleanly and I
can keep my Project window organized.
| | 04:26 | Now I'll take this Tools material and
drag it onto my hammer and there's that
| | 04:30 | hammer and it's got its normal map.
| | 04:32 | I can do the same with a smaller
hammer and I've got props of my game to use.
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ConclusionFinal thoughts| 00:00 | Congratulations! You've finished the course
Creating Game Props in 3ds Max.
| | 00:04 | Starting out with basic volumes and
blocking out simple forms, paying close
| | 00:08 | attention to silhouette.
| | 00:10 | Then we've looked at techniques to
use assemblies of small objects and
| | 00:14 | unwrapping them in stacking UVs.
| | 00:16 | We have incorporated Autodesk Mudbox
into the pipeline, so we have digital
| | 00:20 | sculpting as part of our toolkit.
| | 00:22 | We've looked at ways to bake normals
both out of Photoshop and out of Mudbox and
| | 00:26 | in 3ds Max, to get the
optimal look for our game.
| | 00:30 | We've added an ambient occlusion as a
foundation for dirt and rust, and finally
| | 00:34 | looked at putting it all together in
modular textures we can swap in and out.
| | 00:38 | We brought these pieces into Unity and
looked at how do they look in game lighting.
| | 00:43 | We've placed a premium on workflow,
making sure that we're organized all the way
| | 00:47 | through, so changes are easy to do and
we can make lots of different variations
| | 00:51 | so it looks like a rich world in our game.
| | 00:54 | So get out there, get some reference
and start modeling things and go make
| | 00:58 | the best game you can.
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