IntroductionWelcome| 00:03 | Hi, I'm Adam Crespi, and welcome to
Creating Game Environments in Maya and Photoshop.
| | 00:08 | In this course we will look at modular
modeling techniques and ways to stack
| | 00:12 | UVs for a texture sheet, getting the
most out of our UV space and repeating
| | 00:17 | textures on an object.
| | 00:18 | Additionally, we will look at ways to
paint textures and add layers of dirt,
| | 00:22 | wear, and grunge, exploring baking and
be an occlusion for both rust and dirt.
| | 00:27 | Finally, we will export out into Unity,
lighting up our model and navigating
| | 00:32 | around to see if things really work in the game.
| | 00:34 | We will be covering all these features,
plus plenty of other tools and techniques,
| | 00:38 | so let's get started with Creating
Game Environments in Maya and Photoshop.
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| Using the exercise files| 00:00 | If you are a Premium member of the
lynda.com online training library, or if you
| | 00:04 | are watching this tutorial and a
DVD-ROM, you have access to the exercise files
| | 00:08 | used throughout this title.
| | 00:09 | These exercise files are
divided into four folders.
| | 00:12 | There is Game Environments, which is
the Maya project file. In here are the
| | 00:16 | default Maya folders. sourceimages
contains the textures. All the scenes are
| | 00:21 | in the Scenes folder.
| | 00:23 | Big data, such as normals and occlusion, will
go in the renderData folder, or in images.
| | 00:28 | Game Environments Unity is a Unity
project, and in here the assets, library, and
| | 00:33 | project settings folders in there are
the subfolders for helping to organize the
| | 00:37 | textures and scenes.
| | 00:38 | There is Reference Images and in
here I've added a selection of reference
| | 00:43 | imagery I have downloaded from thinkstock.com.
| | 00:45 | I've also add in a folder of finished
reference layouts which contain reference
| | 00:49 | drawings with mesh lines
| | 00:50 | I will use in laying out in
planning the construction.
| | 00:54 | Finally, there's a Working Textures
folder, and in here our files that are raw,
| | 00:58 | or working, textures that
aren't necessarily part of a map yet,
| | 01:01 | but are a large chunk of raw
material such as wood or galvanized steel.
| | 01:05 | I will keep these separate from a
project to avoid bogging down Maya when
| | 01:09 | looking for textures.
| | 01:10 | If you're working in Maya 2010 or
later, you can open up the files by choosing
| | 01:15 | ignore version in the File > Open dialog.
| | 01:18 | If you're working in Unity, makes sure you
download the latest Unity built from unity3D.com.
| | 01:24 | If you're a Monthly member or Annual
member of lynda.com, you don't have access
| | 01:28 | to the exercise files, but
| | 01:29 | you can follow on from
scratch with your own assets.
| | 01:32 | So let's get started modeling game
environments in Maya and texturing
| | 01:35 | in Photoshop.
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| What you should know before watching this course| 00:00 | For this course you should have
good working knowledge of Autodesk Maya
| | 00:04 | and Adobe Photoshop.
| | 00:05 | Knowledge of Mudbox is not
necessary, as I'll explain along the way.
| | 00:09 | You should have some knowledge of Unity,
although I will go through the basics on
| | 00:13 | importing and bringing objects into a scene.
| | 00:15 | If you like to use a tablet or
touch-sensitive monitor, you may,
| | 00:18 | but you can also do the
painting with a mouse if needed.
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| Setting up the workflow| 00:00 | In this video, I'll show how I customize
the Maya and Photoshop user interfaces, as
| | 00:05 | well some workflow in both programs.
| | 00:07 | When you open up Maya, your user
interface may differ from the one you see in my
| | 00:10 | videos. I'll show how to customize this and
give yourself more available working space.
| | 00:16 | When I open up Maya I've got a lot of user
interface and a relatively small viewport.
| | 00:20 | What I like to do is to fit
this a little bit to what I need.
| | 00:24 | As we're going to be primarily modeling
and unwrapping, we can make a lot of the
| | 00:28 | tools go away and get more space to work in.
| | 00:32 | To start I'm going to slim down my hotbox.
| | 00:35 | When you press and hold the Spacebar for
the hotbox, the default hotbox is giant.
| | 00:39 | What I'll do is click on Hotbox Controls
and choose Show Polygons > Polygons Only.
| | 00:46 | Now this hotbox is much slimmer.
| | 00:49 | We can still access all of our tools
in the hotbox and by using our function
| | 00:53 | keys--F2, F3, F4, F5 and F6--we can
access different menus: Polygon, Surfaces,
| | 00:59 | Rendering, and so forth.
| | 01:01 | Now I'll slim down the UI.
| | 01:03 | My philosophy in working is I want my
tools close at hand. I want things on my
| | 01:08 | hotbox or by holding Shift and right-
click and using my marking menus, or as an
| | 01:13 | example pressing and holding W for Move
and left-clicking pulls up the marking
| | 01:17 | menu for the Move tool.
| | 01:19 | What this mean is my tools are close
at hand. Going up to the top of the UI
| | 01:22 | slows me down, not measurably in hours per
day, but more in my thoughts being consistent.
| | 01:28 | What I'll do then is press and hold the
spacebar for my hotbox and click in the
| | 01:33 | space to the right of Maya. In here are my UI
elements, and I'll start to hide things.
| | 01:38 | Alternately, I can do this under
Display > UI Elements, and there is checkboxes.
| | 01:44 | I'm going to turn off the Time slider
and turn off the Range slider as well.
| | 01:50 | It's your option if you want to leave
the Command Line and Help Line off or on;
| | 01:53 | I'm going to turn them off and
I'll also turn off the Shelf.
| | 01:58 | If you like the Shelf, that's
fantastic. Personally I find that all that
| | 02:02 | functionality is available in other places.
| | 02:04 | I'd rather have the real state to work in.
| | 02:07 | I'll leave my Status Line on, as I'll be
using the menu line input pretty heavily,
| | 02:11 | and also seeing what my snaps are doing.
| | 02:14 | I'm going to leave my toolbox on, as
sometime I need to double-click on something
| | 02:18 | over here, and I'll also be able
to see what tool I'm using.
| | 02:21 | Finally, I'll toggle off and on the
heads-up display by choosing Display > Heads
| | 02:26 | Up Display and turning off
and on things like Poly Count.
| | 02:30 | I'll start out with it off and when I
need to turn it on, I'll go in here to
| | 02:34 | display and turn on Poly Count.
| | 02:37 | We can also customize more if we need,
playing with colors and backgrounds to
| | 02:41 | make things easier to see.
| | 02:42 | If you're having trouble seeing in the
view, move around. I'll hold Shift and
| | 02:47 | right-click as an example and
make a poly cube and drag it in.
| | 02:50 | This is a Wireframe, which is accessed by
hitting the 4 key, or up on top here on
| | 02:54 | this navigation bar.
| | 02:55 | 5 takes us to Shaded, and 6
displays the textures in the view.
| | 03:00 | 7 will show the object in the scene
lighting verses 6 being in the default lights.
| | 03:06 | As I don't have any lighting in
the scene, it renders as black.
| | 03:10 | I'll switch my view around, between
the Default Quality, High Quality and
| | 03:15 | Viewport 2.0 as well.
| | 03:18 | I'll make a sphere to show this.
| | 03:20 | Right now in the default quality with
Lambert on here, it's well kind of gray
| | 03:24 | and flat. In high quality I can see that
the lighting is reflecting the default lights.
| | 03:29 | When I put a material on here such as
Blinn, assigning a new material, we can see
| | 03:35 | in the high quality that that shines nicely.
| | 03:37 | Viewport 2.0 is a new
innovation as of Maya 2012.
| | 03:41 | I'll go into it and under Viewport 2.0
in the dialog, I can turn things on that
| | 03:47 | let me see things like I'll see in games.
| | 03:49 | I've got Screen-space Ambient
Occlusion, Motion Blur if needed, and
| | 03:54 | Multisample Anti-aliasing.
| | 03:56 | I'll turn that on and we can
see those edges goes smooth.
| | 04:00 | What this let's me do--and you can see a
slight performance hit here depending on
| | 04:04 | the graphics card--is see
things like I'll see in engine.
| | 04:07 | As an example, there is my screen
space occlusion grounding my objects.
| | 04:11 | It's a great way to see how things are
going to look in the game, and I'm doing
| | 04:15 | it in a nice big view,
| | 04:16 | so I'm really maximizing what I'm working
on instead of trying to work on a postage stamp.
| | 04:21 | The last thing I'll do is to switch
back and forth between the channel box in
| | 04:24 | the Attribute editor.
| | 04:26 | I'll hit Ctrl+A to toggle back and forth here.
| | 04:29 | Usually I'll stay minimized in the channel box--
again, so my viewport is as big as possible.
| | 04:34 | I'll press Ctrl+A to pull up the
Attribute Editor when I need to affect the
| | 04:38 | attributes of a single object.
| | 04:39 | And after I'm done I'll press Ctrl+A to return.
| | 04:42 | Over here in Photoshop I tend to tab
out my menus, hitting the Tab key to
| | 04:46 | make them disappear.
| | 04:48 | One of the things I'll also do--and
I'll start a new document to show this--
| | 04:51 | is press the F key.
| | 04:53 | Once gets rid of the windows UI and
twice goes full screen. It takes out the
| | 04:58 | Photoshop UI as well.
| | 04:59 | I'll use the Tab key to go back and forth
to turn off and on my menus and other pieces.
| | 05:05 | I also like to make my layer thumbnails big.
| | 05:08 | We can access this by choosing the options
here and Panel Options for the Layers palette.
| | 05:13 | I've changed my Thumbnail Size to
large so I can see what I'm doing.
| | 05:17 | I'll turn off and on the rulers
sometimes by pressing Ctrl+R, and hitting F one
| | 05:22 | more time takes me back to
the default Photoshop UI.
| | 05:25 | I'll use this if I have got
different tabbed documents I need to access.
| | 05:29 | The big deal in all of this is making
your user interface fit what you want to
| | 05:33 | do. Both programs have an immensely
malleable, changeable user interface, and you
| | 05:38 | should give yourself the maximum space
you can to work in and not let your tools
| | 05:42 | clutter up what you're doing.
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|
1. Anatomy of a Low-Poly ModelIdentifying key contours and shadows in concept art| 00:00 | In this video I'll look at some key
contours and concept art, things that we
| | 00:04 | need when we're modeling a building.
| | 00:07 | I'll start by opening up some
reference imagery, pressing Ctrl+O in Photoshop.
| | 00:11 | In my Reference Images folder
I've got some gas station images.
| | 00:15 | I'll click on one, scroll down, hold Shift,
and click on the last one in the series.
| | 00:20 | I'll click Open and they'll open up.
| | 00:22 | I'll press Ctrl+0 to maximize the view.
| | 00:26 | In each of these we can see, well, a
decrepit gas station, in various states of
| | 00:30 | repair and in different architectural styles.
| | 00:33 | The big deal with the game is silhouette.
| | 00:35 | We can do a lot in texture,
but having the right silhouette really matters.
| | 00:39 | But I'll start out with a lot of times
is simply drawing the major silhouette or
| | 00:44 | contours on a model.
| | 00:46 | I'll make a new layer by
pressing Ctrl+Shift+N and hitting OK.
| | 00:50 | I don't really care what this
layer is called at the moment.
| | 00:53 | I'll press B for Brush, and I've changed
my foreground color to a bright blue.
| | 00:58 | What I'll look at are the major lines.
| | 01:00 | I'm going to click on the bottom corner
of the building, hold Shift, and click up
| | 01:04 | on the top, and I'll start to
line out the major contours here.
| | 01:08 | This is a useful exercise in getting a
feel for the building, identifying the
| | 01:13 | biggest things that are
really necessary in geometry.
| | 01:18 | Things like the detail in the
garage doors can be handled in texture.
| | 01:21 | Things like the dirt also show up in
texture, but this contour, where the
| | 01:25 | door opens into the building or the major
corner here on the building, needs to be in geometry.
| | 01:31 | Now since this building appears to be
falling apart somewhat, I'm going to add
| | 01:35 | in some additional lines. What we'll
also see, possibly, are things like this.
| | 01:41 | This line here going from the top of
the door to the window will let me take
| | 01:45 | this corner and wiggle it slightly,
so it's not absolutely perfect.
| | 01:49 | We can see that this building is aged
and so the ability to have some of the
| | 01:53 | lines just out of parallel is pretty helpful.
| | 01:56 | We'll see lines like this also on the ground.
| | 02:00 | The occasional extra polygon or extra
vertex lets us really make that ground
| | 02:04 | wiggle, so it's not a
perfectly flat ground plane.
| | 02:08 | I'll finish this out by drawing
out any of the other major contours,
| | 02:11 | noting where I might need something in
the game, such as a doorway to duck into
| | 02:16 | or something that might be operable such
as the door here which has been boarded up.
| | 02:21 | I'll add in things that give the major
shadow lines, such as the overhang here,
| | 02:25 | drawing in the polygon lines and
making special notes where there's a curve.
| | 02:30 | I can see in the reference imagery that
right here on the edge it's a little bit
| | 02:34 | of an Art Deco style and
we need a bit of a curve.
| | 02:37 | What I'll typically do in a place like
this is to add in just a few more lines,
| | 02:42 | and these don't have to be perfect; they
just have to note that there are extra
| | 02:46 | polygons there to make this curve.
| | 02:48 | What I'll also look at our edge tests.
| | 02:52 | What this means is if I'm
going to see this object against a
| | 02:54 | contrasting material,
| | 02:56 | as an example--I'll zoom in by
pressing Z and zooming in on the island--
| | 03:01 | we can see that the island here is in
concrete and is up next to either asphalt
| | 03:06 | or stained concrete.
| | 03:08 | We need to make sure that any curves
here read, because is a good chance of
| | 03:11 | seeing some facets if we
don't do enough geometry.
| | 03:14 | I'll press Ctrl+0 to zoom
out and finish lining this.
| | 03:18 | After I've got this lined in on the
major geometry, I'll start to look at texture
| | 03:22 | possibilities in the next video.
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| Analyzing concept art for texture possibilities| 00:00 | In this video I'll analyze concept
art for possibilities in texture.
| | 00:05 | What I've done is taken my gas station
reference imagery and drawn out in blue
| | 00:09 | on a new layer some of the major
mesh lines: the doors, the overhang, the
| | 00:14 | windows, and so forth.
| | 00:15 | And I've done this on
another image of it as well.
| | 00:18 | So we can see on at least the three
visible sides I have in these images, where
| | 00:22 | those major mesh lines are.
| | 00:24 | What I've also started to do--and I'll
zoom in on the windows here to show it
| | 00:28 | better--is to mark out places where I
might have one texture that's repeated
| | 00:32 | over several polygons.
| | 00:34 | One of the things we're seeing in games
is that although poly count still matters
| | 00:39 | how you use your texture
space matters even more.
| | 00:42 | Ideally, I should be able to pull off
this building in one texture atlas or
| | 00:46 | texture sheet, where it's not a
complete unwrap of the building, but rather
| | 00:51 | different parts on the texture sheet
that are mapped onto different polygons and
| | 00:55 | reused by stacking UVs.
| | 00:56 | What I'll do then on this building is,
in a different color, shade in areas where
| | 01:02 | I might see an overlapping texture.
I'll use my Magic Wand, flying out my Quick
| | 01:07 | Selection tool and underneath picking
the Magic Wand, and on that layer 1 wanding
| | 01:12 | in the middle of one of
these panels for example.
| | 01:15 | I tend to put these on a new layer, and I'll
make a new layer and slide it under layer 1.
| | 01:20 | I'll change my foreground color to something
else, in this case just a green, and fill this in.
| | 01:26 | I'm going to fill it using the paint
bucket, flying out the gradient and picking
| | 01:30 | the Paint Bucket tool.
| | 01:31 | And I'll fill it at a partial opacity.
| | 01:34 | That way it's kind of a highlight.
| | 01:37 | What this shows me, or shows another
artist if I'm collaborating on a team, is
| | 01:41 | that this is the place where I'm going
to see an overlapping texture. That was
| | 01:45 | W for wand. Pick it on layer 1, switch back
to layer 2, press G for paint bucket, and fill.
| | 01:53 | What I can do then is switch back and
forth here and very quickly start to mark
| | 01:58 | in areas that should be an overlapping texture.
| | 02:01 | Sometimes what I'll even do is color
code them. The green here for example might
| | 02:06 | let me know that all of these
window areas should share one texture.
| | 02:11 | I might go over to this wall and mark it
in a different color so I can see that
| | 02:15 | blank wall here gets a
different space in the texture atlas.
| | 02:20 | I'll go back to layer 1, press W
for wand, and pick that wall section.
| | 02:24 | Back over here on layer 2, I'll switch
my foreground color to something else; in
| | 02:29 | this case I'll take a warm orange.
| | 02:31 | I'll fill this in, and this tells me
that I need a different part of the
| | 02:36 | atlas for this wall.
| | 02:38 | With some careful planning, we can get good-
looking textures that repeat over a building.
| | 02:43 | Also, by analyzing our reference, we can
see that a lot of the things that really
| | 02:47 | look unique or in fact pretty repetitive.
| | 02:50 | If we look at the other reference
here, Gas station A02 for example, we can
| | 02:54 | see that this building is generally dirty on
the bottom and kind of scratched and bumped.
| | 02:59 | A lot of it though is not obviously
different. Maybe the two smudges down here
| | 03:05 | at the bottom or the large stain
over here in the corner. But really it's
| | 03:09 | generally white and dirty.
| | 03:12 | If we look at other degraded gas
stations, we can see the same kind of thing.
| | 03:15 | As an example, in this wood building,
the bottom is generally more faded and
| | 03:21 | falling in, but if I made one texture
that was a large chunk of siding right
| | 03:25 | here I could repeat that all the way
along and break it up by windows on
| | 03:29 | different polygons. We can
see on this gas station as well.
| | 03:34 | If I make one large section of faded
wood paneling, I can use that in a lot of
| | 03:39 | places, and also one section of the
Island canopy texture. And with some careful
| | 03:44 | geometry, I can even make the crunch corner.
| | 03:46 | Well, we see then on buildings--you
can extrapolate out--is that a lot of the
| | 03:52 | times the dirt is fairly repetitive, and
if it clones nicely or it tiles, we're
| | 03:58 | not going to notice it, and we can get
much greater detail in a larger section of
| | 04:02 | dirt with some careful planning.
| | 04:04 | So make sure you go in while you're
laying out your polygon lines and mark in
| | 04:08 | major textures and where they should
break, and if you have to add in a few extra
| | 04:13 | polygon lines to make a texture break
to get better use of your texture sheet,
| | 04:17 | put that in as well.
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| Adding perceived detail through texture| 00:00 | In games we use texture to
add a lot of detail to a model.
| | 00:04 | This differs radically from a film
pipeline where everything might be geometry.
| | 00:09 | In a game then, what we're going to
see is that a lot of the realism is
| | 00:13 | implied through a texture.
| | 00:15 | The dividing line between
geometry and texture is silhouette.
| | 00:19 | If we can see it in
silhouette, it needs to be geometry.
| | 00:23 | If we can see it in a flat
plane, it can be a texture.
| | 00:28 | As an example--and I'll zoom in
on the canopy to show it--
| | 00:31 | this scratching indenting up here is a texture.
| | 00:35 | There is nothing in this,
although it looks really nice,
| | 00:38 | that is popping out in silhouette.
| | 00:40 | It doesn't show up in a side view.
Whatever we see this scratching indenting and
| | 00:45 | bubbled paint, it's only against that same face.
| | 00:49 | However, this curve shows up in silhouette.
| | 00:53 | Likewise, the framing under
here is actually done in texture.
| | 00:58 | We can't really get anywhere and see
under that enough to see that framing,
| | 01:03 | and it's all so dark.
| | 01:04 | We can tell by the lighting here
that it's generally all in shadow.
| | 01:08 | So as long as there is stuff going on in
the canopy here, that's done in a texture.
| | 01:13 | The same goes for the doors. Although
these doors appear to have a lot of detail,
| | 01:18 | really it's all flat. Between the
combination of the diffuse texture, a normal
| | 01:23 | map, and a baked ambient occlusion, we can
make this detail really pop out a flat polygon.
| | 01:29 | This door is example of
geometry if we were to include it,
| | 01:33 | for two reasons: one, it might need to swing
open--the player may need to access the space--
| | 01:38 | two, even if the player can't swing
it open, it will stick out and show
| | 01:44 | in silhouette here.
| | 01:45 | And so this needs to be geometry.
| | 01:47 | I'm also going to say that this
foundation element is geometry.
| | 01:51 | It's going to share text or
probably with the pieces above it,
| | 01:54 | but it sticks out a little bit, and
this will make the building look not quite
| | 01:57 | perfect when it touches the ground,
| | 01:59 | again disturbing that silhouette
ever so slightly, as we can see here in
| | 02:03 | the building adjacent to the ground,
just enough variation in here that
| | 02:08 | makes it convincingly real.
| | 02:10 | If this came straight down to the
ground, we'd save a couple polygons, but it
| | 02:15 | would look too perfect,
| | 02:16 | and that wouldn't match with a dirty,
crunched texture we are going to put on.
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| The limitations of normal maps| 00:00 | In games we use normal maps in
combination with diffuse and specular to add
| | 00:05 | realism and detail in our models.
| | 00:07 | What a normal map does, in short, is
change the apparent direction of the polygons
| | 00:12 | as they react to light.
| | 00:13 | Now, there is more to it, and there are
lots of materials available on exactly how
| | 00:17 | they work and what they do.
| | 00:19 | But the way to think of it is it
makes the surface look like it's got more
| | 00:23 | detail in it. A good place for a normal
map, for example, is on this garage door.
| | 00:28 | We can tell this garage door has a
lot of wear and tear on it, and it's got
| | 00:33 | windows and some recessed panels;
however, on the garage door there're nothing
| | 00:37 | that sticks out in silhouette, so it's
a perfect candidate for a normal map.
| | 00:41 | We want to make sure that the panels look
recessed and the windows look recessed as well.
| | 00:46 | We also want to make sure that this
trim around the window shows up correctly.
| | 00:50 | As another example, we could use normal
maps on the siding of this building/
| | 00:55 | The siding looks cracked and
warned and is droopy in places
| | 00:59 | but doesn't change the silhouette of
the building, which is determined by the
| | 01:02 | roofline and the corner boards here.
| | 01:05 | So a normal map will really make the siding look
like it's got some age and weathering to it.
| | 01:09 | I have constructed a quick
bump map to illustrate this.
| | 01:13 | A bump as a grayscale going between black
and white for high and low, and it's relative;
| | 01:19 | it's not a particular distance out.
| | 01:21 | We've got different normal map filters
available, and I'm going to quickly use
| | 01:25 | xNormal here in Photoshop to
make a normal map out of this.
| | 01:28 | I'll use the default settings
in xNormal and see how this looks.
| | 01:32 | I'll click on Continue, and there is my
normal map. Normal maps tend to look a
| | 01:37 | little bit odd when you look at them
just straight. Blue is strength and red and
| | 01:42 | green gives us direction.
| | 01:43 | It's going to make these panels look
recessed, and the dark lines in between the
| | 01:47 | door panels became groups.
| | 01:49 | The rivets here at the quarters popped out.
| | 01:52 | And I'm ready to apply this in Maya.
| | 01:55 | Here in Maya I've made a plane,
and I have put a light in the scene.
| | 01:59 | I'm going to put a normal map in the
Bump Mapping texture on this material.
| | 02:04 | I'll click on the texture node for bump map
and in the Create Render Node dialog, pick File.
| | 02:09 | In the Bump 2d that Maya creates,
I'll go under Use As and change over to a
| | 02:14 | Tangent Space Normal.
| | 02:15 | Then I will go into the File node
and go pick the normal I've saved out.
| | 02:19 | I've called this a 01_04 example,
and there is that normal map.
| | 02:24 | I'll click Open and make sure my High
Quality displays on, by clicking on the
| | 02:29 | gold sphere. Those are the hotkeys 6
to show textures and 7 to shows scene
| | 02:35 | lighting, to get back to this view.
| | 02:37 | Now, we can see that this door
looks like it has a lot of detail.
| | 02:41 | This is a great example of
where a normal map is useful.
| | 02:45 | We can't take a sphere for head, as an
example, and normal map a nose out of it,
| | 02:49 | but we can have a lot of detail that's
within a plane with a normal map and make
| | 02:54 | things look richer in our world in game.
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| Analyzing concept art for key shadow details| 00:00 | Once we've got our major polygon lines
drawn and or textures mapped out, or at
| | 00:05 | least the start of a plan,
| | 00:06 | we want to go in and look for
key shadow details in our model.
| | 00:11 | We have a great example right here in
this abandoned gas station where the
| | 00:15 | roof overhangs the wall, and we can see
it's casting a strong shadow down on the
| | 00:19 | bordered-up facade.
| | 00:20 | We can also see up here on the sign, if
we were to show this blank sign, that we
| | 00:24 | have a key shadow detail on the sign box
where the actual gas station sign is missing.
| | 00:29 | In our model then, we want to look for,
beyond the major polygons, any key shadow
| | 00:35 | details that really clue us into
the nature or design of the building.
| | 00:38 | In this example, the roof is much shorter.
| | 00:41 | It doesn't overhang the building nearly as
much. But again, this is a key shadow detail.
| | 00:46 | We also have key shadow details right
here around the window, and I'll zoom in to
| | 00:50 | show it a little better.
| | 00:52 | Even in the overcast light where we
don't have strong shadows, we can see we have
| | 00:57 | got some pretty good
shading here in this pediment.
| | 00:59 | That's a key detail we need to have.
| | 01:01 | Now this may be a place to have a
high-detail model generate a low-poly plus a
| | 01:06 | very good baked texture, which
we'll get to in later videos.
| | 01:09 | But we want to keep in
mind those key shadow details.
| | 01:12 | Are there things that within a facade
or just above it, need to poke out, give as
| | 01:18 | little shadow cast onto the building itself.
| | 01:21 | And this window and roof
are a great example of it.
| | 01:25 | Another key shadow detail might
be right up here, and these dentals,
| | 01:30 | this molding, is a good example
of something we can bake later.
| | 01:34 | We need to see the inter-shadowing of the
dentals on the molding, but that's a lot of geometry.
| | 01:39 | So if we handle it through a normal map
at a high-poly model generating shadows
| | 01:43 | for a low poly, it will look right.
| | 01:46 | We can overlook things like this siding,
where it's kind of sticking off here, as
| | 01:51 | we can't see a definite shadow on it.
| | 01:54 | The shadowing will be handled here in
the occlusion and a normal map, and that
| | 01:58 | will make it look right and degrade it.
| | 02:01 | In our gas station then we can see
here under the canopy that it's important
| | 02:05 | to have this recess, that the ceiling
is actually up above the edge of the
| | 02:09 | canopy considerably.
| | 02:11 | We also need to make sure we have
this edge modeled in on the garage door,
| | 02:15 | that we can see the thickness of the wall.
| | 02:17 | I'll turn off layer 1, and we can see,
even on the overcast day in the photo, that
| | 02:22 | there is a really key
shadow of a wall onto the door,
| | 02:25 | so we need to make sure we model that in.
| | 02:28 | It's important to make sure that once
you have got the major polys mapped out
| | 02:31 | you look for any key hallmarks of
the design, any key shadow details that
| | 02:36 | really need to show up, to give us a
sense of place and solidity or thickness
| | 02:41 | in the building.
| | Collapse this transcript |
| Identifying shadow details as generated or painted| 00:00 | In a workflow making assets for games,
a lot of times we'll see high-poly models
| | 00:05 | generating things for a low-poly
model to be used in the final game.
| | 00:10 | An example of that are rendered shadows.
| | 00:13 | A lot of times what we'll do is draw
shadows, and sometimes we'll render them as well.
| | 00:19 | Some of what we need to do in our
planning of our building is to mark key areas
| | 00:23 | that might be rendered, where we need to
dedicate some time to making a high-poly
| | 00:27 | model to render or bake
things like shadows or occlusion.
| | 00:31 | As an example, this garage door
might merit a high-poly model.
| | 00:34 | There is a lot of inter-shadowing we
can see here on the panels that are
| | 00:39 | recessed and the trim around the
windows that we probably could do a decent
| | 00:43 | paint on, but we might get a
better result if we render it.
| | 00:47 | Additionally--and I'll turn off layer
1 again to show this--we can see that
| | 00:52 | there is inter-shadowing of the wall
on the door and the wall on the door and
| | 00:56 | the door trim. Again, this
might be easier to render.
| | 01:00 | We can paint shadows on things like
this flaking paint, because we're going to
| | 01:05 | paint this paint in, which sounds
rather odd. And as long as the shadow is
| | 01:09 | fairly close, it'll look right.
| | 01:11 | Where I tend to draw a line in
rendering versus painting shadows is on
| | 01:16 | things that are complex and inter-shadowing,
where painting them might be more difficult.
| | 01:21 | In this other gas station image, we
can see another instance of a rendered
| | 01:26 | shadow giving us a better result.
| | 01:28 | These doors have a frame around them,
panels, windows, and a bit of an overhang
| | 01:34 | from the roof, leading to a lot of
inter-shadowing going on on the door.
| | 01:39 | Now reasonably this could actually be
the same door texture. As long as the
| | 01:42 | flaking isn't terribly obvious from
one to the other, we can reuse it and
| | 01:47 | save some texture space.
| | 01:49 | Rendering out the shadows then will
give us consistency across all of the
| | 01:52 | molding. We might also render out
shadows on the person-sized door over here
| | 01:57 | on the right, as it's a fairly deep frame,
and having the shadow work correctly is important.
| | 02:03 | Up here on the roof, we might end up
handling this fascia detail as one poly
| | 02:08 | instead of two, and we can paint
in this simple shadow fairly easily.
| | 02:12 | It's also obscured by the
general dirt and decay of the building,
| | 02:16 | so as long as we get it fairly
close, we will be in good shape.
| | 02:19 | To sum up then, it's important to plan
out a model before you start in modeling.
| | 02:24 | It's very easy to simply start in and
realize you have to redo a lot of work.
| | 02:29 | Remember to go in and draw out the
lines on your building, lining out the major
| | 02:34 | polygons and key shadow elements.
Then get in there and mark out the places that
| | 02:39 | might be a good candidate
for overlapping texture.
| | 02:43 | Identify places where you need to
build a high-poly model and bake or render
| | 02:48 | some shadows or occlusion out of it.
| | 02:50 | And finally, be aware of the
limitations of your textures. We can do a lot with
| | 02:54 | the diffuse, normal, and specular
map, but we can't do everything.
| | 02:58 | We want to make sure, above all, that the
silhouette really works, and that way we
| | 03:02 | get an effective model that feels
like you're actually in the place.
| | Collapse this transcript |
|
|
2. Modular Planning and BlockingWhat is a module?| 00:00 | One of the most effective things you
can do in a game is to use a modular
| | 00:04 | approach to building.
| | 00:06 | A module then is a repetitive
component, and if we mix modules, if we create a
| | 00:12 | kit of parts, we can get a really
effectively made game environment that's
| | 00:17 | believable and economizes on our resources.
| | 00:20 | As an example, in this building, we can
see clearly a module in the left side.
| | 00:25 | I'll press B for brush and set my
foreground color to a blue I can mark in,
| | 00:30 | and on a new layer I'll mark out a module.
| | 00:33 | A lot of times a module is a split
between two windows; however, the module on
| | 00:40 | this building isn't necessarily this
piece, because this produces a seam right
| | 00:45 | in the middle of a wall.
| | 00:47 | A better module then, as I select and
delete that by pressing Ctrl+A to select
| | 00:52 | all and delete, a better module might be this.
| | 00:59 | Now if you ignore the overlap in the
gas pump here, we can see a module is a
| | 01:04 | section of wall that repeats cleanly
from window to window, and includes a window
| | 01:09 | and the wall over it. That way can
repeat this out and even get the end looking
| | 01:14 | right, and what this leaves me here on
this end is actually a half module where
| | 01:20 | the texture would simply
continue, but the geometry ends.
| | 01:24 | The idea in a module then is to
economize on resources by cloning our pieces.
| | 01:30 | If we look at this gas station then--
the small, white, and decrepit one--we can
| | 01:35 | clearly see some modules in action.
| | 01:37 | A module might be--and I'll do this on
a new layer again--one garage door and a
| | 01:43 | section of wall next to it.
| | 01:45 | I'm going to run this in
green so I can tell it apart.
| | 01:48 | My module might be one door
and the wall surrounding it.
| | 01:52 | That way if I need to expand this out
to three bays or contract it to one, or
| | 01:57 | even make another
building with the same elements,
| | 01:59 | I can reuse this and get clean joining lines.
| | 02:03 | I can take this module and repeat it
once here and even once more, taking out the
| | 02:08 | garage door to make the
module over those windows.
| | 02:12 | I'll look at one more view and see if
there are any other modules I can make.
| | 02:17 | There's a smaller one going on here,
and I'll zoom in on these windows as an example.
| | 02:22 | We can say that these windows next to
the door repeat. This is the shop, or
| | 02:26 | cashier, here. What this means is as I model,
| | 02:29 | I probably want a polygon right here.
| | 02:33 | I'll draw this on and line out a module.
| | 02:38 | What this tells me then is that in
that modeling I should give these separate
| | 02:43 | polys, so I can stack the
UVs and reuse this module.
| | 02:47 | If I'm careful about how I do the
texturing, I can even make this offset module
| | 02:52 | and this higher one work.
| | 02:54 | With a little bit of work, I can
probably use some of the same modular texture
| | 02:59 | for the transom window over the door.
| | 03:02 | As we've seen, it's important to
think through your building and the
| | 03:04 | possibilities before you start modeling.
| | 03:06 | In the next video then, I identify
other areas of repetition where I can stack
| | 03:12 | UVs and clone modules.
| | Collapse this transcript |
| Overview of the snap tools and precision modeling techniques| 00:00 | In this video I'll show some
methods that I use for precision movement,
| | 00:04 | rotation, and aligning.
| | 00:05 | It's important work
precisely when you're modeling.
| | 00:08 | That way can avoid environment
and scene leaks in your game.
| | 00:11 | I'm going to make a couple of
objects. Holding Shift and right-clicking
| | 00:15 | and choosing Poly Cube,
| | 00:16 | I'll drag in a couple of cubes and duplicate
them, pressing Ctrl+D and moving them over.
| | 00:22 | This is actually one of the
first things that I do to be precise.
| | 00:25 | I'm clicking and holding on the blue z
axis, which is now highlighted in yellow.
| | 00:30 | This allows me to move on one axis uniquely.
| | 00:33 | That way I can slide things along as
I need, instead of having to guess by
| | 00:37 | grabbing on all three.
| | 00:40 | I can also rotate on one axis as well.
| | 00:42 | If I want to rotate this over just
on the y axis, I can grab right on that
| | 00:46 | green ring and spin it.
| | 00:48 | However, it's not quite a precise rotation.
| | 00:50 | What I'm going to do is press and hold
E and left-click and hold anywhere, and
| | 00:55 | this pulls up the marking menu for rotation.
| | 00:58 | I'll turn on Discrete Rotate.
What Discrete Rotate does is snap that
| | 01:03 | rotation every 15 degrees.
| | 01:05 | We can change this in the
Rotation options if we need.
| | 01:08 | Now this is rotated exactly 90 degrees over.
| | 01:12 | One of the other tools
I'll use is the Align tool.
| | 01:15 | I've got one box selected,
and it's highlighted in green here.
| | 01:19 | I'll hold Shift and pick the other one.
| | 01:21 | I'll press 5 to go back to
shaded view, so we can see it.
| | 01:24 | I'll press spacebar for the Hot Box
and choose Modify > Align tool.
| | 01:29 | In the Align tool, the object we're
aligning to is shown as this solid rectangle.
| | 01:34 | And I've different options,
depending on how I spin around it.
| | 01:38 | What this shows me is that these
are already aligned on their centers,
| | 01:42 | because it's grayed out.
| | 01:43 | They're already aligned bottom to
bottom and top to top or center to center.
| | 01:48 | The available options are in light blue.
| | 01:51 | As an example, I'm going to pin these
front to back. By clicking and holding
| | 01:56 | one of the align tools,
| | 01:57 | I can see a yellow arrow aiming
to where it is going to align.
| | 02:01 | Now they're snapped perfectly front to back.
| | 02:04 | A lot of times when I'll do then in
modeling is module something, get it
| | 02:08 | looking right, and then put it in the
right place, snapping or aligning to make
| | 02:12 | sure it's fit perfectly.
| | 02:14 | I'll put these top to bottom, and now
they're perfectly aligned just on that edge.
| | 02:21 | This is an important one, as it
lets us align things up exactly.
| | 02:24 | I notice a lot of people have
trouble with it, so I'll recap quickly.
| | 02:29 | Whatever we're aligning to is highlighted in
green and shown in solid here in the Align tool.
| | 02:35 | If you click and hold on the tool,
it flies out a yellow arrow showing you where
| | 02:39 | it's going to go, and there they're aligned.
| | 02:42 | You can do this with as many
objects that at time as you'd like and get
| | 02:46 | things aligned precisely.
| | 02:48 | Now look at snap tools.
| | 02:50 | I'll press W for move. What we can see
is that with one box selected, the center
| | 02:56 | is in this center, as we'd
expect when we make primitives.
| | 03:00 | If I press and hold V for snap and
click and drag on one axis, I can snap the
| | 03:05 | center of this box to a point of another.
| | 03:08 | I'll turn on the wireframe
unshaded to make this easier to see.
| | 03:12 | Now I'm going to snap up on the y
axis, holding V for snap and pressing and
| | 03:17 | holding on the green y.
| | 03:19 | This snaps the center of that box on its
pivot up to the point that's closest to the mouse.
| | 03:27 | If I need to move the pivot around to
snap point to point, I'll press and hold V
| | 03:31 | for Snap and D for Enter Edit mode.
| | 03:34 | What that actually means is, move the pivot.
| | 03:37 | Now there's no Move tool apparent;
| | 03:39 | it is just here to move the pivot.
| | 03:42 | I'll click and drag and place the pivot
of this object down on one of the points.
| | 03:46 | Now I'm going to snap this on
one axis at a time, point to point.
| | 03:53 | It's perfectly aligned where I want it,
coincident only partially on one edge,
| | 03:58 | on two axes, and
sticking out in space over here.
| | 04:01 | A lot of times what I'll do then, as
I've said, is model something and then put
| | 04:06 | it exactly where I want it.
| | 04:08 | I'll also use this to snap objects together,
| | 04:11 | roughing out a form and then snapping
something else between in a light tight creation.
| | 04:16 | Here's how this looks.
| | 04:18 | I'm moving out of my boxes
off and zooming in to see it.
| | 04:21 | I'd like to snap a plane from corner to
corner and have it just span between the two boxes.
| | 04:27 | I'll hold Shift and right-click and Poly Plane.
| | 04:31 | It's important to spin around and find
a good view. Sometimes what we'll see--
| | 04:36 | pressing and holding V and clicking and
dragging--is that Maya doesn't know quite
| | 04:41 | where to put it, and I get a
small poly plane stuck to point here.
| | 04:45 | What I may want to do is
spin around considerably.
| | 04:49 | Now, I'll try it again,
| | 04:50 | pressing and holding V and
snapping a poly plane in.
| | 04:54 | There's my poly plane snapping
right on exactly from point to point.
| | 04:59 | I find these trips up people, and
it's good I was able to show that.
| | 05:03 | It's important to spin around that view.
Remember that our snap up here is always in 3D.
| | 05:08 | It's going to look for points on the x,
y, and z axis, and so we may have to
| | 05:14 | orbit or tumble around to make sure that
Maya can see what we're trying to snap to.
| | 05:18 | But now I have a plane snapped perfectly in.
| | 05:21 | I'll do this a lot, making openings in
walls and snapping in doors or windows
| | 05:26 | and snapping in the glass.
| | 05:28 | It's important to work precisely and create
your object precisely in that real-world scale.
| | 05:34 | That way things like physics
look at things in the right size.
| | 05:38 | And then when you bake
lights, they aren't light leaks.
| | 05:41 | If we're dealing in lighting,
this is a really clear transition;
| | 05:47 | these objects perfectly meet at that
edge, or as an example, perfectly are
| | 05:53 | coincident at that edge.
| | 05:57 | That is not close enough.
| | 05:59 | It looks like a minor difference, so
small we could over look it. But in
| | 06:03 | this tiny gap, Unity will think about the
nature of the universe when it's casting lighting.
| | 06:09 | So if I have a choice, I'd rather
have these perfectly together.
| | 06:13 | This will also help when I'm making
colliders, that I don't have the opportunity
| | 06:18 | possibly to worm through a
small space that wasn't intended.
| | 06:21 | Anywhere I can be precise I should.
| | 06:25 | It'll lead to a better model, fewer
calls, and a more efficient gameplay.
| | Collapse this transcript |
| Blocking out the basic form of a building| 00:00 | Once you've got the basic plan in
place, you can start to block out
| | 00:03 | components of your design.
| | 00:05 | What I'll do usually is estimate
distances based on my concept art.
| | 00:10 | As an example, doors are a terrific
way to measure and estimate distances.
| | 00:14 | I'll zoom in on the door on the cashier's area.
| | 00:17 | Doors typically, in most North American
buildings at least, or one of two heights
| | 00:23 | unless they obviously look
different or custom made.
| | 00:26 | Doors are 6'8" tall or 8 feet,
and these are standards throughout the country.
| | 00:33 | The way I can tell if a door is six foot
eight or eight feet is where the handle is.
| | 00:38 | We can see that the handle and the small
handle right here are just about midway
| | 00:43 | across the door, maybe a
little bit below half of the knob.
| | 00:47 | What that means, being that the handle
was about three feet off the floor, is this
| | 00:51 | door is six foot eight tall.
| | 00:53 | If the handle looks like it's at the lower
third of the door, the door is eight feet tall.
| | 00:58 | So this door is six foot
eight tall and about three feet wide.
| | 01:03 | If we call this six foot eight, or
almost seven, reasonably, we're looking at
| | 01:09 | ten feet to the top of these windows, and
hence ten feet to the top of the garage here.
| | 01:14 | If that's ten, there's probably another
four maybe to the top of the building.
| | 01:20 | I'll press Ctrl+0 and zoom out
and see if that estimating holds.
| | 01:24 | Again, it looks like ten
feet here and another four.
| | 01:29 | That works nicely, giving me two-foot
panels on the garage doors as well.
| | 01:34 | If we've got fourteen feet tall
reasonably, this building comes out to--
| | 01:39 | well, let's see. Three feet, probably eight or nine.
| | 01:44 | We'll call it nine.
| | 01:46 | That gives us twelve and another two feet
is fourteen, another nine is twenty-three, and probably
| | 01:55 | reasonably another twelve feet or fourteen feet
coming out to, let's say thirty-six, to give us a
| | 02:01 | nice even number. 14 x 36.
| | 02:05 | I will go into Maya and
start to block out this form.
| | 02:09 | Here in Maya, I'm ready to begin modeling.
| | 02:11 | Remember that as we showed in the workflow
video, I've customized my UI a little bit.
| | 02:17 | I'll press and hold spacebar for the
hotbox, and we can see I have gone into
| | 02:21 | the Hotbox controls and clicked
on Show Polygons, Polygons Only.
| | 02:26 | I've also clicked on the space to the
right of Maya and turned off the Range
| | 02:31 | slider, the Time slider, and the Command Line.
| | 02:35 | I've left the Tool Box and Status Line
on, and I've also turned off the Shelfs.
| | 02:39 | I'm using Ctrl+A to go back and forth
between the Channel Box and the Attributes,
| | 02:43 | and that gives me a lot more space to work in.
| | 02:46 | To block out a building then, I'm going to go
into my Preferences and set my units in feet.
| | 02:52 | I'll choose Window >
Settings/Preferences > Preferences.
| | 02:56 | In the Settings I'll make my Linear units feet.
| | 03:02 | This isn't the actual model,
but it's rather a bounding box.
| | 03:05 | I'll hold Shift and right-
click and choose PolyCube.
| | 03:09 | I'll click and drag out a PolyCube and
come over to the INPUTS in the Channel Box.
| | 03:14 | I'll make the Depth 36.
| | 03:17 | I'll put the Height at 14.
And I need to get a width.
| | 03:22 | I'll press F to show it, and we can see
that my gas station is much too skinny.
| | 03:26 | Back here in Photoshop, I can estimate the side.
| | 03:30 | If I know that this is twelve feet--having
three and nine here, we'll say--reasonably
| | 03:36 | I'm looking at probably close
to twenty or twenty-two for the side here.
| | 03:42 | I'll check out one of the
other views and see if that holds.
| | 03:46 | Again, reasonably, that's
probably twenty feet from front to back.
| | 03:50 | Back here in Maya then,
I can make that Width 20.
| | 03:55 | This is the main volume of the gas
station, and it's important to put in a
| | 03:58 | bounding box to avoid model creep.
| | 04:01 | What is model creep, you might ask.
| | 04:04 | It's when you start modeling something
and the model seems to grow a bit.
| | 04:08 | What you thought was going to be a six-foot
person actually ends up closer to eight
| | 04:12 | and looks rather odd.
| | 04:13 | So by putting in a bounding box, we can
say all the modules of the building need
| | 04:17 | to fit inside this box by the time we are done.
| | 04:20 | I'll add in another one
for the canopy on the front.
| | 04:23 | What I'll also do is zero out the
translation on this, selecting by clicking and
| | 04:29 | dragging the X, Y, and Z Translate and pressing 0.
| | 04:33 | Then I'll come back to the
height on the Y, and put it in at 7.
| | 04:39 | I've turned off my grid,
which I usually do for working.
| | 04:42 | Turning it on again, though, shows me
the grid is at the bottom of the box.
| | 04:46 | That way the floor is at zero. So when this
comes into the game, it's going to sit down
| | 04:51 | on the ground plane if I have one.
| | 04:52 | I like to do this with structures so
that rather than working in free-floating
| | 04:57 | space, things start out at zero, and that
way anything I make is automatically on
| | 05:02 | the floor or on the ground.
| | 05:04 | I'll add another box to put in the canopy,
and then I'll start to model modular elements.
| | 05:10 | Back here in Photoshop then,
I can estimate the canopy.
| | 05:13 | It looks like this canopy sticks out
almost as far as the width of the building.
| | 05:18 | If this is twenty, this is
probably easily eighteen out here.
| | 05:21 | And again, if I said this is four feet tall
up to the rooftop, it's probably two in
| | 05:28 | the height of the canopy.
| | 05:29 | It also needs to line up
cleanly with the garage door.
| | 05:32 | What I had said is that the edge of
the garage door is twenty-three feet in, and so this
| | 05:37 | canopy needs to come over thirteen feet.
| | 05:40 | I'll make another box, holding Shift and
right-click and choosing PolyCube. I'll
| | 05:45 | drag it in and pull it up for the height.
| | 05:49 | I'm going to make a Height of this 12.
| | 05:52 | I'll put the Width at 13,
and here's the Depth at 18.
| | 05:58 | Now it looks like I'm
little off in my width and depth.
| | 06:01 | I can either fix this or rotate it around.
| | 06:04 | I'll put the Width at 18 and the Depth
at 13, and now the box for the canopy and
| | 06:11 | the island is in the right place.
| | 06:13 | Finally, I'll use my Align tool
to get these in the right place.
| | 06:16 | I've got my canopy bounding box
selected, and I'll hold Shift and select the
| | 06:21 | bounding box for the station.
| | 06:23 | On my hotbox, pressing and holding the
spacebar, I'll choose Modify > Align tool.
| | 06:28 | I'll align them front to back, bottom to
bottom, and spin around and side to side.
| | 06:43 | There is my bounding volume for my gas station.
| | 06:46 | If I stay within this, I'll get the
proportion right and things will line up
| | 06:50 | where they're supposed to.
| | 06:51 | It's important to do this to block
out or box out that basic form first,
| | 06:56 | any key elements or major
volumes, before you start modeling.
| | 07:01 | That way our model stays in the
right proportion and right size as you
| | 07:04 | have planned it out.
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| Designing modular elements| 00:00 | Now that I've got my building blocked
out, I can start to model my modules.
| | 00:05 | I'll turn on my wireframe on shaded so
I can see things and orbit around a bit.
| | 00:10 | What I will start on are the modules
for the garage doors here on the side.
| | 00:14 | Back here in Photoshop,
I'm going to just mark out those modules.
| | 00:18 | I'll press Ctrl+Shift+N a new layer, and
I've changed my color over to a green
| | 00:22 | so it's easy to see.
| | 00:24 | In this case, I'm going to make this
first module the full-width garage door
| | 00:29 | module, going from the corner of the
building to the edge of the garage door and
| | 00:34 | including this edge of the wall.
| | 00:37 | My plan then in this model is that this
second garage door, even though the wall
| | 00:43 | is slimmer here, will share the same texture.
| | 00:45 | We can think of it as the
texture simply flows off that module.
| | 00:49 | In reality, as long as I'm careful on
the painting, I'll avoid a seam right
| | 00:53 | there and I have a good easy match right
here at a corner, where it's okay to have
| | 00:58 | a slight mismatch in the texture.
| | 01:00 | I had also said these doors are 9 feet
wide, 10 feet tall, and that this wall
| | 01:05 | section was 3 feet wide, and the
wall above the door was 4 feet.
| | 01:10 | Back here in Maya then, I'm going
to start out modeling my module.
| | 01:14 | I want to model as elegant as possible,
starting with the outside and working my
| | 01:19 | way in, modeling the inside of the
building if I need it, as a separate object.
| | 01:23 | I'll press spacebar for the hotbox and
click on the Maya button and choose Side View.
| | 01:28 | What I'll do usually is to turn
off the grid and press F to focus.
| | 01:33 | There's my building and
I'm ready to start modeling.
| | 01:35 | I'll hold Shift and
right-click and make a poly plane.
| | 01:39 | I'm going to snap this in, holding V
and clicking on that first corner and
| | 01:45 | dragging down to the bottom of
the canopy module and letting it go.
| | 01:50 | Pressing 4 lets me show in a
wireframe and there's that first plane.
| | 01:54 | Now I can go to the INPUTS and
change that Width over to 12.
| | 01:58 | It's the right size and just not in the right
place, but I'm going to move it in a minute.
| | 02:04 | What I need then is to take a piece out of here
| | 02:06 | that is 10 feet tall and 9 feet wide.
| | 02:10 | There's any number of ways to do this.
| | 02:12 | What I'll start out with is putting
in some width and height subdivisions.
| | 02:17 | Now I can take these and move them over.
| | 02:20 | Remember that I had started out this
building at zero. If we look at our major
| | 02:24 | element here as an example, the
Translate Y is at 7 feet, because it's 14 feet
| | 02:29 | tall and the center is in the center.
| | 02:32 | What this will let me do in modeling
is use either a relative or absolute
| | 02:36 | transform to move this edge in the right place.
| | 02:39 | I'll press F10 for Edge, double-click on
that edge, and up here in the menu line
| | 02:44 | input, I'm going to leave
it at the Absolute Transform.
| | 02:48 | Now I can put the Y height at
10 and it's in the right place.
| | 02:54 | I'll take this second edge loop, hold V,
and snap it over right onto the other
| | 02:59 | one, actually making an
irrational shape temporarily.
| | 03:02 | In this case, what I'll do is flying
out that option and choose Relative
| | 03:06 | Transform in the menu line input.
| | 03:09 | I'll move back by -3 on the Z, and now
I've got the wall element the right width.
| | 03:16 | I'll go back to my Perspective view,
press F8 for object, and slide this forward
| | 03:21 | so I can see it in a shaded view.
| | 03:24 | Now I'm going to press F11 for face,
pick this big face, and extrude it in.
| | 03:30 | This will become one of my garage doors.
| | 03:32 | I'll hold Shift and
right-click and choose Extrude Face.
| | 03:36 | I'm going to slide this back, and
I've got any number of ways to do it.
| | 03:40 | I can pull it back on the Z axis till it
looks right, or over here in the INPUTS,
| | 03:45 | I can put in a precise number.
| | 03:47 | I'm going to say that wall is 6 inches
thick, so I'll put in -0.5, or half a foot.
| | 03:54 | My module is almost ready.
| | 03:57 | It's very clean, economical
in polys and light tight.
| | 04:02 | I'm going to pick this
bottom face and delete it,
| | 04:04 | as I've a floor polygon
later that will cover that.
| | 04:07 | I'm going to leave in this side polygon
as I'll need it to match up on this side.
| | 04:13 | Finally, I'm going to sow up these
vertices to get rid of one more polygon.
| | 04:18 | I'll press spacebar for the Hotbox and under
Edit Mesh, I'll choose the Merge Vertex tool.
| | 04:25 | I'll click on one vertex and drag over
to the corner, and I'll do this again
| | 04:30 | from bottom to top and now I have the clean miter.
| | 04:34 | I'll press F8 and hold Shift and right-click
and choose Soften/Harden Edge > Harden Edge.
| | 04:42 | Now I'm ready to delete the history.
| | 04:44 | I'll press Shift+Alt+D or Alt+D,
delete the history, and make sure it's gone.
| | 04:52 | It looks like it didn't work because I
was still in Vertex mode, so I want to
| | 04:56 | make sure I'm in the whole
object, or Object mode, first.
| | 04:59 | I'll delete the history and
I've got a module ready to unwrap.
| | 05:03 | It's important to do this to
keep it light tight and precise.
| | 05:07 | I'll try a quick experiment to
finish this out and see if it worked.
| | 05:10 | I'm going to duplicate this object.
Pick both because I don't care which one
| | 05:15 | goes front to back.
| | 05:17 | Choose, under Modify on my Hotbox,
the Align tool, and align them.
| | 05:24 | It worked perfectly.
| | 05:25 | My garage door modules line up exactly,
and I can see right here, this is going
| | 05:31 | to be a perfect place to line up that texture.
| | 05:34 | As long as I've good continuity on the
top here, things will match, and I can
| | 05:39 | have as many garage doors as I want.
| | 05:41 | I've set myself up here for a clean
texture break on the garage door in the
| | 05:45 | module, where this large polygon will
get that separate texture with the garage
| | 05:49 | door and its windows and panels.
| | 05:52 | Then I'll have my wall
texture all way up here and over.
| | 05:56 | I could use this same module to
make the other garage door module.
| | 06:00 | The difference on that one is once I've
unwrap this piece, I'll take these edges
| | 06:05 | and slide them back.
| | 06:06 | They're going to share the same
texture and just have less geometry.
| | 06:11 | If I built it right, I can even use this
module, minus the garage door faces, to
| | 06:16 | help make the wall that goes right
here where the cashier station is.
| | 06:22 | I'll keep modeling my modules, making
them in small pieces, getting them ready for
| | 06:26 | an unwrap and then to
assemble the final building.
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| The iterative process: Assembly and teardown| 00:00 | Now that I've got some of my modules
modeled, I've put them in place, and what
| | 00:05 | I'm into is some iteration and tear-down here.
| | 00:09 | What this means is that a lot of
times, what we'll see is a module is
| | 00:13 | constructed, placed, checked,
improved, deleted, and replaced in the end.
| | 00:20 | As an example, I'm going to hide the
canopy, and we can see that I've used my
| | 00:25 | garage door module to put in place
here for the cashier's area, and I've also
| | 00:30 | mirrored it over here onto this side.
| | 00:33 | Now I'm going to need some different
walls here, because I've got a small door on
| | 00:37 | the side, probably for the bathroom, and
more walls showing than my module has.
| | 00:42 | I also need to make a miter here at the
bottom, but this gives me a pretty good
| | 00:46 | idea of how it's going to look and let
me see if I'm getting the form right.
| | 00:50 | I've added in the side and done this
by extruding in a plane and then moving
| | 00:55 | these faces in precisely. Ideally,
what I can do is take this and clone it
| | 01:00 | around to the back.
| | 01:02 | As long as it's a pretty good match
and I've a section of blank wall I can
| | 01:05 | use around the back,
| | 01:07 | I can reuse this element.
| | 01:08 | One of the things I need to do also is
economize the display and the number of
| | 01:14 | faces I'm rendering.
| | 01:15 | I've done this through some careful modeling.
| | 01:18 | What I also like to do is to model
single-sided. I'll choose Window >
| | 01:22 | Settings/Preferences > Preferences.
| | 01:26 | Under Settings there's the Modeling
section. In Modeling, I'll make sure that
| | 01:30 | Create meshes single sided is on and hit Save.
| | 01:34 | This means any future meshes are single-sided.
| | 01:38 | What that means then is if I make a
plane, as an example, it is invisible from
| | 01:42 | the bottom because it faces up.
| | 01:46 | However, these are still double-sided.
| | 01:49 | We can tell by selecting one, pressing
Ctrl+A to go to the Attribute Editor, and
| | 01:53 | looking in the Render Stats.
Double Sided is checked.
| | 01:56 | I can uncheck Double Sided, but that gets to
be a little cumbersome for multiple objects.
| | 02:01 | What I'll do then is go to Window >
General Editors > Attribute Spread Sheet.
| | 02:08 | I'll select all of the elements
| | 02:10 | I want to make single-sided and
open up the spreadsheet a little bit.
| | 02:15 | I'll go to the Render tab and
click on the Double Sided button.
| | 02:19 | Right now I can see very clearly which ones
are double-sided and which one is single sided.
| | 02:25 | I'll click on Double Sided and hit 0.
Just like in the Channel Box, if we have a
| | 02:30 | whole bunch of things selected and we enter a
value for one of them, they all get that value.
| | 02:35 | I'll press Enter and
they're all single-sided now.
| | 02:39 | I'll close this and as I spin around,
I can see through the back of my objects.
| | 02:43 | This way I can tell as I am modeling if
things are facing the right way, and I'm
| | 02:48 | making sure that when I bring it into
Unity, things are facing the right way and
| | 02:53 | as economized as possible.
| | 02:55 | I'll assume that this is going to be an
exterior model, that we don't need to go inside,
| | 03:00 | that as part of my modules instead
of a boarded-up garage door here,
| | 03:04 | I'll see the same garage door side to side.
| | 03:07 | That way I can economize in the texture
and we can go around in this building.
| | 03:10 | We'll simply assume for the context of the
game that it's locked and we can't get in.
| | 03:15 | It's important as your modeling to not
consider your work final, that it's very
| | 03:19 | likely to model something, see if it
worked, check it out, modify it, and then
| | 03:25 | say "let's bring it into the game."
| | 03:26 | So don't be afraid to take modules,
stack them together, see what's going to
| | 03:31 | look like, tear them down, and make the final.
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| Planning for occlusion and texture stacking| 00:00 | In this video, now that I've got my
modules roughly taking shape, I'm going to
| | 00:04 | look at possibilities for stacking UVs.
| | 00:07 | That way I can reuse things in my texture sheet.
| | 00:10 | What I've set myself up for here in
these modules is to have one full garage
| | 00:15 | door and wall module and some
other pieces that use elements of it.
| | 00:20 | I'm going to test this out, doing a
simple unwrap on part of it and seeing how
| | 00:25 | well these UVs tile along here and where
I need to take into account seams.
| | 00:30 | I'll start out by taking the full module,
| | 00:32 | recognizing that this second module is
really a full module with extra texture
| | 00:38 | outside of the geometry.
| | 00:41 | I'll go under Create UVs
and choose Automatic Mapping.
| | 00:45 | It automatically maps it, meaning it
basically projects on from a box on all
| | 00:50 | sides UVs; however, it's
little difficult to see.
| | 00:55 | What I'm going to do here is get a
temporary material on so I can actually
| | 00:58 | see what I'm doing.
| | 01:00 | I'll select all of my objects,
right-click, and assign a new material.
| | 01:05 | I'm going to put a Blinn Shader on.
And the first thing I'll always do with the
| | 01:09 | material is name it.
| | 01:10 | I'll call this blinn, unwrap_checkers.
| | 01:16 | In the color of this blinn, I'll click
on the Texture node and put a file in.
| | 01:21 | Remember, you can always slide the nameless
slider to see these icons bigger if you'd like.
| | 01:26 | In the File node, I'll scroll up to
the Image Name slot and click on the
| | 01:30 | yellow file folder.
| | 01:32 | I've included in the source images of
the game environments project here a file
| | 01:37 | called 1024 x 1024 template.
| | 01:39 | It's a file I use for placing UVs
when I don't have a texture generated.
| | 01:44 | Basically, what this lets me do is
see where a UV is repeating, as I can
| | 01:48 | judge green and orange from top to
bottom or side to side, and I can also see
| | 01:53 | which way it's facing.
| | 01:55 | If the letters are facing the right
way, the UVs are on correctly and my bump
| | 01:58 | maps will go in the right direction.
| | 02:00 | The letters also let me see a local
distortion within each square. As seeing
| | 02:05 | simply black and white distorting
gives me black and white, many people often
| | 02:10 | use the default checkers for that.
| | 02:12 | I prefer a map like this, as it lets me
really see how these UVs are behaving.
| | 02:17 | I'll click Open and press 6 in the view,
and I can see some obvious distortion
| | 02:22 | in my UVs as part of the modeling process.
| | 02:26 | This one has had some UVs applied.
| | 02:28 | The automatic projection has simply taken
this and splintered it based on an angle.
| | 02:34 | I'll look in the Texture Editor,
choosing Edit UVs and UV Texture Editor, and I
| | 02:39 | can see how those UVs are stacking up.
| | 02:41 | One of the things I'll do in order to
be able to stack these better is choose
| | 02:45 | Tool and Move UV Shell tool.
| | 02:48 | In the Move UV Shell tool, I'll make sure
that Prevent overlap is unchecked. Here's why:
| | 02:55 | if that's checked and we pick a
shell, Maya wants to snap it back.
| | 03:01 | What I'll do then is make sure
that that option is not checked.
| | 03:06 | This way I can take UVs and
snug them right next to each other.
| | 03:10 | I'll scale down the door just a little bit
and now I've got the door fitted into the wall.
| | 03:16 | This will be the start of my texture
module, and I can see clearly where I
| | 03:21 | can make a break in the texture,
because the door and the wall texture is
| | 03:24 | not the same texture.
| | 03:26 | I'll take my wall elements
then and stack them right on top.
| | 03:31 | This is a test, and I may end up moving
these around, but this will give me a
| | 03:35 | good indication if I've got wear and
tear in the right place and where it
| | 03:39 | shows up, where in my texture sheet I need to pay
attention to dirt and grime tiling seamlessly.
| | 03:48 | I've closed the editor and
I can see my UVs cleanly.
| | 03:52 | It's working nicely.
| | 03:53 | I can see that as long as I get them
pretty close here on the small strips,
| | 03:57 | they'll be in the right place,
and we almost can't tell on the top.
| | 04:01 | So as long as it is in the right
place roughly, a little bit of ambient
| | 04:04 | occlusion and generally the
lighting in the scene will camouflage that.
| | 04:08 | On this last strip here, again, as long
as that lines up nicely with that wall,
| | 04:13 | I'll be in good shape. An outer corner
like this is a terrific place to break a
| | 04:17 | texture or allow for a mismatch,
because it's a naturally mismatched place.
| | 04:23 | Now I'm going to clone this out and
see where I need to pay attention to my
| | 04:26 | texture sheet tiling.
| | 04:29 | I'm going to take one of my
interim modules and delete it.
| | 04:33 | I'll pick the one I've got
| | 04:34 | unwrapped correctly,
duplicate it, and clone it over.
| | 04:39 | I've just picked both by drawing a
little window right here. And on my hot box
| | 04:44 | I'll choose Modify > Align tool.
| | 04:46 | I'm going to snap these front to back
and then move it over in the right place.
| | 04:52 | I'll pick this one,
| | 04:53 | move it over by one on the Z,
and then right-click and pick Edge.
| | 04:59 | What I will do to avoid distorting the
UVs though is press and hold W to go to
| | 05:04 | the Marking menu for move,
| | 05:05 | and I'll go into the Move Options.
| | 05:08 | In the Move I'll check Preserve
UVs, then close those options.
| | 05:13 | Now when I pick this Edge, hold V for
snap, and slide along the Z axis, I can
| | 05:18 | snap it right in place.
| | 05:20 | I'll right-click, pick Object mode, and
deselect. And I can see clearly where I
| | 05:26 | need to pay attention to my UVs
tiling, but I've got a good layout for a
| | 05:30 | texture sheet going.
| | 05:31 | I can see where I'm going to
reuse some of that texture space.
| | 05:35 | We can see DBDB right in the middle of
this small section of wall and where it
| | 05:40 | shows up on the larger section.
| | 05:42 | I'm planning here for a large texture sheet to
cover a chunk of the building, and to reuse it.
| | 05:48 | So as part of this process, making sure
that these textures will line up in the
| | 05:52 | right place and taking into account
where I need continuity when I paint the
| | 05:57 | texture is important.
| | 05:58 | It's okay to take little steps like
this to try out things and say, does this
| | 06:02 | work? is it in the right place?
| | 06:05 | knowing full well we may go in and
rearrange some of these elements.
| | 06:08 | If we need we can always pick pieces,
go back to that texture editor, and there
| | 06:14 | is our stacked UVs we can rearrange.
| | 06:16 | I can see the side elements right here
and I can flip them around as I need, and
| | 06:20 | I can see those stacked UVs and that
offset edge. It's working nicely.
| | 06:25 | That Preserve UVs option is
fantastic for texture sheets.
| | 06:29 | And I can see very quickly in my
texture sheet here that I can stack a
| | 06:33 | whole bunch of my walls.
| | 06:35 | I can plan out that within this,
| | 06:37 | let's say 1024 space, I can probably get
the whole building with a lot of detail
| | 06:41 | by some careful stacking.
| | 06:43 | What I'll do then is finish out the
modules and go through and start creating
| | 06:48 | and stacking UVs, using this large space
of wall to the fullest extent and seeing
| | 06:54 | where else I need to make a larger
chunk of wall that use in other places, such
| | 06:58 | as the bathroom door around the side.
| | 07:01 | If I do it right, I can have a modular
building that uses one diffuse texture
| | 07:06 | and one normal texture.
Because we're going into Unity, we can tuck the
| | 07:10 | specular component in the alpha
channel of the diffuse texture,
| | 07:14 | so basically I'll have two
textures come in to do the whole building.
| | 07:18 | Some careful planning on the modules and
the texture sheet is essential for this.
| | 07:21 | And don't be afraid to take some
interim steps and experiment along the way.
| | 07:26 | You'll find you get a more finished
model and an easier time importing and
| | 07:30 | placing things if you try out some things and
maybe even delete some parts and rebuild them.
| | 07:36 | So let's get going and keep modeling
modules. Then we'll move into textures and
| | 07:40 | get this into the game.
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|
|
3. Modeling Building Elements in High DetailAdding foundation elements| 00:00 | In this chapter I'll look at modeling some
high-detail objects for baking, and also adding
| | 00:05 | more detail in general to the building.
| | 00:06 | What we want to do is put in some key elements
that really give us shadow lines and detail,
| | 00:13 | to flesh out this building before we add
just the general dirt in the texture.
| | 00:17 | So far I've modeled this in a modular fashion,
making my single module with the garage door
| | 00:23 | and as we can see, cloning it around, using
the Preserve UVs Checkbox in the Move tool
| | 00:29 | to clone and move and adjust these while
preserving the UVs so they're still stacked.
| | 00:35 | I've gone all the way around the back, giving
it one long poly along here and a clone
| | 00:41 | of, well, actually the side door here where
the bathroom would be, to give me an extra
| | 00:45 | door on the back of the garage.
| | 00:47 | I've added in a side, and I need to make sure
I've enough raw wall to handle this. And as
| | 00:53 | well, there's a window in it.
Right now it's separate geometry.
| | 00:56 | I'll probably combine things later,
but it's okay to model in pieces like this.
| | 01:01 | Right now I'm going to add in some foundations
around the garage doors and the mechanic's bay.
| | 01:07 | I'll jump over to Photoshop and take a look at
the reference and see what I need to model.
| | 01:11 | As we can see in the
reference I'd sketched on earlier,
| | 01:14 | I've got foundation pieces just
under the wall I've modeled.
| | 01:18 | Really what I've done is modeled the
building down to the level of this sidewalk height,
| | 01:22 | or the cashier station.
| | 01:24 | I'll turn off those wireframes for a
sec, and we can see the difference here.
| | 01:28 | Call it 6 inches or so in the
foundation versus the floor.
| | 01:32 | I've taken the building down to 0, which
is the finished floor line right there.
| | 01:37 | I'm going to add in these extra blocks
and make them just a little bit uneven.
| | 01:41 | They need to go all the way around so that as
this dirt polygon waves, it's got something
| | 01:46 | to hit, and it will help reinforce the general decay
of the structure where this is slightly uneven.
| | 01:52 | We can see over time--and I'll zoom in to
show this--but this has been thoroughly abused
| | 01:57 | over years of use, and so it
needs to look a little bit ragged.
| | 02:01 | I'll start out by making the small blocks that
sit under the wall elements between the doors.
| | 02:06 | I'll zoom in, press 4 for a wireframe and rotate so I
can see what I'm doing. A quick note on workflow.
| | 02:13 | Hopefully you've noticed that I switch back and
forth regularly, from 6 to show the textures
| | 02:17 | to 5, just shaded, 4 for wireframe, and later
I'll even use 7 to show lights in the scene.
| | 02:24 | I do this so I can see what I'm doing.
| | 02:26 | I'll also orbit around.
| | 02:29 | What I see a lot of times people end up
working like this, and it's difficult to operate in
| | 02:34 | detail on a model. What I always
want to do is zoom in and spin around.
| | 02:39 | I know I'm doing it right when I'm looking
at a view like this, where I can clearly see
| | 02:43 | that section of wall and
get it in the right place.
| | 02:47 | I'll hold Shift and right-click and choose
Poly Cube, hold V for snap, and snap to
| | 02:52 | an outside corner of this wall.
| | 02:54 | I'll click and drag and it
registers the snap on the opposite corner.
| | 02:58 | I'll let it go and pull down.
| | 03:01 | I'll go into the Poly Cube Attributes. Notice
I've hit Ctrl+A to go back and forth between
| | 03:05 | my Channel Box and my Attribute Editor.
| | 03:07 | I'll put the Height of this at .5.
My units are still in feet, so that's 6 inches.
| | 03:14 | Now I'll take this object and
snap it to the bottom of that wall.
| | 03:17 | In this case, I'll use my Align tool, on my
Hotbox choosing Modify, Align tool, and snapping
| | 03:23 | these top to bottom.
| | 03:28 | Now what I'm going to do is with this box
selected, just move this face out a little bit.
| | 03:33 | I'll press 5 to go into the
shaded view and just pull it forward.
| | 03:37 | I want to make this just a little bit uneven.
| | 03:40 | I can't spare the faces to really round and
mash these corners, but a little bit of a
| | 03:46 | less-than-perfect
silhouette will go a long way.
| | 03:49 | I'll just let it be a little bit wedge-shaped,
as if over time it's become gently banged.
| | 03:55 | This, plus the normal and diffused map
with the wear and tear, will look right.
| | 04:00 | I'll take this object and clone it,
pressing Ctrl+D, and slide it over.
| | 04:06 | I'll move in, hold V+D to snap the pivot
down on to a corner, and snap it in place.
| | 04:12 | Then I'll press F9 for vertex, select the vertices
on one side, hold V for snap, and snap them over.
| | 04:19 | I may choose to distort this further by
grabbing a bottom point and just pulling it slightly,
| | 04:25 | pulling that polygon just off square.
| | 04:28 | Again, this'll reinforce the
generally banged-up nature.
| | 04:34 | Now for the remaining sides. I'm going to take one
of my existing boxes and extrude it around here.
| | 04:39 | I'll pick this one, press Ctrl+D if to
duplicate, and slide it over on the Z axis.
| | 04:46 | I'll zoom in, press V+D to move the
pivot, and snap it onto that wall.
| | 04:52 | What we can assume is that this place was
made nicely and put together well at one point,
| | 04:57 | and over the years it has
become generally rundown.
| | 05:00 | Now I'm going to press F11
for face and pick this face.
| | 05:04 | I'll snap it over here on to the outside of
that wall and then move this back, pressing
| | 05:10 | F10 for Edge and sliding this
edge back by -0.5 on the Z.
| | 05:17 | Now I'm ready to extrude. What I'll before
I extrude is double-click on the Move tool
| | 05:21 | and make sure Preserve UVs is unchecked.
| | 05:25 | That way when I go to move or tweak these
vertices, they don't snap back into place.
| | 05:32 | I'll press F11 for face and
pick that face that's diagonal.
| | 05:36 | Hold Shift and right-click
and choose Extrude Face.
| | 05:39 | The Extrude tool is really
fantastic for modeling in Maya.
| | 05:42 | In one tool I've got Move, Rotate, and Scale
plus the ability to switch between local and
| | 05:48 | world axes up here and new in the
caddy: Thickness, Offset, and Divisions.
| | 05:54 | I'll click on the local world toggle
and now working on the world axis.
| | 05:59 | I'll slide this back on the red X
axis all the way along the building.
| | 06:06 | I'll press F to zoom in, and there is this face,
and I'll pull it back just a little bit off.
| | 06:12 | I'll click on the rotation ring in the
Extrude tool and rotate this around.
| | 06:17 | As I rotate, I can see
which axis it's rotating on.
| | 06:20 | It is the Y axis.
| | 06:22 | I'll get it as close as I can and come over
here in to the Attribute Editor and make it -90.
| | 06:30 | Then I'll pull this back into the right
place. Just a little bit off is okay.
| | 06:37 | That's all in one extrude
operation, polyExtrudeFace1.
| | 06:40 | I'll hit G to repeat last, switch over to the
world axis, and repeat this process, extruding
| | 06:46 | along the building and this time scaling,
so this face instead of be diagonal, will go
| | 06:52 | flat at the door frame.
| | 06:53 | I'll scale down in the Extrude tool on that Z
axis, putting the scale's Z at 0 to flatten
| | 07:00 | that face out, holding V for snap, still in the Extrude
tool, and snapping that face right onto the door.
| | 07:10 | There's my foundation, and it's just
a little bit off here and there.
| | 07:14 | I'm going to zoom in, press F10
for Edge, and pick this corner edge,
| | 07:20 | W for Move, and just pull it out slightly, giving
me just a little more wiggle in the foundation.
| | 07:27 | Finally, to finish these out,
I'm going to delete their bottom faces.
| | 07:32 | I won't be seeing these as they will be
against the ground, so I can select the object, press
| | 07:36 | F11 for face, and pick that face ring.
| | 07:41 | Now here's that technique for selecting: picking
one face, holding Shift, double-clicking, following
| | 07:47 | the pre-selection highlight, and I pick a
face ring. I'll hit Delete and now this is
| | 07:54 | a clean optimized shape.
| | 07:56 | I'll come over here to the other
blocks and delete their bottoms as well.
| | 08:00 | I'm going to leave their backs in, so that in case I
need to be inside the building or see through it,
| | 08:06 | I have block surface here that I
won't see through the back.
| | 08:10 | I'll assume that if I'm going to actually
see through, if the windows are boarded up
| | 08:13 | or too dirty, that I put some
interior walls in as well.
| | 08:18 | What I can do now is finish out the rest of
the foundations and while am at it, look at
| | 08:23 | making the small bit of sidewalk or raised
curb that runs around the cashier's station.
| | Collapse this transcript |
| Modeling a high-poly roll-up garage door| 00:00 | In this video I'll look at modeling
some high-res doors or high-polygon that we
| | 00:05 | can use for baking out
things like occlusion and normals.
| | 00:08 | I've taken my building and added
in the rest of the foundations.
| | 00:11 | I've even put the small bit of
sidewalk around the cashier's booth.
| | 00:15 | I need to add in some bevels here,
to add a radius to these corners.
| | 00:19 | This is one place where I feel
comfortable spending a few extra polygons, as in
| | 00:24 | the original, this is quite round.
| | 00:25 | What I'll do is press F10 for Edge and
select these corner edges, picking one,
| | 00:31 | holding Shift, and picking another.
| | 00:33 | Now I'll hold Shift and right-
click and choose Bevel Edge.
| | 00:36 | One of the things I hear for my
students a lot is that Bevel doesn't work, and
| | 00:41 | as you can see, I've had a small explosion here.
| | 00:44 | It's actually okay.
| | 00:45 | It's working exactly as advertised.
| | 00:47 | What I'm going to do though is in
Bevel, uncheck Offset As Fraction.
| | 00:52 | And now this bevel is in scene units.
| | 00:54 | I'm going to make this Offset 1 so
it's got a good size radius on it.
| | 00:59 | I'll put the Segments up at 3 and now
I've got round corners on that curb.
| | 01:04 | I can come back if I need and quad
this mesh using the Split Polygon tool, or
| | 01:08 | just leave it alone. When I export it
out, it's going to triangulate anyway.
| | 01:13 | What I'll do is spin underneath, press
F11 for face, and make sure I take out the
| | 01:17 | extra bottom faces that
the beveling process puts in.
| | 01:21 | These, again, will be down on the ground.
| | 01:23 | I'm not going to see them, so I
need to economize my geometry.
| | 01:28 | I'll press Delete and they're gone.
| | 01:30 | The last step I usually do is to
harden up the edges and then soften
| | 01:34 | selectively the ones I want.
| | 01:37 | My general thought--and I'll turn off
the wireframe unshaded here--is that I
| | 01:42 | don't want to let Maya make a choice
for me on whether things are hard or soft.
| | 01:47 | I want them be deliberately hardened
and crisp or soft and rounding over.
| | 01:52 | I'll pick this object, hold Shift and right-
click, and choose Soften/Harden Edge > Harden Edge.
| | 01:58 | Now it's all faceted.
| | 02:00 | I'll press F10 for Edge, come back
and pick the middle two edges on those
| | 02:05 | beveled corners, picking one, holding
Shift, and picking the others, and then I'm
| | 02:10 | going to soften them.
| | 02:13 | I'll hold Shift and right-click,
choose Soften/Harden Edge > Soften Edge.
| | 02:18 | Now I have got flat, round,
and flat corners nicely.
| | 02:23 | Instead of being sort of round and sort
of flat, they're distinctly one way or
| | 02:28 | the other and will shade nicely in the game.
| | 02:31 | Now I'm ready for the garage door.
| | 02:32 | I'll go into a side view, looking at the
front of the building, and press 4 for wireframe.
| | 02:39 | I'm going to start out by holding Shift
and right-clicking, Choosing Poly Plane
| | 02:43 | and holding V for snap.
| | 02:46 | I'll snap a new poly plane
right inside that garage door.
| | 02:50 | Notice that the Height comes out to 10 foot, 5.
| | 02:53 | This accounts for both the original
height of the building from 0 plus the extra
| | 02:57 | 6 inches I've added down here at the base.
| | 03:00 | What I'll do is put the Subdivisions
Width at 3 and the Subdivisions Height at
| | 03:04 | 5 for my garage door.
| | 03:06 | This is going to be a high-poly
garage door I'm going to bake using either
| | 03:09 | Transfer Maps or a batch bake in mental
ray to get occlusion in the normal map from.
| | 03:14 | I can spend all the polys I'd like to
on it. What I'll do is choose Display >
| | 03:19 | Hide > Hide Unselected Objects,
so I can see my door clearly.
| | 03:23 | I'll go back and look at the reference
and see what I need to do on the door.
| | 03:26 | I've zoomed in on the reference, and I
can see that the bottom of the garage door
| | 03:30 | is a bit taller, so that will
account for those extra inches.
| | 03:33 | I can also see that these middle
windows have an extra frame on them and
| | 03:37 | are slightly smaller.
| | 03:39 | I'll take care of that and then extrude in
all the panels at once, except for this middle.
| | 03:44 | In a normal or occlusion map we
really don't care if it's glass or panels.
| | 03:51 | First I'll press F10; that takes me to Edge.
| | 03:54 | I'll double-click on one and hold
Shift and double-click on the second edge
| | 03:58 | loop on the bottom.
| | 04:00 | I'll take these on the Y
axis and slide them up slightly.
| | 04:03 | This gives me that smaller-size window
in the middle and the extra length on the
| | 04:08 | bottom to account for the
larger piece of wood at the base.
| | 04:12 | I'll right-click and choose Object mode.
| | 04:15 | As you can see here, occasionally Maya
leaves behind a piece of a selection.
| | 04:19 | We can clear this out, and it's worth
doing, just to make sure we don't have
| | 04:23 | accidental things selected.
| | 04:24 | I press F10 for Edge, and I'll
pick all the edges and deselect them.
| | 04:30 | Now I'll work by face, pressing F11 for
Face. I'll also press 5 in this case to
| | 04:36 | switch into a shaded view so I can
see a little clearer what I'm doing.
| | 04:40 | With all the polygons selected, I'll go up to
Edit Mesh and uncheck Keep Faces Together.
| | 04:46 | Now I'm ready to extrude
in all the panels at once.
| | 04:48 | I'll hold Shift and right-
click and choose Extrude Face.
| | 04:52 | I'll extrude them by scaling on the Y and
that pulls them down, but wait, that's not it.
| | 04:58 | That doesn't look right. Why not?
| | 05:01 | As you can see here, the scale on the
rotation ring overlapped and Maya decided
| | 05:07 | that I was picking rotation.
| | 05:09 | One of the things to do in this case is
to make sure you're in the right place
| | 05:14 | and even hit plus to make
that gizmo a little bigger.
| | 05:17 | Now I'll click on the scale
and I'm going to pull these in.
| | 05:21 | This makes the frames for the garage door.
| | 05:24 | Then I'll scale down on the
X axis and make the sides.
| | 05:29 | Now I'm ready for the rest of the frames.
| | 05:31 | What I'll do at this point is press
Q for select, hold Ctrl, and Deselect
| | 05:37 | those middle panels.
| | 05:38 | I'll hold Shift and right-click,
choose Extrude Face again, and I'm going to
| | 05:43 | push these in on the Z axis, and over
here I'll put in an exact dimension.
| | 05:48 | I'll put on the Local Translate Z, -0.15,
because it sounds good and looks right.
| | 05:57 | What I'll also do is scale these
slightly on the X and Y axes so they have a
| | 06:01 | little bit of a slant to that face.
| | 06:04 | When I make a normal map then it's
going to have a little bit of a bevel to it
| | 06:08 | instead of being a straight drop-off.
| | 06:11 | There's my main panels, and now I'm
ready to tackle the windows in the middle.
| | 06:15 | If we look back at the reference, we can see
they've got an extra frame element in here.
| | 06:20 | I'll put that in and then
finally extrude in for the glass.
| | 06:24 | I'll pick these middle polygons, hold
Shift and right-click, and choose Extrude Face.
| | 06:29 | I'll zoom in and make sure I
can see what I'm doing clearly.
| | 06:33 | First I'm going to push
these in ever so slightly.
| | 06:37 | There is a little bit of a lip there.
| | 06:40 | Then I'll hit G to repeat last
and scale in on the X and Y axes.
| | 06:46 | There's that window frame.
| | 06:48 | Now I'll hit G one more time and I'm
going to push these in for that window glass.
| | 06:55 | If you're concerned about the depth,
you can hold V as part of the extrusion and
| | 06:59 | snap it onto the other extrusion.
| | 07:02 | Now I know I've got a consistent
depth all the way around and the detail I
| | 07:05 | expect to see in that garage door.
| | 07:07 | I'll press F8 and step back and take a look.
| | 07:11 | It looks pretty reasonable, although I
think the indents here in these panels
| | 07:15 | might be a little bit severe.
| | 07:17 | I can let them ride or I can also bevel them.
| | 07:20 | One of the things we'll see in a high-
poly model like this is some beveling on
| | 07:24 | edges so that normal maps
are nice and smooth-looking.
| | 07:27 | After all, this is not going to go
into the game, so we can spend as many
| | 07:31 | polys as we'd like.
Here's how I'll bevel this.
| | 07:34 | I'll press F10 for Edge and double-
click on in edge loop surrounding that door
| | 07:39 | panel, holding Shift and
adding to that selection.
| | 07:43 | Even though I had Keep Faces Together
unchecked, this still thinks of itself as one loop.
| | 07:52 | I'll zoom in, hold Shift and right-
click, and choose Bevel Edge, unchecking
| | 07:57 | Offset As a Fraction and
making this offset very tiny.
| | 08:01 | Here's .05, and I'll give it three segments.
| | 08:06 | Now I've got a small round edge on
this garage door, and it looks pretty good.
| | 08:11 | This is the kind of thing I'd do to
make a model that's suitable for baking a
| | 08:15 | normal, where I want to model in all
kinds of detail, maybe even adding in
| | 08:19 | divisions in the panels and denting or
moving them slightly, adding general wear
| | 08:24 | and degradation to this, and
then finally baking out a normal.
| | 08:28 | I'll see what else I can add to this,
finish it, and move on to making the walls
| | 08:33 | all light-tight and clean.
| | Collapse this transcript |
| Improving building details| 00:00 | I've modeled my garage door in pretty good
detail, and I can continue to add to it if I need.
| | 00:06 | I will take one other step though in
this, and that's making that thicker
| | 00:09 | bottom that I allotted space
for in moving those edge loops up.
| | 00:12 | I'll go to my side view, pressing spacebar
for the Hotbox and choosing Maya > Side View.
| | 00:18 | I'll zoom in and press F9 for vertex.
| | 00:21 | I'll select those bottom
vertices and move them up.
| | 00:26 | I'm going to move them up 0.5 or .6 inches it so.
| | 00:30 | If it's too tall, we can always nudge
it back down, but this gives me that
| | 00:34 | thicker bottom that I wanted.
| | 00:40 | There's my garage door looking ready for baking.
| | 00:42 | Remember you can always
come in and adjust as needed.
| | 00:45 | It's very malleable.
| | 00:46 | The important thing is the model out
the detail we're going to need here.
| | 00:50 | Now I am going to make some
other detail in the building.
| | 00:54 | I'll choose Display > Show and Show Last Hidden.
| | 00:58 | If this doesn't show anything, and in
this case it didn't, it means that it
| | 01:01 | forgot what was last hidden, or
possibly you closed and reopened the scene in
| | 01:07 | Maya. In that case I'll choose
Display > Show > Show Geometry, and I'm working
| | 01:12 | with polygon surfaces, so I'll show them.
| | 01:16 | There's my objects and here's
even my original bounding box.
| | 01:21 | I'm going to spend a
minute on organization here.
| | 01:24 | I'll pick these bounding box objects,
Press Ctrl+A to go to the Channel box, and
| | 01:29 | down to the Display layers.
| | 01:31 | In my Display layers, I'll click
on the Create a new layer and assign
| | 01:35 | selected objects button.
| | 01:37 | I'll assign them to a new layer, which I
will double-click on and rename to Bbox,
| | 01:43 | short for bounding box.
| | 01:44 | I am also going to change the
Display type here to Template and hit Save.
| | 01:49 | This way they always show up as a wireframe.
| | 01:52 | I can snap to them if needed,
but they're not blocking the view.
| | 01:57 | For now, I'm going to turn them off.
| | 01:59 | It's a good idea to organize even
in Maya by layer, just to keep your
| | 02:02 | construction objects separate.
| | 02:05 | With my garage door ready, I'm ready to
spin around and add in some other key details.
| | 02:11 | I was looking at the reference,
spending a lot of time looking at each image,
| | 02:15 | saying, what are the key pieces I need
here? and one of the things I noticed is
| | 02:18 | that I need a pole at the corner.
| | 02:21 | It's a small shadow line and it's hidden
right now in dirt and moss and whatever
| | 02:26 | else is going on here, but this is a
key element so that the textures on these
| | 02:31 | large window panels work correctly.
| | 02:34 | It's also going to give me a less-than-
perfect corner here, giving me a slightly
| | 02:38 | off silhouette if desired.
| | 02:40 | Finally, I'm going to add in any
other little blocks or other stops here,
| | 02:45 | such as this one by the door.
| | 02:47 | It's a small piece, but it's the kind
of thing that will make it less than
| | 02:50 | perfect. As this large polygon here
comes down to that sidewalk, I want to just
| | 02:56 | disturb that silhouette a little bit.
| | 02:58 | For the corner, we can't really
tell if it's round or square,
| | 03:01 | so I'm going to make it square.
| | 03:03 | I'll hold Shift and
right-click and make a poly cube.
| | 03:07 | What I've done here is to move
these panels 2 inches off this wall
| | 03:12 | so I get an extra shadow line there.
| | 03:14 | I'll snap this in place, holding V
for snap and snapping on the wall,
| | 03:19 | clicking and dragging
| | 03:20 | so I can see the base of it, and
snapping it on, releasing and dragging all the
| | 03:27 | way up, even holding V to snap to the top.
| | 03:32 | Now you're probably
looking saying, that's too big.
| | 03:34 | Well, here's what I will do.
| | 03:36 | I'll click on a PolyCube5
INPUT, and there's that Depth.
| | 03:40 | I'm going to copy it by pressing Ctrl+C
and I'm going to paste it into the Width.
| | 03:45 | There is my corner element, and now I
can take it and snap it right into place.
| | 03:56 | I'm going to leave it just outside of
that wall, leaving it complete here, so
| | 04:01 | that it adds just a little
difference in the shadow.
| | 04:05 | It's also going to be less than
perfect, causing some slight aliasing or
| | 04:09 | anti-aliasing, depending on my settings, and
giving me just an extra little edge up there.
| | 04:14 | If you'd like, you could remove the
top and bottom polys and snap it into place.
| | 04:19 | I'll remove the bottom
polygon but leave the top in.
| | 04:23 | I'll press F11 for face, select the
bottom, and then hold Control to deselect
| | 04:28 | across the middle. Then hit
Delete and the bottom is gone.
| | 04:31 | I will look for details like this.
| | 04:35 | We can spend a few polys on
this kind of shape if we need.
| | 04:39 | As an example, just to
show where we are in detail,
| | 04:42 | I'm going to pick the door and hide it
by pressing Ctrl+H. I'll zoom out to see
| | 04:46 | the whole scene and choose
Display > Heads Up Display > Poly Count.
| | 04:54 | I'm not doing too badly.
| | 04:55 | I'm sitting at 193 tries. If I select
everything to make sure I'm in the right
| | 05:00 | place, I have got 193 tries, or 96 faces.
| | 05:04 | Even with some additional work,
I will end up with the building that's a
| | 05:08 | couple of hundred faces at the most, which is
pretty good for an object for an environment.
| | 05:13 | I can keep adding some detail in and
look for places where it needs a little
| | 05:18 | extra. Maybe there's a gutter or additional
piece of sidewalk or something else we need.
| | 05:23 | I can also start to add in the island
canopy and the poles that support it.
| | 05:29 | Finally, I need to get the roof in
place, and maybe there's some detail up here
| | 05:33 | as well I can put in.
| | Collapse this transcript |
| Building an island and a canopy| 00:00 | My building is looking pretty good.
| | 00:01 | I am starting to get in good detail and
I'm still keeping my poly count pretty low.
| | 00:06 | I need to get in a few of the doors,
and I'll deal with those in a different video.
| | 00:10 | But now I am going to make the canopy.
| | 00:13 | It's one of the major elements
and obviously a key thing we need to see here.
| | 00:17 | I'm going to show my Bbox
layer here, and I'm going to make it,
| | 00:22 | instead of a template, a reference.
| | 00:24 | One of the things we can do is switch
around how we display things so we can
| | 00:29 | see a little clearer.
| | 00:31 | I'll go under Shading and choose X-Ray as
an example, and I can see through things.
| | 00:37 | I can tell which is my Reference here
in black outline versus the standard blue
| | 00:41 | of all my other mesh.
| | 00:42 | It's really malleable.
| | 00:44 | Whatever you'd like to do to
be able to show things, do it.
| | 00:48 | If working as a reference layer doesn't
work and you'd like to simply work and
| | 00:52 | overlap or work in a wireframe,
| | 00:54 | that's perfectly fine.
| | 00:56 | The big deal is to get around and see what
you need to see so you can work efficiently.
| | 01:01 | Now I am going to make my canopy,
and I'm going to start out with a box.
| | 01:06 | I'll hold Shift and right-click, choose
PolyCube, and snap this PolyCube onto my
| | 01:11 | geometry, holding V and snapping out.
| | 01:16 | I'll drag up for the height.
| | 01:18 | I remember from earlier that my height
was going to be 2 feet, so in the inputs
| | 01:22 | here for polyCube7, I'll make that Height 2.
| | 01:28 | I'll pull this up and
snap it onto those windows.
| | 01:32 | I am going to hide my Bbox
layer and put this in the right place.
| | 01:37 | We have any number of ways to do this.
| | 01:40 | Sometimes what I'll do, just for speed,
is snap the pivot to any of the bottom
| | 01:44 | vertices, hold V for snap,
and snap it right onto those windows.
| | 01:49 | Notice that because I'm using a
precision move here on one axis and holding V
| | 01:54 | for snap, I can pick any
vertex I'd like to to snap on.
| | 01:58 | It's easy to snap over here on the right side
and get this accurately where I want it to be.
| | 02:04 | I am going to look back in my reference and
see how much of a round this needs to have.
| | 02:08 | We can see here in the Reference
there is a pretty good radius.
| | 02:11 | We'll call it Art Deco or at
least Art Deco inspired building.
| | 02:15 | It's a nice little white box basically,
but there are some round corners and
| | 02:19 | hallmarks of that design.
| | 02:21 | I would guess these radii
at easily a foot and a half.
| | 02:25 | Back here in Maya then,
I'm going to add in those bevels.
| | 02:29 | I'll get out of X-Ray mode.
| | 02:30 | It's really up to you if you'd like
to use it or not. It really depends on
| | 02:33 | what you'd like to see.
| | 02:35 | I now press F10 for Edge and
pick these two outer edges.
| | 02:39 | Hold Shift and right-
click and choose Bevel Edge.
| | 02:42 | This is a place where I
want to spend those polygons.
| | 02:45 | And again, it looks like bevel exploded;
in reality, it's working quite nicely.
| | 02:50 | What I'll do is here in the Channel box, put
in a zero where it says Offset As a Fraction on.
| | 02:55 | One and zero and off and on are interchangeable.
| | 02:59 | There is that bevel,
and I'll make that Offset 1.5.
| | 03:03 | Notice also in my workflow here that
I had bevel on, I put in 0, and I hit
| | 03:11 | the Tab key, which took
me down to the next field.
| | 03:14 | I want to make sure that I'm always
entering in a value by hitting Enter or Tab
| | 03:18 | once I put it in, or else that value
won't be entered and I won't see a change.
| | 03:23 | Now I'll put those Segments up at 4.
| | 03:27 | This is a judgment call.
| | 03:29 | My thought is, I stand a good chance
of standing roughly here--and I'll hide
| | 03:35 | these Poly Counts by turning
them off in the heads-up display--
| | 03:39 | seeing this in contrast against the sky.
| | 03:42 | It's a classic example of an edge test.
| | 03:44 | We need to make sure that we're really
pass, where we're seeing a curved object
| | 03:48 | against a contrasting material or a
contrasting lighting condition and we need
| | 03:53 | to have enough polys in so it looks round.
| | 03:55 | Four segments over this seems to work.
| | 03:58 | I'll right-click, deselect
it, and it looks pretty good.
| | 04:02 | One of the other things we can do to test
is go under Renderer and turn on Viewport 2.0.
| | 04:07 | It's a new feature in 2012.
| | 04:10 | Under Viewport 2.0, I'll go in the
dialog, and I'm going to turn on my
| | 04:15 | Multisample Anti-aliasing.
| | 04:17 | I'll let the Sample Count go at 4
and hit Close and then turn off my
| | 04:22 | wireframe on shaded.
| | 04:24 | This approximates pretty nicely how this
will look in the engine, using in Unity
| | 04:29 | either the fantastic or beautiful
rendering with Anti-aliasing on.
| | 04:32 | It gives me a pretty good idea of how
things are going to be, as I am using the
| | 04:37 | Hardware Shading here.
| | 04:38 | And I can tell those four Segments over
90 degrees are going to hold up pretty nicely.
| | 04:42 | That, combined with smoothing of those
edges, makes this look nice and round and
| | 04:47 | preserves that key design detail.
| | 04:52 | Now I'll model the inside of the canopy.
| | 04:55 | I'm going to select it and press F11 for Face.
| | 04:59 | I'll pick this inside face and
make sure I catch those bevels as well.
| | 05:03 | I'll hold Shift and right-click.
But wait, before I do, I need to check.
| | 05:09 | In the last video, when I was making the
garage door, I had unchecked Keep Faces
| | 05:14 | Together, under Edit Mesh.
| | 05:16 | Now I am going to make sure I recheck
it, and it's important to be aware of what
| | 05:20 | you've done with this, as you can get
some very awkward results if it's off or
| | 05:24 | on, depending on what you're trying to do.
| | 05:26 | I'll recheck this and
now I am going to extrude.
| | 05:30 | I almost got caught there and
thankfully, I remembered to check.
| | 05:33 | If you forget you can always undo
and go back and check it and redo.
| | 05:39 | Now I will use the Scale tool as part of
Extrude to give this a little bit of thickness.
| | 05:46 | It's working, although I may want to go in
and approach this differently on the bottom.
| | 05:51 | Extrude seems to be working decently
except for right here at the corner. So how
| | 05:56 | do we handle something like this?
| | 05:59 | The trick is to not extrude these polygons.
| | 06:02 | I'll undo and show how to get out of this.
| | 06:05 | By extruding these in, I'm getting an
odd scale factor here at the corner.
| | 06:10 | To get this edge to work correctly
and have an all-quad workflow,
| | 06:14 | I'll actually delete those polygons,
Press F10 for Edge,
| | 06:18 | double-click on the border edge that results,
| | 06:21 | hold Shift and right-click, and fill that hole.
| | 06:25 | This is an n-gon, a many-sided polygon here.
| | 06:28 | But now when I pick it by face, hold
Shift and right-click and extrude, and scale
| | 06:34 | in, they extrude cleanly.
| | 06:37 | Sometimes what we need is an interim step,
making sure that we delete faces and fill holes.
| | 06:44 | And scaling in is part of
extruding to make new geometry.
| | 06:47 | We can keep a clean workflow really
easily and get good edges and a good silhouette.
| | 06:55 | Now I'll hold Shift and right-click,
take this face, and extrude it up.
| | 07:00 | I'm going to push it most of the way up.
| | 07:02 | It looks to me like in the reference that
this goes pretty high up to the top here,
| | 07:06 | so I'll make sure that
Local Translate goes up to 1.75.
| | 07:12 | I'll make sure I put a negative in front
of that, and now there's my canopy roof.
| | 07:18 | I need to close at the end of it
here and get the poles in place.
| | 07:24 | I'll pick these faces, pressing F to zoom in,
holding Shift, and adding to that selection.
| | 07:30 | As an alternate, I can spin underneath
and drag a selection across just a little
| | 07:34 | bit of it, catching those faces.
| | 07:37 | I'll delete them and now I'm going to
take these edges and snug them up to this
| | 07:42 | wall, making sure that it's light-tight.
| | 07:44 | I'll press F10 for Edge and
pick that edge in the inside.
| | 07:49 | I'll spin around and pick its opposite.
| | 07:52 | Press W for move, hold V
for snap, and pull them in.
| | 07:56 | To make it easier to see,
I'll click on the Wireframe on shaded button,
| | 08:00 | hold V for snap, and snap right onto the wall.
| | 08:03 | This model is clean, lower poly, and light-tight.
| | 08:08 | I'll press F8 to go back to object
and zoom out and look at my canopy.
| | 08:13 | It looks pretty good.
| | 08:14 | I need to add the poles in and the
sidewalk or island that goes around them.
| | 08:20 | I'll make the poles cylinders, holding shift
and right-clicking and choosing Poly Cylinder.
| | 08:24 | I am going to make a cylinder
and get it to the right size.
| | 08:29 | Back here in my reference, I can
see that these poles are pretty small.
| | 08:33 | I would estimate them at
about 6 to 8 inches across.
| | 08:36 | It doesn't look like they taper at all.
| | 08:38 | They go straight up.
| | 08:39 | And I can't really even
see the connection up here.
| | 08:42 | So as long as they don't poke
through obviously, I should be okay.
| | 08:46 | I'll zoom in on the other reference, and it
looks like they simply embed in the concrete.
| | 08:51 | So as long as I'm not flunking an
edge test here, as long as they're round
| | 08:54 | enough, I can use
cylinders that are fairly low poly.
| | 08:58 | Back here in Maya then, in my Inputs,
I'll put the Radius at .25, 3 inches,
| | 09:04 | which comes out to a diameter of 6 inches.
| | 09:07 | I'll put the Subdivisions Axis down to 10.
| | 09:11 | What this lets me do is reduce the poly
count while still preserving roundness.
| | 09:15 | Finally, I am going to
get them the right height.
| | 09:18 | I'll press F9 for Vertex, select the
top vertices, press 4 for Wireframe, and
| | 09:24 | snap them down, right to the top
of the underside of that canopy.
| | 09:29 | I'll optimize the faces as well,
pressing F11 for Face, selecting all the faces,
| | 09:34 | holding Ctrl, and deselecting the middle,
| | 09:37 | then deleting those selected faces on the ends.
| | 09:41 | Finally, and the last step--and I'll
switch over to Shaded to show this--
| | 09:46 | I need to make sure that they're nice and round.
| | 09:49 | If I turn off the wireframe on
shaded we can see that they're faceted.
| | 09:53 | I'll pick them, press F10 for Edge,
select those edges, hold Shift and
| | 09:58 | right-click, and choose
Soften/Harden Edge > Soften Edge.
| | 10:04 | Now the poles are soft and
round-looking and I can get them in the right place.
| | 10:09 | One more check on the reference
to position them and I'll be set.
| | 10:12 | It looks like the poles are a
couple of feet in from the outside.
| | 10:16 | I'll call it--since this was a foot
and a half radius--maybe 3 feet in.
| | 10:21 | And it looks like they are also
maybe 2 or 3 feet in from each side.
| | 10:25 | I'll pick the pole and go into a top view,
pressing F to focus and 4 for a wireframe.
| | 10:33 | I'll take this pole, press W for move,
and snap it one axis at a time to the
| | 10:38 | outside of the canopy.
| | 10:41 | Now in my Relative Transform here, up
in the top in the menu line input, I'm
| | 10:46 | going to put in -3 on the Z and
-3 on the X and hit Enter, and
| | 10:54 | the pole is in the right place.
| | 10:56 | I'll duplicate it, pressing Ctrl+D,
snap it onto the side of the canopy again,
| | 11:03 | and put in 3 on the Z.
| | 11:08 | There's my canopy and the
poles are in the right place.
| | 11:11 | I need to finish out the sidewalk in
the same way I've made the other ones.
| | 11:17 | To get the sidewalk in the right
place, I'm going to snap onto the poles.
| | 11:22 | I'll hold Shift and right-click,
choose PolyCube, and snap onto the pole's
| | 11:27 | vertices, pressing V for snap,
clicking and dragging from center to center on
| | 11:32 | the pole, releasing and
dragging up for the height.
| | 11:36 | Remember, the center of an object is
always in the center, which sounds rather
| | 11:40 | redundant, but it's important to note.
| | 11:42 | Here is the Height of 6 inches or 0.5
feet, a Depth of, well, what sounds good?
| | 11:48 | here's 10, and a Width of 2.
| | 11:54 | There is the sidewalk or
island surrounding those poles.
| | 11:58 | I'll make sure I move it down, snapping
the pivot on one of the top vertices and
| | 12:02 | snapping down to the other sidewalk.
And then I'll bevel these corners, pressing
| | 12:06 | F10 for edge, picking one, holding
Ctrl and right-click, choosing Edge Ring
| | 12:12 | Utilities to Edge Ring, and
Shift and right-click to bevel.
| | 12:18 | One more time. Offset as a fraction
is off, and here's an Offset at 9 inches
| | 12:26 | with three segments.
| | 12:29 | As always, I need to clean up this shape,
work over the hard and soft edges, but
| | 12:34 | there is that island with its small
concrete surround round poles and reveal
| | 12:41 | underneath to show off the
texture of the structure.
| | 12:44 | I've added in a very key design
element on my gas station, and I am ready
| | 12:48 | for additional detail and finally
making the doors here for the cashier and bathroom.
| | Collapse this transcript |
| Constructing high-detail doors| 00:00 | In this video, I'll look at
constructing the high-detailed doors and by
| | 00:04 | extension, the windows next to them
over here in the cashier's section.
| | 00:07 | What I've done then is to
finish out the canopy and the island,
| | 00:11 | I've worked over the hard and soft
edges, making sure that the corners are round
| | 00:15 | and the flat sides stay flat.
| | 00:18 | I've also deleted the faces on the bottom,
optimizing the poly count wherever possible,
| | 00:23 | and looked it over, making sure there's no
other extraneous geometry I need to take care of.
| | 00:29 | What I'd like to be able to do then is
make one high-poly model for a door and
| | 00:34 | transom window--the window over the
door combination--and then use that, just
| | 00:38 | stretching it a bit, to make the normals
and occlusion map for the window units to
| | 00:43 | the side of the door around the cashier's area.
| | 00:46 | If I do it right, I should be able to
use this same piece right here to become
| | 00:50 | the bathroom window as well.
| | 00:52 | I'll start out then in a side view.
| | 00:55 | Press 4 for a wireframe and F to focus in.
| | 00:59 | I've got an area here where my door
needs to go, and I'll start out by holding
| | 01:03 | Shift and right-clicking, choosing Poly
Plane, and snapping a poly plane in that opening.
| | 01:10 | Now, I can hide everything else,
by choosing Display > Hide > Hide
| | 01:14 | Unselected Objects.
| | 01:16 | This lets me see a little bit clearer.
| | 01:18 | This door is 6 foot 8 inches tall, as
we're able to tell in measuring from
| | 01:22 | where the door handle is.
| | 01:23 | What I'll do then is take this poly
plane which is 10 feet tall, put some
| | 01:28 | divisions in, and start to extrude.
| | 01:30 | I need to make a door frame, a door, a
window in the middle of the door, and a
| | 01:35 | window frame up above.
| | 01:37 | I'll put in my Subdivisions Height
here on this plane, the number 2.
| | 01:41 | And because this started out at zero,
and I can tell it's at zero as the Height
| | 01:46 | is 10 and the Translate Y is 5, I can
use my Absolute Transform to put this
| | 01:53 | edge in the right place.
| | 01:54 | I'll press F10 for edge and select
it and put the Absolute Y at 7 feet.
| | 02:03 | Now I am ready to model the door.
| | 02:05 | I'll go back and look at the
reference and see what I need on the frame.
| | 02:08 | In looking at this door, it's got a
fairly tall toe kick at the bottom, maybe a
| | 02:12 | foot tall to account for
wet weather or heavy traffic.
| | 02:15 | The rails and styles are about 4
inches wide or so, which is pretty typical.
| | 02:20 | And it's got a fairly flat frame around.
| | 02:22 | As long as I gave it a little
bit of detail, it should look fine.
| | 02:25 | The window frames are similarly boxy.
| | 02:28 | It's a little difficult to tell how
they look, so I do have some latitude.
| | 02:31 | I'll start out with them, making the doorframe.
| | 02:35 | I'll press F11 for Face, hold Shift
and right-click, and choose Extrude Face.
| | 02:40 | I'll extrude this in and
scale on the top and sides.
| | 02:47 | I'll try to get these as even as possible.
| | 02:50 | I can always come back and
move this in a precise amount.
| | 02:54 | I am going to do that to make sure this
looks right, as this is one of the things
| | 02:58 | we see a lot of, even
though we may not register it.
| | 03:01 | We walk through a lot of doors over our
daily lives, and so we need to get these
| | 03:05 | things looking correct.
| | 03:06 | I am going to press spacebar for my
Hotbox and choose Window > Settings
| | 03:10 | Preferences > Preferences.
| | 03:12 | And in the Settings,
I'll switch over from feet to inches.
| | 03:16 | As I start to get deeper and deeper into a model,
I start to work in smaller and smaller units.
| | 03:22 | Now I'm going to take this edge,
pressing F10, W for Move, and hold V for Snap.
| | 03:29 | I'll snap this back onto the outside.
So actually, I've erased that face or
| | 03:33 | made it have zero area. And I'll move this
over on the Relative Transform by 2 inches.
| | 03:41 | I'll do the same on the other side,
making sure I've got the right
| | 03:44 | dimensions all the way around.
| | 03:53 | I'll press F11 for Face
and press 5 for Shaded View.
| | 03:58 | I'll pick the bottom face and delete it and
then take this bottom edge and move it down.
| | 04:04 | I'll hold V for Snap.
| | 04:05 | If you notice, I do this a lot.
| | 04:07 | I hold V for Snap and move on one axis.
| | 04:10 | Now I am ready to extrude that door in.
| | 04:12 | I'll press F11 for Face, pick this face,
hold Shift and Extrude Face in, and
| | 04:18 | I'll pull it back on the Z.
| | 04:19 | I am going to push this in by -3
inches, so it's got a deep recess on it.
| | 04:28 | I'll delete this bottom polygon,
and now I am going to bevel these edges.
| | 04:33 | Then I'll work on the interior of the door.
| | 04:35 | I'll press F10 for edge, pick one
of these inside edges, hold Shift,
| | 04:40 | double-click on the opposite one, and hold
Shift and right-click and choose Bevel Edge.
| | 04:46 | I'm going to bevel this, turning off
Offset As a Fraction, at an Offset of 0.25,
| | 04:52 | a quarter inch, with three segments here.
| | 04:55 | This is going to give me good roundness,
making it look like, well, the round
| | 05:00 | edges of a doorframe we'd expect.
| | 05:01 | I can see as I spin around,
I've got a little bit of a highlight there.
| | 05:05 | It's rounding nicely.
| | 05:08 | Now for the door. I am going to use
the same technique: pressing F11 for Face
| | 05:13 | and selecting that large face,
| | 05:14 | holding Shift and right-clicking,
choosing Extrude Face, and scaling to make new
| | 05:20 | geometry that's coplanar with the existing.
| | 05:25 | I'll hit G to repeat last,
and I'll push this in by -1.
| | 05:32 | Now I need to get these in the right place,
as it's not quite in the right area for the door.
| | 05:37 | I am going to use the same technique I
did on the sides, picking one of these
| | 05:41 | long skinny faces on the side of the
door, holding V for snap, and snapping it
| | 05:46 | onto that doorframe.
| | 05:47 | Then I'll pull it back by -4.
| | 05:51 | I'll work my way around very quickly.
| | 05:54 | The technique here then is to make new
geometry and then move it into the right place.
| | 05:59 | We could probably figure out the
percentage of extrusion as a scale factor, but
| | 06:03 | that gets kind of messy.
| | 06:05 | What I like to do is make the stuff
and then put it where I want it to be.
| | 06:12 | Finally, I'll put the bottom in.
| | 06:14 | I'll snap this down, and I'm
going to move it up by 12 on the Y.
| | 06:18 | This gives me that tall kick at the bottom,
and there's my door with all kinds of good detail.
| | 06:24 | Lastly, because this is a high-polygon
model, I'm going to bevel this door frame.
| | 06:30 | I'll press F10 for Edge and double-click on
the edge loop that goes around that door glass.
| | 06:36 | I'll hold Shift and right-
click and bevel that edge,
| | 06:39 | and do the same thing: turn off
Offset As a Fraction, put the Bevel at 0.25,
| | 06:46 | and give it 3 segments.
| | 06:51 | There is my high-poly door.
| | 06:53 | I wouldn't want to take this into a game,
but for rendering out a normal app, it
| | 06:57 | will look pretty good.
| | 07:01 | I'll finish out the windows in the same manner.
| | 07:03 | Here is a trick to get these divided evenly.
| | 07:06 | We can see that this window has a
mullion right across the middle, and it's got
| | 07:11 | an extra frame, it looks
like, on the bottom one here.
| | 07:14 | I'll hold Shift and right-click and choose
the dialog next to the Insert Edge Loop tool.
| | 07:20 | I'll put multiple edge loops on using
an equal multiplier of one, and I'll snap
| | 07:25 | an edge loop perfectly across the
middle. Notice I can't drag it because it
| | 07:29 | wants to use an equal multiplier.
| | 07:32 | This is a good way to evenly divide
across a polygon, even when you don't
| | 07:37 | know the exact height.
| | 07:38 | Now I'll press F11, W for Move to
get out of inserting the edge loop, and
| | 07:45 | pick these two faces.
| | 07:46 | Under Edit Mesh I am going to
uncheck Keep Faces Together,
| | 07:50 | hold Shift and right-click, and extrude
those faces in, scaling in and scaling
| | 07:56 | over to make those window frames.
| | 08:03 | I'll pick this top one, hit G to repeat last,
and push this in, moving it in by maybe 2 inches.
| | 08:11 | Then I'll take this one,
| | 08:12 | hit G to repeat last, and push it in
ever so slightly. G one more time to do
| | 08:18 | another extrusion, and
I'll extrude this frame in.
| | 08:24 | Finally, hitting G one more time to
repeat yet again, I'm going to push this in
| | 08:29 | and hold V, as in Victor, for Snap and
snap that extrusion onto the glass up
| | 08:34 | above so that both
glasses are at the same plane.
| | 08:39 | Lastly I'll repeat my bevel, zooming
in on that frame and double-clicking
| | 08:44 | on those edge loops.
| | 08:45 | I'll pick all three at once, holding
Shift and right-click, choosing Bevel
| | 08:49 | Edge, turning off Offset As a Fraction,
putting the offset at a quarter-inch and 3 segments.
| | 08:57 | It's okay to go through and bevel
lots of things in a high-poly model.
| | 09:01 | It's going to add a richness and detail
to that model, and we are going to bake a
| | 09:04 | normal map out of it.
| | 09:07 | Now I need to work over the hard and soft
edges, and my door module is pretty complete.
| | 09:12 | What I'll typically do is select the
whole object and harden up all the edges.
| | 09:20 | Now, I'll come back through
and soften edges selectively.
| | 09:24 | I'll press F10 for edge and zoom in.
| | 09:26 | I am going to double-click on the two
middle edge loops, holding Shift to pick
| | 09:33 | the second across that bevel, holding Shift to
add to that selection and doing a few at a time.
| | 09:40 | There is the edge loops around the
inside of the door and the door frame.
| | 09:44 | I'll even add to those up at the top.
| | 09:50 | With all of those middle edge loops
selected, I'll hold Shift and right-click,
| | 09:54 | choose Soften/Harden Edge > Soften
Edge, I'll press F8, and turn off the
| | 09:59 | wireframe on shaded, and we can see that I've
got flat surfaces, round corners, and flat surfaces.
| | 10:06 | There is my detailed door done very quickly.
| | 10:10 | Now, to add to the general wear and
tear if we need, we could put some edge
| | 10:14 | loops through the middle and
move these around a little bit.
| | 10:17 | I'm going to let it be as it is and simply
paint in the wear and tear and general dirt.
| | 10:24 | This is a pretty good door.
| | 10:26 | For the normal map, I'll make one
version like this and either make it a solid
| | 10:30 | color diffuse for the bathroom or
simply take out the panel entirely in
| | 10:34 | Photoshop, replacing it with the
standard blue that surrounds it.
| | 10:38 | But I can take this and bake
normals out of it very easily.
| | 10:42 | I can also use this to bake out
occlusion so I get detail: dirt and shadow.
| | 10:47 | I can paint on other details such as
the handles, or I could model them as
| | 10:51 | geometry if I think I am
going to get close enough.
| | 10:53 | I can also add in other little bits of
geometry if needed, such as the threshold,
| | 10:57 | and get this ready to start baking.
| | 11:00 | What we've got here out of this chapter is
actually a mix of high- and low-poly objects;
| | 11:05 | some high-poly pieces, ready to bake
or render into a normal map or occlusion
| | 11:10 | map; and some low-poly pieces that
add to the silhouette and the general
| | 11:14 | realism of the model.
| | 11:15 | We'll see a lot of times that a model in Maya
doesn't look exactly like the end model in game,
| | 11:21 | that there is interim steps and extra
parts we need to really make things look
| | 11:26 | right that we're going to use and not
take all of across to our game engine.
| | 11:30 | Once I've got these all set, I can
start to make the low-poly pieces
| | 11:34 | these will project on to, and make
sure that the mapping fits together
| | 11:37 | for accurate baking.
| | Collapse this transcript |
|
|
4. Low-Poly-Count ElementsAdding door elements| 00:00 | In this chapter I'll make sure that my
low-poly objects are the right size and
| | 00:04 | ready to receive the bakes from the high poly.
| | 00:07 | So far I've got a high-poly garage door
model and a high-poly person door over
| | 00:12 | on the side here, with a transom window.
| | 00:14 | I should probably finish modeling a
window element to the side, although I can
| | 00:18 | probably use some of my door as well.
| | 00:21 | What I'll do is extract these door
polygons and stretch them out just a bit,
| | 00:26 | as the garage doors need to come down
to the bottom here of this foundation, as
| | 00:30 | the car should be able to
roll into the garage cleanly.
| | 00:34 | I've already modeled the high poly in
the right place and the right height, so
| | 00:38 | now I just need to stretch out the low.
| | 00:41 | I'll hide the high poly by selecting it
and pressing Ctrl+H. I'll pick one of my
| | 00:47 | low-poly modules, press F11 for
face, and select that door face.
| | 00:52 | Under Mesh, I'll choose Extract.
| | 00:55 | In the Extract dialog, I'll uncheck
Separate extracted faces, so they stay part
| | 01:00 | of the same object but are
simply separate elements.
| | 01:03 | I'll hit Extract and
click anywhere to not move it.
| | 01:08 | I'll press F10 for Edge, double-
clicking on the Move tool and making sure that
| | 01:12 | Preserve UVs is still on.
| | 01:15 | I'll grab that bottom edge,
hold V for snap, and stretch it out.
| | 01:20 | I can see where those UVs may need a
little bit of adjusting, as now they're
| | 01:23 | starting to lap over the bottom here,
but I'm going to move them around to my
| | 01:27 | editor later when I start stacking my UVs.
| | 01:31 | However, this lets me have
this door as a clean element here.
| | 01:34 | It's still part of this one object but is a
separate piece, so I can move it around nicely.
| | 01:40 | I'll repeat this over here on the next door,
| | 01:43 | pressing F11 for face and selecting that face,
and on my Hotbox, choosing Mesh and Extract.
| | 01:51 | I'll press F10 for edge, grab
that bottom edge, and stretch it down.
| | 01:59 | With the garage doors ready,
I'm going to get polygons in for the doors in
| | 02:02 | the cashier's area.
| | 02:06 | I'll select my high-poly door and hide
it temporary, pressing Ctrl+H. I'll go
| | 02:10 | into my Side view and press 4 for a wireframe.
| | 02:14 | I'll hold Shift and
right-click and choose Poly Plane.
| | 02:17 | I'll press V and snap that poly plane right in.
| | 02:22 | I'm going to make a choice here to
make a little bit of a door frame.
| | 02:26 | I want the ability to snug up
next to it if I need, or peer in.
| | 02:31 | The door itself will be flat,
but I want the frame to read correctly.
| | 02:35 | The windows up above,
we can't really get next to,
| | 02:37 | so I'm going to let them be flat.
| | 02:39 | Now that I've got this in the right
place, I'm going to move it out of the way
| | 02:43 | and show that high-poly door again.
| | 02:49 | I'll pick both objects and choose Show >
Isolate Select > View Selected.
| | 02:55 | A lot of times what I'll do is Isolate,
so I can see clearly what I'm doing.
| | 03:00 | I'm going to add a little bit of
geometry here in this low-poly door.
| | 03:05 | Notice, to pick it, even though it was
perfectly in line with the high-poly door,
| | 03:09 | I pick both and used Ctrl
to deselect the high poly.
| | 03:12 | Now what I'll do on this low poly is in
the Subdivision Height, give it a subdivision.
| | 03:18 | I'll put it in at 2, press F9 for
Vertex, and select those middle vertices,
| | 03:23 | zoom in, and snap them
right onto that door frame.
| | 03:27 | My thought is that I'd like to bevel
in at least the door frame, not with all
| | 03:32 | the roundness, but at least the major
frame, so that I've got a polygon and few
| | 03:37 | extra pieces right here for the
door to have a little bit of depth,
| | 03:40 | as it's a pretty key shadow line and
stand a pretty good chance of getting
| | 03:43 | some sun across it.
| | 03:45 | In a super-low-poly game, going out of
something such as a phone, this might
| | 03:50 | be all just a polygon,
| | 03:51 | but I'm going to make the judgment call
to spend a little bit of geometry here.
| | 03:55 | I'll press F11 for face and make sure under
Edit Mesh that I recheck Keep Faces Together.
| | 04:01 | I'll hold Shift and right-click and
choose Extrude Face and pull them in.
| | 04:08 | Again, I'll delete the bottom, press
F10 for edge and grab that bottom edge, and
| | 04:12 | snap it down, holding V for snap.
| | 04:16 | Now what I can do is in my Side view, use
my existing edges as a place to snap on.
| | 04:23 | I'll press F10 for edge
and select that side edge.
| | 04:26 | What I'll do to get these snapped right is
hold V for snap and move on the Z axis.
| | 04:32 | Look at where I'm going to place the mouse.
| | 04:34 | It's on the bottom of the
door, inside of that bevel.
| | 04:37 | I'll zoom in close and show this again,
| | 04:39 | as this is the place where
find people often get stuck.
| | 04:42 | I'm holding V for snap, and this
edge starts out wherever it starts out.
| | 04:47 | I'll make sure that I uncheck
Preserve UVs. There's that edge.
| | 04:54 | I'll hold V for snap and snap it inside.
| | 04:57 | The reason this is working so
nicely is that the closest point is the
| | 05:01 | innermost on that bevel.
| | 05:02 | Instead of trying to go in and find it--
and we can see that edge moving back and
| | 05:06 | forth--by holding it inside here,
| | 05:08 | it's snapping to the closest point
and registering where I want it to.
| | 05:14 | I'll make sure this bottom is snapped down.
It looks like I missed it in that last snapping.
| | 05:19 | Finally, I'll take this last edge and
repeat, holding V for snap and snapping it
| | 05:24 | to the inside of the bevel.
| | 05:26 | I'll do the same up at the top, using
the high poly I had made as a template
| | 05:30 | to the low poly onto.
| | 05:33 | Now I can take this face, hold
Shift and right-click, and extrude it in.
| | 05:38 | I'm going to push it by -3 again.
| | 05:43 | I'll pick the bottom polygon and delete it,
and there is a low-poly door and door frame.
| | 05:50 | It's got the same size and detail that
the high poly does, as it's snapped to it.
| | 05:54 | The high poly, when the normals are baked,
will give round corners on these hard
| | 05:59 | corners of the low poly, and the high-
poly window frame and door itself will map
| | 06:04 | perfectly onto these polygons here.
| | 06:07 | There's an enormous polygon difference as well.
| | 06:13 | The high-poly door has
200 tries, the low poly 16.
| | 06:17 | I feel fairly comfortable spending that
number of faces to add a little extra detail here.
| | 06:24 | I'll choose Show > Isolate Select >
View Selected and move this into place.
| | 06:30 | I'll pick the high poly and hide it,
pick my low poly, hold W for move, and snap
| | 06:36 | the pivot down at the base here.
| | 06:38 | And I'm going to snap it right on the
edge of that block, which gives me yet
| | 06:42 | another little shadow line.
| | 06:44 | Even in a game, we can expect to have
decent shadows--either baked or real time,
| | 06:48 | depending on our engine--across small
things like this, which greatly heightens
| | 06:52 | the realism of what we're doing.
| | 06:56 | I can take this door and clone
it over to the bathroom here.
| | 07:00 | The difference will really be in the
diffused map, all white for the bathroom
| | 07:04 | versus what looks like glass here.
| | 07:06 | It's important when you're modeling
doors like this to consider the detail you
| | 07:10 | need and what we may be doing with them.
| | 07:12 | If we're running around the building
and possibly avoiding other folks who are
| | 07:16 | out to get us, let's say,
| | 07:17 | occasionally, a door frame provides
what feels like a little bit of cover.
| | 07:22 | It's also the kind of condition that we
may see in a view like this, where we're
| | 07:27 | so oblique to the surface that we do see
that depth, and for the building to read
| | 07:32 | correctly even in a low-poly version,
| | 07:35 | we need to have that little bit of
extra detail, those extra shadow lines that
| | 07:39 | say, yes this is a door, just
like we see in our everyday lives.
| | Collapse this transcript |
| Building a roof| 00:00 | In this video, I'll finally
get a roof on the building.
| | 00:03 | At this point, I've got the walls modeled and
my high-detail doors and low detail as well.
| | 00:08 | To make a roof I need a couple of extra
elements, and what I need to consider is,
| | 00:12 | how am I going to access the roof?
| | 00:15 | We could say in this kind of game it's
reasonable we could find a ladder and go
| | 00:19 | up on the roof or something.
| | 00:21 | Maybe there's tools up there hidden we
need to get to, or we need to get up there
| | 00:25 | to look out and see what's going on.
| | 00:27 | In a building like this, typically, it's a
flat roof and it's got parapet around it.
| | 00:34 | If we look at reference, we can see
that the roof is flat apparently. Really,
| | 00:39 | what's going on in here is that this wall
extends up a little bit higher than the roof,
| | 00:43 | that the roof is probably closer to this
level, give or take, and it's easier to
| | 00:48 | bring the wall up and bring the roof
up to it than to make up perfect corner
| | 00:52 | and try to cap it and keep it watertight.
| | 00:55 | It's different from the background
building we can see over here on the left
| | 00:58 | with a sloped roof, where the
water is meant to just run off it.
| | 01:02 | On a flat roof, we channel the water
to the inside and off the back, or to
| | 01:07 | gutters and downspouts.
| | 01:09 | For our purposes then, we at least need
to have the edge of the wall here, the
| | 01:12 | parapet, and a little bit of detail,
plus the asphalt roofing itself.
| | 01:17 | We may also see things up there like
pipes, and it looks like there's a vent poking
| | 01:21 | up or a stack vent or something,
| | 01:24 | and air conditioners, if there are.
We can't see the roof and so I'm going to use
| | 01:30 | a rough dimension to get the
thickness of that wall in the right place.
| | 01:34 | What I'll do then is hold Shift and
right-click and choose Poly Plane.
| | 01:37 | I'm going to snap a poly plane
completely over the building.
| | 01:40 | Now I'll press F11 for face
and pick that that big face.
| | 01:45 | I'll hold Shift and right-click and
choose Extrude Face, and scale in the Z
| | 01:51 | axis. Holding Ctrl on the Z axis
scales the x and y together.
| | 01:57 | Alternately, we could scale on the y
and then the x. It's really up to you how
| | 02:03 | you want to do this. As long to get
geometry all the way around we are fine.
| | 02:07 | Now as you notice here I've got
some interesting flashing going on.
| | 02:10 | What we're seeing here is that the
original poly is still there, and this is a
| | 02:15 | minor quirk in extruding just in a plane.
| | 02:17 | What I'll do is make sure I mouse over,
watch the pre-selection highlight, and
| | 02:21 | pick that big poly and delete it.
| | 02:25 | Then I'll take the center poly, hold
Shift and right-click, and extrude it down.
| | 02:29 | I'm going to pull it down and over here
in the Local Translate Z, I'll put in -16.
| | 02:36 | If you'd like, you can also
scaled it in a little bit.
| | 02:39 | What I'll do is make sure that this is
consistent first and then scale these in.
| | 02:43 | I'll work by face, pressing W for move
and picking one of the side faces. And I'll
| | 02:48 | use that same technique of holding V for snap,
| | 02:51 | snapping that face onto the outside
wall, and pulling it forward by 6 inches.
| | 02:57 | It actually is a fairly skinny wall usually.
| | 02:59 | We can tell by the building;
it doesn't look too substantial.
| | 03:04 | As I pull these back out, I'm making
the parapet, which is the part of the wall
| | 03:08 | that extends up above the roof.
| | 03:10 | I'll work my way around and now my roof
is light-tight and has a thickness that
| | 03:18 | when we're up on top, we'll see what
we'll expect to see, a low wall here.
| | 03:24 | We can also see, if you've ever been
up on the top of a roof like this, that
| | 03:28 | we're in a little bit.
It's not a perfect corner;
| | 03:30 | we are actually recessed.
| | 03:32 | So if we needed to crouch behind here, we can.
| | 03:35 | I'll right-click and pick Object mode
and harden up these edges, holding Shift
| | 03:39 | and right-clicking and choosing
Soften/Harden Edge > Harden Edge.
| | 03:45 | There's my roof, and it looks like
my building is fairly light-tight.
| | 03:50 | I still need to finish the doors once
I've made them and mapped them for the
| | 03:54 | sides and the back, but outside of that,
this building is ready as a low-poly building.
| | 04:00 | In the next video then, I'll just
make sure my walls are light-tight on the
| | 04:04 | inside and see if there's anything else
I need to add to really flesh out the
| | 04:09 | character of this abandoned place.
| | Collapse this transcript |
| Modeling light-tight walls| 00:00 | With my gas station's exterior coming
together nicely, I'm going to look at
| | 00:04 | some interior walls.
| | 00:05 | The reason for that--and I'll pick this
window and hide it to show--is that I've
| | 00:10 | modeled this single-sided, and
it'll come into Unity this way.
| | 00:14 | So if I put transparency on the window,
which I would like to, smudged, dirty,
| | 00:18 | and maybe broken but still transparent,
| | 00:20 | I don't want to see through the back of the
walls and see that there's nothing there.
| | 00:25 | That's important one.
| | 00:27 | So what I'll do then is to really
quickly model out light-tight interior walls.
| | 00:33 | I'll work this over a couple of walls at a
time so I can see what I'm doing clearly.
| | 00:37 | I'll start with his big wall and make
sure I pick the piece underneath it.
| | 00:41 | I'll choose Display > Hide > Hide Unselected.
| | 00:44 | I'm going to keep my interior walls as
clean as possible, assuming that they
| | 00:48 | will be in the dark. We may actually
get in and explore the building at some
| | 00:51 | point, but at least I need to block the light.
| | 00:55 | I'll go into my front view
and press 4 for a wireframe.
| | 00:59 | I'll hold Shift and right-
click and choose Poly Plane.
| | 01:03 | Again, I'm going to snap a poly
plane onto this wall. I'll zoom in,
| | 01:09 | press 5 to shade, and either
rotate it around or flip its normals.
| | 01:14 | I'll press E for rotate in this case
and spin it around to 180 degrees.
| | 01:19 | Now I'll snap it right onto the inside of that
window frame, which I had made 6 inches deep.
| | 01:27 | I'll press F11 for face and pick that
face, holding Shift and right-clicking
| | 01:32 | and extruding it in.
| | 01:33 | I'll pull it in and select and delete
the big face. Delete the middle, and
| | 01:40 | now by edge, pressing F10 for edge, I can
snap these edges right onto that window frame.
| | 01:46 | This gives me a clean, light-tight
structure, where there are no leaks in the
| | 01:51 | space within the wall.
| | 01:53 | It's important to do this, to make
sure that we are clean and light-tight,
| | 01:57 | so that when were standing inside a
structure looking out, we're not seeing
| | 02:01 | through the invisible back of a polygon.
| | 02:04 | Or if we're outside looking in, we're not seeing
through the invisible back of the outside wall.
| | 02:09 | Now I'll show my other pieces, choosing
Display > Show Last Hidden. And making
| | 02:15 | sure I've my interior polygon selected,
I'm going to pick my garage doors in
| | 02:20 | the front. And again, I'll hide my other pieces.
| | 02:24 | The first thing I'll do is pick this
interior wall I've just made, press F10 for
| | 02:28 | edge, and snap this back.
| | 02:31 | This sets up the thickness
of the wall on the inside.
| | 02:36 | I can either run it as part of my modular
texture inside now or one continuous piece.
| | 02:42 | I think what I'll do is use my modular
texture. So what I'll do here is pick
| | 02:48 | this existing object and duplicate it,
pressing Ctrl+D. I'll slide it back, press
| | 02:53 | F11 for face, and delete
the faces that I don't need.
| | 03:00 | Now, I'll pick these faces and flip
their normals, pressing spacebar for the
| | 03:05 | Hotbox, choosing Normals and Reverse.
| | 03:09 | I'll take this object and center the
pivot. The reason to do that is that the
| | 03:13 | pivot is on where the original object
was and it might be slightly forward or
| | 03:18 | backward on the X axis.
| | 03:20 | I'll choose Modify > Center Pivot.
| | 03:23 | Now I'll snap this right onto those
walls. Then I'll press F10 for edge and make
| | 03:29 | sure that inside miter works.
| | 03:32 | What I'm doing here is making sure
that all the corners are sewn up inside
| | 03:37 | and out, and making sure that the
walls go all the way down to the floor and
| | 03:40 | will be up to the ceiling when I'm
all done, so that I can stand inside and
| | 03:44 | not having any leaks.
| | 03:46 | I'll deal with the garage
door as separate objects.
| | 03:49 | I'll take this object.
| | 03:50 | Notice that if I hit 6 that I've
preserved my UVs, although they are
| | 03:54 | backwards. And I'm going to clone it over,
pressing Ctrl+D and sliding it over on the Z axis.
| | 04:02 | Now I'll use my Align tool to
put in the right place here.
| | 04:06 | Here they are, snapped front to back.
| | 04:08 | If you can see here, it's not
quite snapping on where it needs to be.
| | 04:12 | It still thinks that this is a
bigger object than I've actually got.
| | 04:17 | Sometimes we run into this,
and it's really not a big deal.
| | 04:20 | In this case, I'll just switch over
and snap that pivot down at the base.
| | 04:26 | Alternately, I could freeze the transforms
so it thinks it is the actual size that it is.
| | 04:31 | I'll press F10 for edge, pick
these two edges, and slide them back.
| | 04:38 | I'll use V+D again, moving the pivot
onto a vertex and pulling it back over.
| | 04:44 | I've got my light-tight walls inside.
| | 04:47 | I'll go through and deal with the UVs;
| | 04:48 | in fact, they may just be a
solid color, like a dingy white,
| | 04:51 | because I may not be able to see too
well. Alternately, I may unwrap these and
| | 04:56 | have a place in my texture
sheet for framing and so forth.
| | 05:00 | But I can make my interior walls so
that when I stand inside the building and
| | 05:04 | look out, I see the inside; or more
importantly, if I stand outside and look in,
| | 05:11 | I can see the inside.
| | Collapse this transcript |
| Adding miscellaneous elements such as air conditioners, signs, and steps| 00:00 | In this video, I'll look at adding
miscellaneous elements into my gas station.
| | 00:05 | So far I've got the shell pretty well
together and I've added in the rest of the
| | 00:10 | light-tight interior walls
here in the mechanics bay.
| | 00:13 | I've also put it in a ceiling, snapping
it into place just like I've done with
| | 00:16 | other objects, and walling
off across where the cashier is.
| | 00:20 | Presumably, there is a door in there,
but I'm going to say we can't go in.
| | 00:25 | We might only see it, so I want
idea of depth in the murky darkness.
| | 00:30 | Over here in these windows, I'm going
to make them mostly smudged so they're
| | 00:34 | really opaque and we can't get in.
| | 00:36 | And over here in the bathroom, I'm just
going to make that door solid. We can't get
| | 00:40 | it at all and so I don't
need to worry about an interior.
| | 00:44 | Now I need to add in any other details,
because they will come into play in my texture space.
| | 00:49 | I'm going to put up on the roof
a small air conditioner, maybe
| | 00:52 | retroactively installed,
| | 00:54 | as well as a sign. Presumably this
would have at least housing for a sign, if
| | 00:59 | not the sign actually still there.
| | 01:02 | And I'd like to add it in
as a small design detail.
| | 01:05 | First, the air conditioner. I'll hold
Shift and right-click and choose Poly Cube,
| | 01:10 | and now while I click and drag,
I'll hold Shift and make a perfect cube.
| | 01:16 | To get this the right size--right
now it's 52.025 inches on the side--
| | 01:21 | I'll click and drag in the Channel
Box all the way down, and in the Depth,
| | 01:25 | I'm going to put in 36.
| | 01:28 | All three properties--Width,
Height, and Depth--all change at once.
| | 01:32 | I'll spin underneath and pick that
bottom face and delete it, because it's going
| | 01:36 | to be up against the roof.
| | 01:38 | I'll press F8 for the whole
object and now I'll pick the roof.
| | 01:43 | On my Hotbox I'll choose Modify > Align
tool, and I'm going to plant it in the
| | 01:48 | center and then zoom
around until I see the roof.
| | 01:53 | As we can see here, sometimes with the
Align tool I need to orbit around to find
| | 01:58 | that tool on a particular side.
| | 02:00 | I'll zoom in, and there is
my tools for the side here.
| | 02:04 | I'm going to plant the air
conditioner right on the bottom of the roof.
| | 02:09 | Now I can take it and move it over, and
I'm going to say it sits there, off center,
| | 02:15 | and maybe just about here,
almost seemingly randomly placed,
| | 02:20 | but it'll give me a nice detail
if I do happen to get up there.
| | 02:24 | From down here on the
street view, I can barely see it.
| | 02:27 | I'm going to add in a sign as well.
| | 02:29 | I'm going to say that there is a remnant
of a sign housing right above this canopy.
| | 02:35 | I'll hold Shift and right-
click and choose Poly Cube.
| | 02:39 | I'll drag in a new poly cube.
| | 02:40 | Now if you notice, Maya is not letting me drag
a cube, and that's because my view is too flat.
| | 02:46 | I'll spin over and now I can put that cube in.
| | 02:49 | For this one, I'm going to give it a Width of 48,
a Height of 48 as well, and the Depth of 12.
| | 02:57 | This will be my sign housing, and I'm
going to plant is on top of the canopy
| | 03:02 | using the Align tool as well.
| | 03:03 | I'll get it centered, and top to bottom,
and then I'm going to snap it to the
| | 03:11 | outside edge, and then move it
back in by -36. There's my sign.
| | 03:19 | I can alter this and do something maybe more
deco, as a fin running up the side if I need it.
| | 03:24 | But I'll let it ride for now. Maybe at
one point this was functioning, but now
| | 03:28 | we'll have a board or just
a rusty white panel over it.
| | 03:31 | I want to look for any other details like
this, where I can add little bit more life to it.
| | 03:36 | If you think of it from this way,
down here, running in Viewport 2.0 so we
| | 03:42 | can see things clearly, turning off the
wireframe, that's a pretty good idea of a sign up here.
| | 03:50 | More importantly, it's a
major element of the silhouette.
| | 03:53 | I've got my round corner of my canopy,
my poles, I can see cleanly through,
| | 03:58 | nice sharp corner of the building, and
there's my sign, so it's a worthy element
| | 04:03 | to spend some polygons on.
| | 04:06 | I want to look over for any other elements
in here and finish detailing out the model.
| | 04:11 | I'll add in the interior floor
and any other interior walls I need.
| | 04:15 | I'll also make sure that I'm light-
tight and finish modeling out the high-
| | 04:20 | detail windows, to go along with the
low poly window that I've got hidden over
| | 04:24 | here on the left side.
| | 04:26 | Finally, I'll make window elements in
high detail that go around the cashier's
| | 04:30 | station and put in a low-
poly door for the bathroom door.
| | 04:35 | In the next chapter then, we'll look at
unwrapping and stacking up those UVs to
| | 04:39 | make good use out of our texture
sheet. But getting a good modular model
| | 04:43 | established first is the key, making
sure we've got the right geometry to get
| | 04:48 | in the right place for the texture.
| | Collapse this transcript |
|
|
5. Unwrapping the ElementsMapping UV projection types| 00:00 | In this chapter I'll look at
unwrapping methods and ways of getting a stacked
| | 00:04 | texture sheet together.
| | 00:06 | So far I've modeled out the building,
including its modules and various
| | 00:10 | accessories, such as the sign
and air conditioner up on top.
| | 00:13 | I've also applied my Unwrap Checker
material to the whole thing, so I can see if
| | 00:17 | the unwrap is working.
| | 00:19 | I've modeled out some additional
detail I'm going to use later in baking.
| | 00:22 | We can see poking through here, the
detailed windows around the cashier's station,
| | 00:26 | and also on this side, the detailed
windows on the side of the garage.
| | 00:31 | I'll isolate these to show
them in a little more detail.
| | 00:35 | As you can see here, I've started with
the original polygon for that window and
| | 00:39 | I've added in divisions,
allowing the UVs to propagate.
| | 00:43 | They've done so reasonably well in
most places, although we're seeing a
| | 00:46 | little stretch here on the windows,
however, as I'm going to project this
| | 00:50 | onto a flat polygon, that
doesn't matter too much.
| | 00:53 | The big deal is that I've got the
geometry there for baking or projecting later.
| | 00:58 | What I'll do now that I've got the
whole structure modeled, and all the high
| | 01:02 | detailed pieces then, is start
unwrapping the parts that need some attention.
| | 01:06 | The modules here for the
garage doors look pretty good.
| | 01:09 | The judgment on that is that the
squares are square and facing the right direction.
| | 01:14 | In that unwrapped checker, the
squares start out square and the letters
| | 01:18 | obviously face the right way to be read.
| | 01:20 | Therefore on the model, if the
squares are square and are readable, not
| | 01:24 | backwards, I'm in good shape.
| | 01:26 | We can see on the canopy then that the
original UVs have been stretched, part
| | 01:31 | of the modeling process, and partly,
because that's how they were applied in
| | 01:34 | the original object.
| | 01:36 | All primitives have UVs applied to them by
default, so we don't get errors when rendering.
| | 01:40 | I'll pay some attention to the canopy,
as I've got some obvious stretching.
| | 01:44 | First, I'll hide the unselected objects,
by pressing spacebar from my Hotbox and
| | 01:48 | choosing Display > Hide >
Hide Unselected Objects.
| | 01:51 | If you notice here, while I've got this open,
| | 01:53 | I've got all my tools available on that Hotbox.
| | 01:56 | What this let's me do is have my
toolbox close at hand, instead of going up to
| | 02:00 | the top menu and mousing around for
something, I can get to my keys, my
| | 02:05 | commands, and my objects very, very quickly.
| | 02:08 | Makes for faster workflow, although,
you might say, well gee, it saves a couple
| | 02:12 | of seconds here and there.
| | 02:14 | The big deal is really the
savings in thought and speed;
| | 02:18 | that by the UI becoming more
transparent to the workflow, you can get your work
| | 02:22 | out in to Maya faster with less interruption.
| | 02:25 | To unwrap this I've got a
number of things available.
| | 02:28 | We can see that the top is decent,
although the squares are not square.
| | 02:33 | Inside, I'm seeing some obvious
stretching along here, as that texture is
| | 02:37 | totally smeared, as it is on the front as well.
| | 02:40 | The top is very, very stretched and
backwards, and on the sides here I've got
| | 02:45 | some obvious smearing going on.
| | 02:47 | The trick is then to unwrap it piece
by piece, we have places in here for some
| | 02:51 | obvious texture breaks.
| | 02:53 | The texture of the side or the
fascia is different than the roof.
| | 02:56 | The roof might be maybe metal or
asphalt or something similar, and again, that
| | 03:00 | texture is different from
the bottom here of that roof.
| | 03:04 | I can probably get away with the same
texture, rusty, white metal we'll call it,
| | 03:08 | on the inside of this, as
it's a fairly thin piece.
| | 03:12 | What I'll do then is try
some automatic mapping to start.
| | 03:16 | Under Create UVs we've got some
different mappings available, Planner,
| | 03:19 | Cylindrical, Spherical, Automatic and
based on camera, they do different things.
| | 03:24 | As an example, I put some
Cylindrical Mapping on this to show it.
| | 03:28 | It wraps a cylinder around the object,
which is nice as I can see that UV is
| | 03:32 | spanning around that corner, so
I get continuity in the texture.
| | 03:35 | But it makes a mess at the top.
| | 03:39 | Other things may not work as well, as
an example, a Planar Mapping smashes
| | 03:44 | through one side, smearing along the
top on the sides here and it's not sized correctly.
| | 03:49 | So I can use planner in some places,
but in this case, Planner Mapping the
| | 03:53 | whole thing won't work.
| | 03:55 | What I like to do a lot of times
for architecture like this is to use
| | 03:59 | an Automatic Mapping;
| | 04:00 | I'll choose Create UVs and Automatic.
| | 04:03 | What that does is to project his
texture on from 6 sides initially.
| | 04:06 | We can see over here in the Channel
Box the planes are set at 6 and this
| | 04:10 | works for most things.
| | 04:13 | It wants to put it on as a square and
it doesn't necessarily pay attention to
| | 04:16 | the orientation, as we can see
these letters are sideways in places;
| | 04:20 | however, all of the pieces are
mapped square, the squares are square, and
| | 04:25 | hence are not distorted.
| | 04:27 | If we look in the UV Editor, we
can see that these are not distorted.
| | 04:32 | Now you're probably seeing this and saying,
wait a minute, I can't tell what's going on.
| | 04:37 | So here's the thing to do.
| | 04:38 | When you start out on the UV Editor, it
shows the texture you've got applied and
| | 04:42 | the UV Shells are shown as Wireframes.
| | 04:44 | What I typically do is to turn off
the image and shade the UVs. That's the
| | 04:50 | result of the Automatic Mapping,
everything is splintered apart but
| | 04:54 | proportionally correct.
| | 04:55 | We can use this technique a lot on
buildings then, take pieces and hit them with
| | 04:59 | an Automatic Mapping, especially where
we need to preserve the size of elements
| | 05:03 | relative to each other.
| | 05:04 | I'll leave this at an automatic, and go
pay attention to the poles for the canopy next.
| | 05:14 | I'm going to come back and sew this
canopy together, but I need to get some
| | 05:18 | other things ready first.
| | 05:19 | I'm going to pick the poles and
apply a Cylindrical Mapping to them.
| | 05:24 | Cylindrical Mapping is useful for, well
cylinders, and actually it's useful for
| | 05:28 | boxes and other things like them.
| | 05:30 | The reason for that, as I'll put
Cylindrical Mapping on here, is that it wraps
| | 05:34 | the map around the object. We can
grab these red nodes in the middle and
| | 05:39 | increase the Horizontal Sweep, making that
mapping wrap around a full turn or half as we need.
| | 05:46 | It's dictated by the
Projection Horizontal Sweep number.
| | 05:50 | We can also take that Projection Height and
reduce it to get those squares back to square.
| | 05:54 | What I'll do is to click and drag
across the number and the name in the
| | 05:58 | Channel Box, and then with the mouse wheel I
am going to drag down here and pull that around.
| | 06:04 | What we're seeing is probably a little
bit of snapping, so I'm going to just
| | 06:07 | manually put a height number in
there, and I get this pretty good.
| | 06:11 | Again, and I'll switch back to
our Object mode so we can see it.
| | 06:15 | What I'm looking for is that the squares are
square and the texture wraps around cleanly.
| | 06:20 | Right here is where that break in the
texture is, where orange and green or
| | 06:24 | red and green meet.
| | 06:25 | As long as I can paint to camouflage
that seam decently, I've got a good map.
| | 06:30 | If you need to get back to your
mapping and my students often ask this of me,
| | 06:34 | here's how to do it.
| | 06:35 | I'll pick the object, right-click,
and choose Inputs > Poly Cyl Proj.
| | 06:42 | If it doesn't show up there, you can
always go into the Traversal and here
| | 06:46 | is the shape node and the projection, and
I'll select it, and there I am in the mapping.
| | 06:51 | We can see where it's applied and
how it's tiling along that object.
| | 06:55 | In that UV Texture Editor
then, we can see those pieces.
| | 06:59 | Right now I've the Cylinder Projection selected,
which is why it is not showing up.
| | 07:03 | I'll make sure I pick the object and
there are those faces, they're very big,
| | 07:08 | they span over here as I've tiled those UVs.
| | 07:10 | I can select them and scale down
these UVs to fit in my Texture Sheet.
| | 07:15 | But the big deal is first in unwrapping,
whatever method you choose to get the
| | 07:18 | proportion correct, making sure the
squares are square and readable, so that as
| | 07:23 | part of the Texture Sheet,
we're stacking undistorted UVs.
| | 07:27 | I'll finish out some other elements
and then get into moving and sewing and
| | 07:31 | stitching these pieces together.
| | Collapse this transcript |
| Moving and sewing UVs| 00:00 | In this video I'll
explore moving and sewing UVs.
| | 00:03 | I've gone through and done some Automatic
Mapping on some other elements in here.
| | 00:07 | I think I've hit most of them, but I
may have to go back and catch one or two,
| | 00:10 | which is perfectly fine.
| | 00:11 | Now I need to get some
continuity going in my UVs.
| | 00:14 | The first step in unwrapping is to get
the objects unwrapped and flat, and
| | 00:19 | the right proportion, and we can see
I've got it going pretty nicely here on the canopy.
| | 00:23 | The squares are square and the text is
readable, however, I've got some places
| | 00:27 | where there's an obvious texture seam,
right here where green D and yellow D
| | 00:30 | meet on that corner, it's an exposed corner.
| | 00:33 | There's a good chance I'm going to see
it very prominently in a view, and I need
| | 00:37 | to make sure that my, well, rusty
metal texture, wraps around here nicely.
| | 00:41 | I can make a texture break over here
where it meets the building, and I can
| | 00:45 | also make a break from the bottom of
this to the side or from the underside to
| | 00:51 | the side, and so forth.
| | 00:52 | I can make a break in the texture here,
where the pole meets the concrete as
| | 00:55 | well, as they're different materials.
| | 00:58 | I want to watch out for places where
I need obvious texture continuity as
| | 01:01 | part of my unwrapping.
| | 01:03 | The other thing I can do then is to
look at places that I cannot see all of
| | 01:07 | it at once, as an example on the
canopy here, and I'll isolate it to show it
| | 01:11 | a little bit better.
| | 01:13 | I've got continuity issues from front to side.
| | 01:17 | I need to make sure those stitched together.
| | 01:19 | However, it's impossible to see
one side and the other at once.
| | 01:24 | So it stands that if I can make
continuity on one side and put a place in here
| | 01:29 | where there is a logical break, as long as
it's not terribly obvious, I may not remember it.
| | 01:35 | It also might let me stack you UVs,
taking one side and a corner, making a break
| | 01:39 | at the front and stacking
it right over the other side.
| | 01:43 | I'll open up the UV Editor, choosing
Edit UVs > UV Texture Editor, and I'll look
| | 01:48 | at some moving and sewing.
| | 01:50 | Remember, what I've done in here is to
turn off the image and shade the UVs. It
| | 01:55 | makes a little easier to see.
| | 01:57 | I'm ready for some moving and sewing
and it's a really powerful technique here
| | 02:00 | in Maya to get UVs together.
| | 02:02 | When you're unwrapping, you've got
the whole space as your scratch space.
| | 02:06 | Eventually, it needs to end up back
here in the 0 to 1 space, the normal UV range.
| | 02:11 | Some engines will accept non-zero
to one space or the full UV range.
| | 02:15 | But if you're in the 0 to 1
quadrant, you're always safe.
| | 02:18 | What I'll do then is pick the Move UV
Shell tool and select those UVs. I'll grab
| | 02:24 | them and just pull them off to the
side, it's just scratch working space.
| | 02:29 | Now I can take these shells and I'm
going to slide them back over, so I can get
| | 02:34 | to them, I can see them a little bit clearer.
| | 02:37 | It's time to do some moving and sewing,
I'll right-click in here and pick edge
| | 02:41 | and select an edge, and I'll
see where this edge lines up.
| | 02:44 | If you can't select, you can hit
W for move and then pick an edge.
| | 02:48 | Now this is a Maya issue we've just saw there.
| | 02:52 | Occasionally, it will deselect everything.
| | 02:55 | I'll make sure I pick the object
in Object mode and hit W for move.
| | 03:00 | Then in the texture editor I'll right-click
and hit edge, and then I can
| | 03:04 | start picking edges.
| | 03:05 | What it shows me here, highlighted in
orange, is that with this edge selected its
| | 03:10 | corresponding edge is over here.
| | 03:11 | What I'll do then is choose Polygons >
Move and Sew Edges and it's going to take
| | 03:16 | those edges and move and sew them together.
| | 03:19 | Now I've got the side and the front,
and I'm ready for the other side.
| | 03:24 | What I might do then, because these are
long and skinny and I stand a chance of
| | 03:27 | needing that much length of white
rusty metal, is to take them and stitch them
| | 03:32 | altogether and see how it looks.
| | 03:34 | I can always break them apart later.
| | 03:36 | I'll repeat the move and sew action,
picking edge and selecting an edge and
| | 03:40 | choosing Polygons > Move and Sew UVs.
| | 03:43 | I'll repeat this all the way around.
| | 03:45 | Moving and sewing the inside as well,
picking the edge and hitting G to repeat last.
| | 03:51 | Now I've got at least a fascia inside
and outside unwrapped and sewn together.
| | 03:55 | I'll pick my Move UV Shell tool
and select one and see what it is.
| | 04:00 | This is the inside then, and I can
tell because when I move it, if I spin
| | 04:04 | underneath, I can see those
UVs moving in the view.
| | 04:08 | This then is the outside.
| | 04:10 | The other judgment call here in
stacking them is different lighting conditions.
| | 04:14 | The inside will be, well, obviously in
the dark. It's inside, it's in shadow.
| | 04:20 | Therefore, if I get the UVs stacked
decently, and there is a bit of an
| | 04:24 | overlap or an obvious rust in the same
place from the inside to the outside,
| | 04:28 | it's not going to matter as much,
because it's a radically different amount
| | 04:32 | of light hitting the inside.
| | 04:34 | I'll take these pieces and stack them.
| | 04:36 | To make this work, what I'll do is
actually just get these UVs lined up.
| | 04:41 | As long as they're reasonably on top
of each other, up and down here on the Y
| | 04:44 | axis, I just need to worry about the X.
What I'll do then is slide these inside
| | 04:51 | and get it reasonably close.
| | 04:53 | It's a little bit shorter, and so
as long as it overlaps, it'll be in good shape.
| | 04:59 | Now I can worry about the other parts,
the bottom edge here is probably going
| | 05:03 | to be uniformly rusty.
| | 05:05 | What I'll do then is to break this apart.
| | 05:08 | The Automatic Mapping has sewn this
all together, it planner mapped this side
| | 05:11 | essentially, giving me a large U shape.
| | 05:14 | In unwrapping, this is not a good
condition to have, as I'm using a lot of
| | 05:18 | texture space for very little here. I
can hit it with almost a solid color and
| | 05:22 | probably be in a good shape.
| | 05:23 | What I'll do then is right-click and
choose Face or Edge, and pick those faces.
| | 05:31 | I'm still in the Move UV Shell tool, so
I'm going to make sure I hit W for move
| | 05:35 | and then right-click and pick
Face, and I can select them.
| | 05:39 | With those faces selected, I'll
choose Polygons > Cut UV Edges.
| | 05:45 | This is now a separate
shell and much more compact.
| | 05:49 | It cut all of the edges, so I may
want to be careful on what I cut.
| | 05:53 | I can take these and move them and sew
them together if needed and get this back
| | 05:56 | in, or I can take this small
element and sew these pieces together.
| | 06:02 | I can also right-click and choose
Polygons and here at the bottom is Merge UVs.
| | 06:08 | I've got a lot of different options.
| | 06:10 | This is now one shell again, so we
can take things and split them apart, cut
| | 06:15 | them, paste them as we need
to get in the right space.
| | 06:18 | Really what I'm after is this, that if
I take this element and I'll rotate it
| | 06:22 | using the Rotation up here, clockwise
by 45, this is almost straight, straight
| | 06:28 | enough that I can probably stack it
over like this, and get the other pieces to
| | 06:32 | line up in one skinny line of bottom
rusted faces on this canopy, using much
| | 06:38 | less of my texture space.
| | 06:39 | I can take the roof and
probably minimize it down as well.
| | 06:42 | It doesn't need a lot of attention in
texture as it's almost a solid color.
| | 06:46 | As long as it has got some dirt
that matches, it'll be pretty good.
| | 06:49 | What I want to do then is get this as
compact as possible and look for places to
| | 06:53 | move and sew UVs together, anywhere
that I need texture continuity, I should be
| | 06:58 | sewing and spinning around it here in
the view, making sure that as I move
| | 07:02 | around, I can see, is that texture spanning?
| | 07:06 | I'm not worried yet about
where the texture is on here,
| | 07:09 | as I'm going to line things up in a
Texture Sheet in one of the next videos.
| | 07:13 | The big deal though is continuity, once
the UVs are flat, sew them together so
| | 07:18 | that there is continuity in obvious
places, and you can break things where
| | 07:21 | there are places that are obviously discontinuous,
where there's an obvious break in texture.
| | 07:27 | So we can go to the rest of the model
and move and sew things together to make
| | 07:31 | continuous elements where we need.
| | Collapse this transcript |
| Planning a texture sheet| 00:00 | One of the best things we can do for a
game is to use a texture sheet or texture
| | 00:04 | atlas, as it's sometimes known.
| | 00:07 | Depending on how much is in the atlas
and how big it is, it can cover many, many
| | 00:11 | objects in the game.
| | 00:13 | The idea then is to plan out your
texture sheet, rather than simply mapping
| | 00:17 | every object with a unique texture,
we want to stack our UVs as much as
| | 00:21 | possible, and I've started doing this.
| | 00:24 | I'll select the objects and
look at the UV Texture Editor.
| | 00:28 | Now at the moment, it looks like I have
a giant mess, and that's actually okay,
| | 00:32 | I'm going to stack these UVs.
| | 00:34 | The big deal though is how
do I plan to stack these UVs?
| | 00:38 | Sometimes what I'll do, rather than
simply using a solid checker here,
| | 00:42 | meaning, it's continuous, is to look
at some of the major components and plan
| | 00:46 | out a texture sheet, so I've at least
got areas blocked in that I can start to
| | 00:50 | use to layout my UVs.
| | 00:53 | What I want to look at in planning my
texture sheet are the largest pieces
| | 00:57 | that'll be most prominent in the view.
| | 00:59 | As an example, the air conditioner up
here gets minor detail, as does the sign.
| | 01:05 | The canopy needs pretty good detail,
as do these major walls and doors, and
| | 01:09 | they're going to have garage doors on
them, so I better give them pretty good
| | 01:12 | amount of texture space.
| | 01:13 | There are other pieces like the
concrete here that are fairly small and
| | 01:17 | fairly monochromatic.
| | 01:18 | They're going to be generally a
weathered gray probably with fairly
| | 01:23 | consistent moss or dirt staining down
at the base, so I can allocate them a smaller section.
| | 01:28 | I'll start out then by looking at my
largest elements, and I'll go back and look
| | 01:32 | at the reference for a minute and see if
there's anything noteworthy in the wear
| | 01:36 | and tear that would tell me
what I need in the texture sheet.
| | 01:39 | Here in Photoshop, I've opened up my PSD
that I was drawing out my mesh lines on
| | 01:43 | this gas station on.
| | 01:45 | I'll turn off this blue line layer
for a minute and look at the texture.
| | 01:49 | What I'll do is hit F twice,
and then hit Ctrl+0 to zoom in.
| | 01:54 | I'll make sure I can really see it
without the distraction of the UI, that way I
| | 01:58 | can really tell what's
going on with the texture.
| | 02:00 | What it appears that I need is some
kind of vertical wall texture or maybe
| | 02:05 | that's just a seam or mossy spot,
general cracking and dirt, and up at the top
| | 02:10 | here, all kinds of
speckles and streaks and things.
| | 02:13 | So if I do a decent Streak Map, I
can use it along a lot of the facade.
| | 02:18 | It's almost the same
stuff up here in the canopy.
| | 02:21 | So long as my texture is big enough or
I stack the UVs correctly, the same chip
| | 02:26 | paint will work in multiple places.
| | 02:28 | I can also tell in my texture sheet
here that the streaks run full length and
| | 02:33 | the chips are almost somewhat random up here.
| | 02:37 | The canopy can then share part of that
and have its polygons slid up and down to
| | 02:41 | match different parts of streaks and chips.
| | 02:44 | I've got a similar texture over here on
the side and apparently the remains of a
| | 02:48 | sign, I think. I might end up losing
that remains of the sign and just have more
| | 02:53 | streaks and chips in here.
| | 02:54 | It's the same I think on all the other sides.
| | 02:57 | So really what I need to plan in, is
some pretty good detail in the large
| | 03:01 | white wall and garage door section and
make sure I've got enough length in the
| | 03:05 | top here, to accommodate the canopy as
it's unfolded in the side wall and back walls.
| | 03:12 | I'll start out then here in Maya,
selecting a couple of my big wall elements and
| | 03:16 | seeing how they lay in.
| | 03:18 | I'll pick the side wall as well,
and the bottom of it, and go into my Texture Editor.
| | 03:25 | We can see I've got a
pretty good stack going here;
| | 03:28 | really what we've got is one
wall and the next one right over it.
| | 03:33 | So picking these two together shows a
deeper blue here in the UVs as they stack
| | 03:36 | up. I might deal with the ends
separately, but it looks to me like I need to
| | 03:42 | allocate at least a good chunk
of the texture sheet to this wall.
| | 03:47 | The side wall is split open, because I
had mirrored over these polys, and so I'm
| | 03:51 | going to end up with a possible seam
there on the side, which is actually right
| | 03:55 | here, and as long as I paint
to camouflage it, I'll be okay.
| | 04:00 | The back wall fits in as well, as
does this large section of back.
| | 04:04 | This looks like it'll need to tile, so
I'd either want to minimize it or shrink
| | 04:08 | it down across, and make
sure I've enough white to span.
| | 04:15 | The other side matches, so I have a lot
of places where I've got stacking UVs,
| | 04:20 | but that end in different areas.
| | 04:21 | What I'll do then is given the
size and reading the numbers in here,
| | 04:25 | go over to Photoshop and make a new
texture template prior to actually painting.
| | 04:32 | I'm going to make some colors over my
checkers, just to give me areas to start
| | 04:35 | to layout these UVs.
| | 04:37 | Here in Photoshop, I'll press
Ctrl+O to open up an image.
| | 04:41 | I'll go into my Maya project called
Game Environments and into the sourceimages.
| | 04:46 | I'll open up 1024 template.
| | 04:50 | I'm going to save a working PSD of
this file and then a flattened TIFF to bring in.
| | 04:56 | I'll press F to return back to the full
Photoshop UI and I'll turn on my Rulers
| | 05:00 | by pressing Ctrl+R. What this gives me--and
here in pixels are these units, are
| | 05:05 | numbers showing me roughly where I am.
| | 05:08 | As an alternate I can put a grid over.
| | 05:10 | We can choose Edit > Preferences and
in the Preferences, here's our Grid.
| | 05:17 | Sometimes what I'll do then to give me a
grid is put a grid line in every, let's
| | 05:22 | say, 256 pixels with one subdivision.
| | 05:29 | I'll choose View > Show > Grid, my
grid is over it, but the color is a little
| | 05:35 | bit off, I'll go back to my
Preferences and change that.
| | 05:39 | In Preferences, under the Grid section,
we can make our grids whatever color we want.
| | 05:44 | Right now it's gray and
it's blending in perfectly.
| | 05:46 | I'm going to make this grid color
something a little more vibrant that I can see.
| | 05:51 | Here's a nice big red or even pink,
we've also got some choices in here on
| | 05:56 | how this grid looks.
| | 05:57 | I'm going to leave it alone and
hit OK and there is my grid lines.
| | 06:01 | Now what I can do with this grid in
place is start to add in some colors over this.
| | 06:07 | I'll make a new layer by pressing Ctrl
+Shift+N, call this layer--doesn't
| | 06:11 | really matter what
actually, and put a marquee in.
| | 06:15 | I'm going to land a marquee over,
making sure I switch the marquee back over
| | 06:19 | to rectangular, looks like I had it
circular earlier and making sure my
| | 06:24 | marquee is a normal marquee.
| | 06:26 | What we're seeing here is that at one
point I was using a fixed size marquee
| | 06:30 | in the rectangular, which is different
from the circular settings, which were normal.
| | 06:35 | Photoshop will remember which one you're
using and put that on the next time you
| | 06:38 | go for the marquee, so make sure you switch it.
| | 06:41 | I am going to use my grid squares in
my texture map, and guesstimate roughly
| | 06:46 | about here, a little more than half
each way. I'll put in this new layer a fill
| | 06:51 | color, I'm going to choose a medium
blue and hit my paint bucket on it. I'll
| | 07:00 | take the Opacity of this layer down to
maybe 30%, so it screens that color over.
| | 07:06 | Now I've got an area to start to stack
those wall UVs and see if they work, if I
| | 07:10 | get enough resolution.
| | 07:12 | I'm going to do this with
the rest of these pieces.
| | 07:15 | This area will cover the wall and I
need to make sure I've got maybe a separate
| | 07:19 | section for the garage door.
| | 07:21 | I'll go in here, line in another
marquee, and fill it in a different color.
| | 07:30 | There it is orange, so I can tell them
apart decent. I can always play with the
| | 07:34 | opacity in this a little
bit, pulling it up and down.
| | 07:37 | What this tells me now is if I stack
my blank wall pieces here and my garage
| | 07:42 | doors here, I've got a pretty good
resolution, and I can use the space up here
| | 07:46 | for the remaining elements.
| | 07:48 | I'll see my doors fit in
and probably some other parts.
| | 07:52 | One of the other things I'm looking at
in this is that it's okay to have things
| | 07:56 | that are normally vertical in a building,
such as the doors, go horizontally if
| | 08:01 | they fit in better in the texture.
| | 08:03 | I'll save this in two ways.
| | 08:05 | I'll do a Save As, and save it as a
PSD, and I'll call this texture sheet
| | 08:11 | working. I'll Save the layers with it
so I can come back and edit if I need.
| | 08:20 | Now I'll save a flattened version, again,
pressing Save As, and saving out a TIFF,
| | 08:25 | I'll call this one 05_03_sheet, and I'll
turn off the Layers to not increase the file size.
| | 08:35 | Back here in Maya then, I'll pick any
of my objects, right-click and choose
| | 08:39 | Material Attributes and go into
those unwrap_checkers, into the color
| | 08:43 | texture, and I'll swap out that
file, clicking on the File Folder and
| | 08:48 | choosing my 05_03_sheet.
| | 08:49 | What we can see in here is that
the blue shows clearly on those wall
| | 08:55 | elements, and I can see some places I
need to slide it around to help get
| | 08:59 | this in the right place.
| | 09:01 | I'll start in on this and
show how few pieces look.
| | 09:05 | Here in the Texture Editor I'm
going to actually show that image.
| | 09:10 | One of the things we can do is
choose Image > Dim Image, that way it
| | 09:14 | screens back a little bit.
| | 09:16 | I'm also going to turn off the grid
there is the View grid off/on button, and
| | 09:20 | now I can see what's going on.
| | 09:23 | I'll take these UVs and shrink
them to fit them into that blue area.
| | 09:28 | I'll use the Move UV Shell tool and
select them all, then I'll hit R for scale,
| | 09:35 | and scale them down.
| | 09:38 | With them scaled down, so they just barely fit,
I can pull them over and be able to stack.
| | 09:44 | My thought here is that this blue
section will be white, rusty, streak dirty
| | 09:49 | metal, and I'll take the garage doors and
slide them over here and make them just
| | 09:55 | a little bit bigger, fitting
this space as well as I can.
| | 10:00 | This way when I bake this texture,
I've got a pretty good resolution on the
| | 10:03 | doors, and it looks like I'll gain back
a little bit of texture space right here
| | 10:07 | for use in something else.
| | 10:10 | This is the start of laying out a
texture sheet, what we can see then at least
| | 10:14 | on these two walls, is that cleanly from
top to bottom they fit in one section of the sheet.
| | 10:19 | The garage doors are clearly in
another section of the sheet, and I can see
| | 10:23 | where I need to plan for matching textures
across, making sure that the streaks line up.
| | 10:29 | What I'll do then is continue to
unwrap this, we can see I need to pay some
| | 10:32 | attention to the side wall, as I've got
a blue and orange divide here, and I'll
| | 10:36 | make sure that all my major walls end up
with the blue tinted texture, and other
| | 10:40 | elements have other parts of the tint here.
| | 10:42 | That way all the elements will stack
properly and in my texture sheet I'll
| | 10:47 | get the maximum usage.
| | Collapse this transcript |
| Stacking UVs| 00:00 | Once I've got things unwrapped and
their proportions are laid out, and I've done
| | 00:04 | some moving and sewing in my UVs, and
I've planned out my texture sheet, at least
| | 00:08 | the major areas for things.
| | 00:10 | I'm going to start stacking my UVs
so I can paint my texture and see how it comes out.
| | 00:14 | What I've done so far is to take these
major walls and start to stack them and
| | 00:19 | move the garage doors off to the side
as we can see by the different tint in the texture.
| | 00:24 | I'll hide the high-res garage door I've
got, and we can see when I select both of
| | 00:29 | them that they actually
are stacked quite nicely.
| | 00:32 | One of the advantages to a modular
approach in modeling something, cloning it
| | 00:36 | after it's unwrapped and then moving
UVs around, is that a lot of the UVs are
| | 00:41 | nicely stacked already.
| | 00:42 | We can see here by the deeper blue that
both garage doors are in fact stacked up
| | 00:47 | and also here these walls are stacked as well.
| | 00:49 | What I'll do then is start to pick
other elements such as the side wall and get
| | 00:54 | them stacked on as I need.
| | 00:57 | Because I know I've stacked these two
walls, I can pick just one of them as
| | 01:01 | essentially a template to
stack the other pieces on.
| | 01:04 | This side wall is already partially stacked as
we can see here by these lines lining up.
| | 01:10 | What I'm going to do then is move them
off to the side and start picking a few
| | 01:15 | pieces at a time to line up those elements.
| | 01:20 | I'll select the shells and
slide them over on the X axis.
| | 01:23 | There's that precision movement again.
| | 01:25 | Then I'll pick the other element
and for now I'm going to turn off that template.
| | 01:30 | I already know that I've this one in as
a reference or it's in the right place.
| | 01:35 | Now with my Move UV Shell tool, I'm
going to start picking pieces and sliding them over.
| | 01:40 | I can see that I need to scale these pieces in.
| | 01:44 | I'll do both at once, picking one, sliding it over,
and making sure it's in the right place.
| | 01:49 | The important part here is actually that
these two line up, because that's where
| | 01:54 | I need the texture continuity.
| | 01:56 | I'll slide them in and scale them down.
| | 02:00 | I'll click in the middle of the scale
and pull it down and then hit W for move
| | 02:05 | and pull it over in the right place.
| | 02:08 | I'm not concerned about the overlap
in the side pieces here, but really just
| | 02:12 | having the metal in the right place.
| | 02:16 | I'm going to pull it in as close
as I can and get those UVs stacked.
| | 02:20 | What I'm going to end up with, as we
can see here, is vertical is on the left,
| | 02:25 | vertical is in the middle and on the
right, and most of the tops on the top.
| | 02:29 | That's why I've allocated in the
texture sheet this area, I'll turn on that
| | 02:32 | image to show it, for generally white
rusty streak metal, as it'll work nicely
| | 02:38 | with a bunch of stacked UVs in here.
| | 02:41 | I'll work my way around looking at
the other pieces and stacking them in.
| | 02:45 | So far I've handled this side.
| | 02:47 | Now I'll look at the back and in picking
these UVs I can see that they're a little
| | 02:52 | big and a little bit spread.
| | 02:54 | As you can see I'm not afraid to toggle
off and on those UVs and toggle off and
| | 02:59 | on what I've got selected in the
image to be able to see stuff better.
| | 03:03 | If you can't see it, move it around,
or do you need to get to a better view.
| | 03:08 | Don't feel you're constrained
by simply what you've selected.
| | 03:13 | I'm going to start matching these in.
| | 03:15 | In this case rather than using an
existing UV to line up on, I'll pick just
| | 03:19 | this one object, making sure I'm in Object mode,
turn back on my template, and select that shell.
| | 03:25 | There is that Maya issue again.
| | 03:28 | I'll pick it, hit W for move, then
hit the Move UV Shell tool and I can
| | 03:32 | select those shells.
| | 03:34 | The big deal here is I'm going to
make sure I scale these down together.
| | 03:38 | Scaling these elements in,
| | 03:39 | it looks like I missed one there.
| | 03:41 | So I'll make sure I come back and grab
it and making sure on these elements that
| | 03:46 | they're all within that blue area.
| | 03:49 | I'll press R for scale and scale them
down, move them in, and stack them in that
| | 03:56 | area, but not exactly over the others.
| | 03:59 | I don't have a spanning issue right
here, as there's a door, and this is a
| | 04:04 | possible break here where I might need
to see a streak or something that skips.
| | 04:08 | It's okay to do that in this context,
because we can see in the reference
| | 04:11 | imagery that there are streaks and
lines and things in the facade.
| | 04:16 | I'll come back and grab these
elements and slide them over.
| | 04:23 | If you notice here I was in move, and so I
just grabbed those bottom two UVs. I'll come
| | 04:28 | back and pick the Move UV Shell tool
which grabs the whole thing and pull it up.
| | 04:33 | If you'd like you could take
elements like these and rotate them.
| | 04:36 | I'm going to spin this around and move
it roughly in to the right place so it's
| | 04:40 | got a matching texture for that chunk of wall.
| | 04:43 | I'll zoom in and there is most of B
and part of the B and so I'm pretty decent here.
| | 04:49 | As an alternate to avoid an obvious
mirroring of texture here I could take this
| | 04:53 | piece and slide it up here.
| | 04:55 | So I've got a B&D and there's not an exact match
between right here and around the corner.
| | 05:02 | Now for the big wall. There's that large
element, and I've got some choices to make here.
| | 05:09 | I could take this and span it, I
could decide I need more rust, or I
| | 05:14 | could shrink it down.
| | 05:15 | I'm going to select it, hit W for
move and then the Move UV Shell tool.
| | 05:21 | I'll pull it in to place, getting it to
go as long as I can, reduce it down, and
| | 05:26 | scale proportionally and see how this looks.
| | 05:30 | Now here's the big question, this is a
big blank wall and should it be one large
| | 05:36 | element or should it be two?
| | 05:39 | That way I can get a
better stack in the texture.
| | 05:41 | I'm going to make a judgment call here
and I'm going to insert a new edge loop
| | 05:46 | across this piece and split this
element so I can stack its UVs up, saying
| | 05:50 | that I'm okay with an extra polygon in
order to not have a difference in scale of those UVs.
| | 05:57 | I'll right-click and pick Object Mode
and isolate this so I can see it little clearer.
| | 06:03 | Under Edit Mesh, I'll choose the Insert
Edge Loop Tool, making sure that I'm set
| | 06:07 | to a relative distance.
| | 06:10 | I'll land a new edge loop across this.
| | 06:12 | This looks good right there.
| | 06:14 | It's a rough judgment call where that
landed in here and really what I'm after
| | 06:18 | is that now I can take by polygon this face.
| | 06:22 | I'll press W for move to get out of
the Insert Edge Loop tool, pick this face
| | 06:27 | and under Polygons in the
UV menu, choose Cut UV Edges.
| | 06:33 | Now that I've split it off, I'm
going to pull these UVs back.
| | 06:37 | I'll make it slightly offset and I'll
say that this seam right here is going to
| | 06:41 | have some streaks along it, and
because in the facade there were some lines
| | 06:45 | showing, that may have half a streak which
we can accommodate and say it's a break
| | 06:50 | in the actual skin of the building.
| | 06:54 | I'm starting to stack my
texture sheet in pretty nicely.
| | 06:58 | We can see in here, and I'll turn off
the wireframe on shaded that I've got the
| | 07:02 | same set of UVs wrapping around on all
the walls, so as long as I paint decently
| | 07:07 | I'll be in pretty good shape.
| | 07:08 | I need to take those UVs around this
side, finishing out the other walls, and
| | 07:13 | then adding in the windows and canopy.
| | 07:15 | The canopy will stack in that same
blue area, and over here these detailed
| | 07:20 | windows and garage doors need to
be in their own section, which I've
| | 07:24 | already started with.
| | 07:25 | I'll unwrap the rest of it making sure
I've a large space to accommodate the
| | 07:29 | detail on this big side window as well.
| | 07:32 | I'll get one of the doors unwrapped and
once it's done, once I project those UVs
| | 07:37 | out, I'll take the low-poly
door and copy it onto this side.
| | 07:41 | It's okay to see an incomplete building
for now until I get all the UVs done and
| | 07:46 | stacked and then clone them.
| | 07:48 | That way I'm cloning UVs and
they're stacking automatically.
| | 07:51 | Finally, I'll take these curved pieces
which at the moment are fairly large.
| | 07:56 | And in the Editor, I'm going to smash them down.
| | 08:00 | One of the things I'll do is to take
these elements making sure I hit W for move
| | 08:05 | first, pick the Move UV
Shell tool, and rotate them.
| | 08:09 | I'll spin them and move them down.
| | 08:12 | I'm not concerned that they are a
little bit off as much as they're all facing
| | 08:16 | the same direction, so that when I start
to grab them and scale them I'm scaling
| | 08:22 | along horizontal piece.
| | 08:24 | Now I'll take all these pieces which
will get a generally dingy concrete,
| | 08:29 | select them, and scale them in.
| | 08:31 | These are just gray.
| | 08:34 | So as long as it looks decent and
fairly dirty I'll be in good shape.
| | 08:38 | I'll take these and temporarily
I'm going to stack them over here.
| | 08:41 | I'll allot this much texture
space and see what else I've left.
| | 08:46 | What I'll probably end up with is
maybe a little more space given to the
| | 08:50 | garage door, a little more space for
the walls here, and windows and doors
| | 08:54 | stacked in this area.
| | 08:56 | I'll finish my unwrapping
and see how it comes out.
| | 08:59 | The big deal in unwrap in stacking up
for texture sheet is allotting the amount
| | 09:03 | of space proportionately
for the detail you need.
| | 09:07 | In this case, the doors and windows and
rusty white walls occupy a lot of the
| | 09:12 | space and correctly so, as they have either
the most detail, or it will be seen the
| | 09:17 | most times because I'm stacking UVs.
| | 09:18 | One of the most powerful things we
can do in texturing for games then is to
| | 09:22 | stack up or UVs, instead of unique
textures everywhere, using and reusing and
| | 09:27 | rereusing the same texture sheet with
a little bit of elegant planning and a
| | 09:32 | proxy texture or template like I've got
here we can get our textures stacked in
| | 09:37 | so that when we paint magically the
building is, well, complete and rusty.
| | Collapse this transcript |
|
|
6. Transferring MapsOverview of ambient occlusion| 00:00 | In this chapter, I'll look at
ambient occlusion and normal maps.
| | 00:04 | We'll use these in a game for all
kinds of different purposes in the texture.
| | 00:09 | Ambient occlusion is the blocking of
bounce light by adjacent objects and I'll
| | 00:13 | demonstrate what that
looks like in just a minute.
| | 00:15 | Normal maps allow us to make a
surface look like it's got greater detail as
| | 00:20 | we've seen in a previous example.
| | 00:22 | Now I'm going to show how to use the
Transfer Maps function to bake the normals
| | 00:26 | from the high poly I've made to the low poly.
| | 00:29 | We use ambient occlusion in a
couple of different ways here.
| | 00:32 | It's a great foundation for things like
rust and dirt, as they tend to cluster in
| | 00:36 | the same places, the corners of things.
| | 00:38 | It's also a way to make things look
like they have more detail as they're
| | 00:42 | showing more shading and
lighting in the small recesses.
| | 00:46 | It really make things like
the garage doors pop out.
| | 00:48 | To start, I'll show what the Ambient
Occlusion shader looks like and how it
| | 00:52 | looks in a rendering.
| | 00:54 | I've got my scene and I've unwrapped
and stacked all of my textures pretty
| | 00:58 | much on that sheet.
| | 00:59 | I've still got to finish the canopy,
but I've got the windows in place and
| | 01:03 | all the walls are in.
| | 01:05 | I'm going to put a ground plane in
just for show here, just to show what this
| | 01:09 | looks like with the occlusion shader on it.
| | 01:11 | I'll take this ground plane and make
sure I hold V and snap on the Y axis down
| | 01:16 | to the bottom of my concrete islands here.
| | 01:20 | So we can see this clearly.
| | 01:21 | I'm going to hide some of the high-detail work.
| | 01:24 | I'll pick these windows and
press Ctrl+H to hide them.
| | 01:28 | I'll also pick my high detail windows here.
| | 01:31 | I'll hide the high detail windows and doors.
| | 01:35 | Notice that I still haven't added the
door in over here, as I need to clone that
| | 01:39 | geometry and those UVs will stack.
| | 01:41 | So I can do it at anytime.
| | 01:44 | I'm going to show the ambient
occlusion on the low-poly version.
| | 01:47 | Then I'll run it on the high
and we can see the difference.
| | 01:50 | There's two ways to run occlusion.
| | 01:52 | For rendering in movies, we run
occlusion usually as a separate render pass.
| | 01:56 | In games, we bake the occlusion.
| | 01:58 | We may also see, in engine, screen space
ambient occlusion often shown as SSAO,
| | 02:04 | which gives us not necessarily true
occlusion, but occlusion that the graphics
| | 02:08 | card can display competently and quickly.
| | 02:11 | I am going to use a Render layer
override which we use here in film renderings
| | 02:16 | to demonstrate what occlusion looks like.
| | 02:18 | I'll right-click on my master layer
and choose Overrides > Create New Material Override.
| | 02:23 | In here I'll use the Surface Shader.
| | 02:26 | Everything turns black and we can see in
the attributes that's well, quite correct.
| | 02:30 | The Out Color is black.
| | 02:32 | In the Out Color texture I'm going to
click on the texture and down here under
| | 02:36 | mental ray Textures I'll
pick my mib_amb_occlusion.
| | 02:41 | This is really just to
demonstrate what it looks like and show some
| | 02:44 | possibilities with it.
| | 02:46 | I'll pull up my IPR and I'm going to
make sure I'm using mental ray as my
| | 02:51 | renderer for occlusion.
| | 02:53 | To make this look a little clearer,
I'm going to customize a few things in
| | 02:56 | the Render settings.
| | 02:57 | We don't always have to do this,
but I would like to be able to show this nicely.
| | 03:02 | I'll go into the Quality tab and
instead of Adaptive Sampling I'm going to
| | 03:06 | choose Custom from 0 to 1.
| | 03:09 | I'll also change my Filter from
Box to Triangle to get a little bit better sampling.
| | 03:16 | I'll click on IPR and we'll
see the occlusion start in.
| | 03:21 | Ambient occlusion then is the
blocking of bounce light by adjacent objects.
| | 03:25 | What we're seeing here is that the low
sampling rate is giving me dots all over,
| | 03:30 | and in this occlusion, it is bouncing
out to infinity or rather everything is
| | 03:36 | occluding everything which
is why it's generally gray.
| | 03:39 | To tune this then I'll bring up the samples.
| | 03:42 | Here is my samples at 64 and I'm
going to put the Max Distance up.
| | 03:46 | This is again one of the reasons
why modeling in real-world scale is so important.
| | 03:51 | This Max Distance is in scene units.
| | 03:53 | A Max distance of 0 is always a
special case saying everybody participates no
| | 03:58 | matter how far apart.
| | 03:59 | I'll put the Max Distance up at 60 as an example,
and we'll see a much clearer rendering.
| | 04:05 | This is more what we're after where
only close surfaces cast occlusion on each
| | 04:10 | other, and things that are fairly far
away, like the walls up here, read as white
| | 04:15 | which is the bright color of occlusion.
| | 04:17 | The idea then is we're going to
use this occlusion in multiple ways.
| | 04:22 | It's a great way to generate dirt as
dirt clusters in the corner as we can
| | 04:27 | see in the occlusion.
| | 04:28 | It's also a way to ground
things, even without lights.
| | 04:31 | This is sitting on the ground.
| | 04:33 | We've got natural, almost proximity
shadows we can call them, that make this
| | 04:38 | sit down in the space.
| | 04:40 | Occlusion has then two colors, a bright
and the dark, and usually what I do is
| | 04:44 | run them full strength, because in
Photoshop when I multiply that over later
| | 04:49 | as part of the texture painting, I want
the full gamut or range to be able to adjust.
| | 04:54 | We can play in here with them with the
spread, and the spread I'll crank up the
| | 04:58 | distance to show allows us to
calibrate where the occlusion sits.
| | 05:03 | It's an artistic choice.
| | 05:04 | I'm going to put the Max Distance up
at 120 and we'll see a little bit more
| | 05:08 | darkness on the building.
| | 05:10 | A higher spread is going to make
that occlusion go farther into that zone
| | 05:15 | yielding me much more
dense gravity we'll call it.
| | 05:18 | It's got more darkness
that creeps onto the surfaces.
| | 05:22 | A lower spread then, let's say .5, is
going to make that occlusion cluster
| | 05:26 | tighter in the corners.
| | 05:27 | So we may want multiple occlusions as
part of our texture painting, very tight
| | 05:32 | rust in places or tight dirt, and a
spreading quality to things like moss or
| | 05:38 | general slime on surfaces.
| | 05:40 | It's really a fantastic way to be able
to get in and add some realism to things.
| | 05:46 | To show where we would use this in a
game, I've baked out an occlusion from my
| | 05:51 | high-res garage door and we'll get
to how to do this in a later video.
| | 05:54 | This is an example of what a baked
occlusion looks like and rather than simply
| | 05:58 | rendering out an occlusion image as
I've shown, we're going to use this kind of
| | 06:03 | image as part of our texture, and we can
see in this that the occlusion is really
| | 06:07 | making all the detail on
my high-res door pop out.
| | 06:10 | That if I map this onto the low-res
door as both dirt, shadow, and rust if I
| | 06:15 | need, it's going make all those
little details show up better.
| | 06:19 | So we can use occlusion in
several different ways in our textures.
| | 06:22 | The key to it is a good unwrap.
| | 06:25 | We can test on how it looks by
using IPR here and putting an Occlusion
| | 06:29 | Shader on, but really I use this as a
great way to show occlusion for those
| | 06:33 | who've never seen it.
| | 06:34 | What we'll do then in the next
videos is look at how to bake things like
| | 06:38 | occlusion and normals, and get them to
really add some life and realism from
| | 06:43 | those high-poly models on
to our low-poly gas station.
| | Collapse this transcript |
| Overview of the Transfer Map dialog and baking| 00:00 | The idea of baking shows up in
several places in the game pipeline.
| | 00:04 | Here in Maya, baking comes in when we
need occlusion, normal, and maybe other
| | 00:08 | maps, baked out is part of the texture.
| | 00:11 | In a game engine we're going to bake
things like the lighting into an additional
| | 00:15 | image that overlaid on the mesh.
| | 00:17 | I'll release my material override by
right-clicking on the master layer and
| | 00:21 | choosing Overrides > Remove Material Override.
| | 00:25 | I'm back to my unwrap model and we can
see in here that I've got all of my UVs
| | 00:29 | stacked in and the doors in the separate space.
| | 00:33 | I'm going to show my high-res
garage door here by choosing Show > Show
| | 00:37 | Geometry > Polygon Surfaces.
| | 00:40 | I've set up some high-res meshes to
bake normals and occlusion, planning that
| | 00:44 | I've got a high-res door, a high-res
door and window, window assembly, and
| | 00:49 | window over here as well on the side.
| | 00:52 | As you can see, what I've also done
in this is to split some of the larger
| | 00:55 | polygons and stack their UVs.
| | 00:58 | I've reduced down some of the geometry.
| | 01:00 | So instead of a full-length high-
res window, it's a half window.
| | 01:05 | What this looks like then in those
UVs, pressing F3 is the UVs are stacked.
| | 01:12 | These are both sides of this side
window for example and this high-res
| | 01:16 | window fits right over it.
| | 01:18 | This will let me economize on
my texture space a little bit.
| | 01:21 | A good unwrap is essential for good baking.
| | 01:26 | I'll press F6 to go back to the
Rendering menu and under Lighting/Shading we've
| | 01:30 | got our Baking and Transferring Maps options.
| | 01:34 | Transfer Maps is what will handle things
like baking normals or baking diffuse maps.
| | 01:38 | A Batch Bake in mental ray allows us
to bake mental ray lighting and also
| | 01:43 | occlusion into UV space.
| | 01:46 | Bake Sets allow us to
mark collections of objects.
| | 01:50 | So we can bake a whole bunch of
things at once which is very likely in a
| | 01:53 | detailed game environment.
| | 01:55 | I'll go into the Transfer Maps dialog.
| | 01:57 | What this gives me by default is not
much, actually what it says is it's ready
| | 02:03 | to accept what I like to put in,
although I haven't decide on anything yet.
| | 02:07 | We can see in here different types of
bakes we can do; Normal, Displacement, a
| | 02:12 | raw Diffuse color, Shaded, and so forth.
| | 02:15 | As an example, we may want to use a
procedural such as a noise or something
| | 02:19 | similar to help generate our diffuse
map and then bake it or render it into
| | 02:25 | the UV space of a mesh.
| | 02:27 | I'll start out by setting up an example
for a Normal. I'll pick Normal.
| | 02:32 | We need to decide what kind of bake we're doing.
| | 02:34 | I'll choose the format as a TIFF and
its path out to my project in the images
| | 02:40 | called by default sampledNormals
and I can change that if needed.
| | 02:42 | What I'll do then in a bake is
pick out my source and target meshes.
| | 02:48 | I'll pick the low-res wall and garage doors
a target mesh and click on Add Selected.
| | 02:54 | What it says then is a pPlainShape2,
which is the name of that as I haven't
| | 02:59 | combined and renamed yet, is going to
have something baked into maps set 1 and
| | 03:04 | map set 1 is a default
maps set applied to everything.
| | 03:08 | I'm showing just the mesh at the
moment and here is a search envelope size.
| | 03:12 | Now I'll pick the Source Mesh.
| | 03:15 | I'll clear out the source that was in
there from selecting something earlier and
| | 03:19 | pick my high-res door and click Add Selected.
| | 03:23 | Now what it says is I'm going to project a
normal from the high-res onto the low-res.
| | 03:29 | If we look at the UV editor for just a
second, pressing F3 to go back, and Edit
| | 03:34 | UVs > UV Texture Editor.
| | 03:36 | We can see in here that I've got the
garage door low-res with a high-res right over it.
| | 03:42 | So those normals will project right in there.
| | 03:45 | This space off to the side won't be used.
| | 03:47 | So it really doesn't
matter if it's there or not.
| | 03:49 | What I'll end up doing most likely
is doing some cropping and cutting and
| | 03:53 | pasting in Photoshop to get
these all-in-one image eventually.
| | 03:58 | Transfer Maps let's us handle things
like Normals, Displace, and so forth, and we
| | 04:02 | have common parameters we can deal within these.
| | 04:05 | Beyond choosing the format, we
need to look at things like the size.
| | 04:09 | I'm going to render this is an
example at 1024x1024 with a Medium or High
| | 04:15 | sampling quality and I can choose a
filter type. These are all common ones;
| | 04:19 | Gaussian, Triangular, and Box.
| | 04:21 | We can determine in here how good is
the sampling and how much is it blurring.
| | 04:24 | If we're dealing in mental ray we've
also got common output available, the size
| | 04:29 | of the map, and so forth.
| | 04:31 | We can also adjust these in the
Batch Bake which I'll show next.
| | 04:36 | Under Lighting/Shading then we have
Batch Bake and the idea on the Batch Bake is
| | 04:41 | we're going to use mental
ray's specific parameters.
| | 04:44 | I've checked a Bake Set override here
and I'm baking to a texture with shadows.
| | 04:49 | What this lets us do is different
than Maya software in that we can put in
| | 04:52 | things like occlusion, or we can choose
to bake out things like just the global
| | 04:57 | illumination or just the
lighting for a light map.
| | 05:00 | We can define in here an independent
resolution and we got our occlusion
| | 05:03 | shader here as an example.
| | 05:05 | Again, we're seeing that falloff
in rays which is a quality setting.
| | 05:09 | We can also factor into this final
gather if we like it, allowing us to bake
| | 05:14 | very rich and detailed
lighting into this diffuse map.
| | 05:18 | It comes down to a good solid unwrap first.
| | 05:22 | If things are unwrapped cleanly and
are setup for baking, baking will go smoothly.
| | 05:27 | If things are messy and the projection
is too complex we're going to get some
| | 05:32 | very odd looking issues in our mesh.
| | 05:34 | We can plan for baking and what this
lets us do also is model intensively.
| | 05:40 | Modeling a crazy amount of detail
into things and baking, then disregarding
| | 05:45 | that high-res model and taking our low-res
model across to the game looking
| | 05:49 | like it's got more detail.
| | 05:51 | We'll start in first in the next video
in baking occlusion as a foundation for
| | 05:55 | rust and dirt, and then look at baking normals
and applying them to these garage doors.
| | 06:00 | So get your UV sets tuned
up and let's get baking.
| | Collapse this transcript |
| Baking occlusion using the Batch Bake dialog| 00:00 | With my model unwrapped and my high-res
pieces in place, I'm going to use Batch
| | 00:04 | Bake to bake the occlusion from the
high-res garage door on to the low-res.
| | 00:08 | However, I need to do a quick fix in here first.
| | 00:12 | I'll zoom in on that door.
| | 00:14 | Remember, from the occlusion
demonstration that occlusion tends to occur in the
| | 00:18 | corners where adjacent
objects block bounce light.
| | 00:20 | What we can see here in the low-res
door on the left is that the door is
| | 00:25 | recessed into that frame by 6 inches.
| | 00:27 | The high-res door is in the
right place but not far back enough.
| | 00:31 | I'll hide it temporarily.
| | 00:32 | I will move it forward first so I can see
what I'm doing, and then press Ctrl+H to hide.
| | 00:37 | Now what I'm going to do is extract the
low-resed garage door face out of this mesh.
| | 00:44 | I'll press F3 to go over to the Polygons
menu, and right-click, and choose Face.
| | 00:50 | I'll pick that large face,
and choose Mesh > Extract.
| | 00:53 | I'll press W for Move, and reselect
just that garage door, making sure I
| | 00:58 | right-click and pick Object Mode.
| | 00:59 | With the low-res door selected, I'll
choose Display > Show > Show Geometry >
| | 01:05 | Poly Surfaces, and then pick that
low-res door if it's not already.
| | 01:09 | Then I'll press Ctrl+H to hide it,
and finally then, I take the high-res
| | 01:14 | door, and move it back.
| | 01:15 | I'll press V and D to move the pivot,
and snap the pivot down on one of the corners.
| | 01:20 | Then hold V for Snap and snap on
one axis back into the right place in the frame.
| | 01:25 | It's important to do this, and the
reason is I want the adjacent wall to cast
| | 01:30 | occlusion on to that garage door
correctly, as if it had sat there for years
| | 01:35 | closed and all kinds of dirt and
schmut accumulated in the corner.
| | 01:39 | Now I'm ready for a bake.
| | 01:41 | I'll press F6, and under Lighting and Shading, choose
Batch Bake (mental ray), opening up the dialog.
| | 01:48 | In my Batch Bake, the default
settings are using the existing bake sets.
| | 01:53 | What I will do is use the bake set
override and change my Color mode down to
| | 01:57 | Occlusion, because we can see in here,
I've got options for baking out lighting
| | 02:01 | color or even just illumination, and I
can also bake out just lighting if I need
| | 02:06 | to map it on as a light map.
| | 02:08 | I'll pick Occlusion and there is my
occlusion rays and falloff, similar to the
| | 02:12 | Occlusion Shader I showed previously.
| | 02:15 | This is another reason why modeling in
real-world scale is so important, making
| | 02:19 | sure that if things are in real-world
scale, the occlusion goes far enough.
| | 02:24 | Occlusion rays are a sampling quality.
| | 02:27 | Rays of 128 will result in a decent
size render, but a nice smooth occlusion.
| | 02:31 | I'm going to try it like
this and see how it looks.
| | 02:35 | It's put a prefix in called baked.
| | 02:37 | I'm going to change this to high res
garage door, and there is an X and Y resolution.
| | 02:44 | What I usually do is to bake twice as big.
| | 02:47 | What this means is that I'm aiming
for a texture that is 1024 square.
| | 02:52 | So I'm going to bake at 2048, and paint
at 2048 for my other work in Photoshop.
| | 02:57 | Then I'll take this map, and when I
save it out, I'll try it both reduced
| | 03:01 | out in Photoshop, and also letting Unity
reduce it in size to see which one looks better.
| | 03:06 | It's okay to experiment along the way.
| | 03:08 | For occlusion, I want to bake to one map,
baking a complete map here, and then
| | 03:14 | I'd like to bake the alpha as
well because I can use it to select.
| | 03:17 | I'm going to bake this as a TIFF
with a bit depth of 8 per channel.
| | 03:21 | If it's too low in quality, if there
is some aliasing or other issues, I can
| | 03:25 | always up the samples here.
| | 03:28 | If we need, we can have final
gather quality and reflection factor in.
| | 03:32 | Although for occlusion, it doesn't matter.
| | 03:34 | Finally, I am going to use the 0
to 1 range, the normal range of the
| | 03:38 | UVs, because I've unwrapped everything into
that 0 to 1 quadrant in my texture editor.
| | 03:43 | If we can accept other parts of the
UV range, such as the entire range or a
| | 03:47 | user-specified min and max,
we can put it in here,
| | 03:50 | but I'm going to leave it alone.
| | 03:52 | If we've added on a new UV set, or we'd
like to bake into something besides Map
| | 03:56 | 1, we can override the mesh
set assignments as needed.
| | 04:00 | I'll scroll up, make sure everything
looks good, and hit Convert and Close.
| | 04:05 | This may take a minute, but I'll do
it and show what it looks like when I'm done.
| | 04:11 | My bake is finished.
| | 04:12 | What we can see here, and I will close
this Bake dialog, is that mental ray has
| | 04:17 | done the bake, and it's added on a new
material on to this which is actually a
| | 04:21 | black lambert with the baked
image in the incandescence map.
| | 04:25 | I'll right-click and choose Material
Attributes and check out what this looks like.
| | 04:29 | I haven't deleted the history yet which is
okay as I'm going to do it before I export anyway.
| | 04:34 | I'll go into Lambert2, I'll open up
this file in Photoshop, and see how
| | 04:38 | this occlusion came out.
| | 04:40 | Here in Photoshop, I'll go find that occlusion.
| | 04:43 | I'll press Ctrl+O to open up the image.
| | 04:46 | It actually nested fairly deep
in that Environments project.
| | 04:50 | Here in Game Environments, I've got renderData.
| | 04:53 | In renderData, there is mental ray,
in mental ray, here is lightMap, and
| | 04:57 | finally, there is my high-res garage door.
| | 05:00 | We could set our project in the
secondary locations to go somewhere different.
| | 05:04 | However, I'm comfy leaving it here because I'm
going to go dig it out and use it anyway.
| | 05:08 | I'll click Open and I'm going to turn
off my Grid, choosing View > Show > Grid.
| | 05:16 | There is the occlusion.
| | 05:17 | And when I zoom in, I can
see it looks pretty good.
| | 05:20 | What I've got here very nicely is the
darkness around the edge from the door
| | 05:24 | frame, and then darkness on each panel.
| | 05:26 | Really makes the detail pop out nicely.
| | 05:28 | When I map this on to a low-res door
as either dirt, or rust, or maybe both,
| | 05:32 | it's going to look like there is an
enormous amount of detail and shading on
| | 05:36 | just that single polygon.
| | 05:38 | What I probably should do is
adjust that falloff a little bit.
| | 05:42 | Right now, I think 12 is a little big.
| | 05:44 | I am getting a little bit of a crossing
right here in the corners where I could
| | 05:48 | probably back off the distance of the
occlusion just a touch, so it's not quite
| | 05:52 | so bold in the panels.
| | 05:53 | And that way, it just sits in as dirt
instead of spreading as a uniform gray across.
| | 06:00 | Back here in Maya then, what
I'll do is reassign those checkers,
| | 06:03 | choosing Assign Existing
Material > Unwrap Checkers.
| | 06:07 | I'll go back into my Batch Bake,
and adjust this Occlusion falloff.
| | 06:12 | I'll pull it down to 8 and try it again.
| | 06:15 | As I said, this may
require some experimentation.
| | 06:18 | Although, once you've got it going
pretty nicely, you can apply that to other objects.
| | 06:22 | I'll hit Bake and see how this looks;
| | 06:24 | getting the occlusion baked out, so
I can use it in the next video as a
| | 06:27 | foundation for dirt, as occlusion,
dirt, and rust, and to cluster in the
same places.
| | 06:33 | I can apply the idea of the Batch Bake
here on anything I have modeled in high-res.
| | 06:37 | I've got the other windows, the
doors, and the other windows on the
| | 06:41 | cashier station to do.
| | 06:43 | Finally, I can even use a Bake on a
low-res object if I need occlusion
| | 06:46 | from other things on it.
| | 06:48 | As an example, I may want some
occlusion on my foundation elements, but I've
| | 06:53 | stacked the UV, so that may not be an option.
| | 06:55 | What we need to do as part of baking
then is really consider, how do things stack up?
| | 07:00 | If UVs are stacked and an occlusion
bake is in place for one, all those stacked
| | 07:05 | UVs will share that darkness,
and it may look kind of odd.
| | 07:09 | So I tend to reserve it for things I can
isolate, like these high-res doors where
| | 07:12 | I really need the detail to pop out.
| | 07:14 | I'll run this bake again and see how
it looks, and move on to do some texture
| | 07:19 | painting in the next video.
| | Collapse this transcript |
| Using occlusion as a foundation for dirt| 00:00 | I've baked out the garage door;
| | 00:02 | changing the Occlusion falloff down to 8.
| | 00:05 | It's done it and applied
that same Lambert again.
| | 00:07 | What I am going to do now is show the existing
low-poly garage door, and take a UV snapshot out.
| | 00:14 | So I can use this high-res as a
foundation for dirt using the occlusion.
| | 00:18 | Let's take a look at this map.
| | 00:20 | I've opened it up in Photoshop, so I
can zoom in and see how this looks.
| | 00:24 | I've also renamed this to 06_04_bake_start.
| | 00:27 | That way I don't accidentally
overwrite if I try another bake.
| | 00:32 | This is an interim file.
| | 00:34 | So really you can name it as you need.
| | 00:36 | We are going to go in and take it
and cut and paste into other things.
| | 00:39 | It looks much better.
| | 00:40 | The occlusion is a little tighter in the
corner, still giving me dirt as I need,
| | 00:45 | but not quite that large lapping stripe here.
| | 00:48 | When I go in and erase as part of
the dirt, I'm going to lose some of
| | 00:52 | the squares in here, making the map
a little more uneven and a little less symmetric.
| | 00:57 | I've still got my grounding
darkness in the corners here.
| | 01:00 | So I'm ready to go with my dirt.
| | 01:02 | I'll go back to Maya, and look if I
need to take out a snapshot or if I can
| | 01:07 | paint like this and try
it straight as a texture.
| | 01:10 | Here in Maya, I'm going to show
that door by choosing Display > Show > Last Hidden.
| | 01:15 | There is my door overlapping and now
I'll press Ctrl+H to hide the high-res.
| | 01:20 | What I have done then is
extracted this low-res door.
| | 01:23 | The neat part is that when you
extract the mesh, the UVs are preserved.
| | 01:27 | It didn't change them, it's
simply a different object;
| | 01:30 | poly surface shape 10 or 20, or
whatever it is at the moment.
| | 01:33 | If I look under Edit UVs in the
Texture Editor, we can see that those UVs are
| | 01:38 | still in the same place.
| | 01:40 | I don't actually need to take
a snapshot out at the moment,
| | 01:42 | as I made sure when I was
unwrapping these that this polygon perfectly
| | 01:46 | overlaps at high-res door.
| | 01:48 | So I will go back to Photoshop and start
painting and bring it in and see how it looks.
| | 01:53 | Here in Photoshop, I am going to use
this as a foundation for dirt and rust.
| | 01:57 | I know in the middle of the door I have
got glass, and up above I have glass as well.
| | 02:02 | So I may want to take out some of
the occlusion or change how it looks,
| | 02:04 | but down here in the lower panels, those are
solid and definitely need some dirt in them.
| | 02:09 | What I will do to start is double-click
on the background layer, and call this rust start.
| | 02:16 | Now I will make a new layer under it, pressing
Ctrl+Shift+N and I will name this color base.
| | 02:24 | I'll press Ctrl and left
square-bracket to move it down.
| | 02:27 | I will check my reference imagery
and see if I can get any idea of what
| | 02:32 | color this should be.
| | 02:34 | The reference imagery is almost like a
sepia tone black and white, and it looks
| | 02:38 | like everything in here is, well fairly
white, although it needs a considerable
| | 02:42 | amount of grunge on it.
| | 02:43 | What I will do then is start out by
eyedroppering one of these colors.
| | 02:47 | I am going to pick the wall as it's a
little bit clearer than some of the door,
| | 02:51 | and I'll go maybe a little
bit brighter with it to begin.
| | 02:55 | Instead of starting with an absolute
white then, I'll fill this with kind of a
| | 02:59 | medium putty or beige.
| | 03:01 | Now I'll take this rust start,
and I'm going to clone the layer.
| | 03:06 | The reason I want to do this is I
would like a pristine layer to start with.
| | 03:10 | I will turn that layer off, and now I
can take this rust start, and I am going
| | 03:14 | to make it a Multiply blending
mode and it lays that color over.
| | 03:17 | I am going to say that this
door is both rusty here and dirty.
| | 03:22 | What I will do to start is colorize this.
| | 03:25 | Right now, it's adding a heavy black in there.
| | 03:27 | I am going to press Ctrl+U to colorize
or Hue/Saturation and check Colorize, and
| | 03:33 | I am going to swing that hue over, a
little bit warmer, maybe in the 30 range, a
| | 03:38 | little more saturation and a little bit lighter.
| | 03:42 | We only really care about the door.
| | 03:43 | So what's going on out here in this
chocolate colored area doesn't really matter.
| | 03:47 | I will click OK and I am
ready to do some painting.
| | 03:51 | The first thing is to make this less even.
| | 03:54 | I can use my channels to get
in and select this door exactly.
| | 03:57 | I will go over to the channels and
there is that Alpha channel and things like
| | 04:01 | the blue, and so forth.
| | 04:02 | What I can do as an example is hold
Ctrl and click on the Blue channel and it
| | 04:06 | selects the rust fairly evenly.
| | 04:09 | Alternately, I can go over here by layer,
even in the rust start copy and use my
| | 04:14 | Magic Wand or my Quick Selection.
| | 04:17 | Magic Wand the black, and then invert
that selection, pressing Ctrl+Shift+I.
| | 04:22 | What this is giving me is a
constraint on where I'm going to paint.
| | 04:26 | Now I will get in here on this rust start layer.
| | 04:29 | Hit X to swap the colors and
change that foreground color to white.
| | 04:35 | What I am going to do is press B for
brush, use the brackets to bring my brush
| | 04:39 | size up, and change my brush
mode over to Linear Dodge or Add.
| | 04:44 | I will take this Opacity way down;
| | 04:47 | reasonably 5% is just fine.
| | 04:49 | I am going to zoom in and start to brush
away some of that rust using some very,
| | 04:56 | very gentle brush strokes and
downsizing and upsizing the brush as I need.
| | 05:01 | The Add is going to let me
vary the color of that dirt.
| | 05:04 | So I can let it cluster in the corner here.
| | 05:08 | I don't want to go too strong.
| | 05:10 | Add gets very big very quick, and
can eliminate a lot of the grunge we are after.
| | 05:15 | I'm letting it blow out in parts and
erasing some, and leave some there;
| | 05:20 | just shooting for uneven corners,
general wear and degradation.
| | 05:27 | As an alternate to this, you can
switch the blending mode over, trying either
| | 05:31 | Screen, Lighten or Soft Light even to
lighten up that rust and make it vary.
| | 05:36 | I'm going to start with a
general treatment with Add here.
| | 05:40 | Now here's the big deal.
| | 05:42 | Why did I save this copy?
| | 05:44 | If I look at this and I say,
well, that was really not it.
| | 05:47 | I've got a pristine copy I can get back to.
| | 05:50 | But I am going to try it, gently
painting in rust in varied places and taking
| | 05:54 | out any obvious straight edges here;
| | 05:57 | eliminating it in parts but not
entirely, letting this door be, well,
| | 06:02 | wonderfully grungy as old
worn doors are supposed to be.
| | 06:06 | I will take a little bit more out, and
then I am going to come back, and on a
| | 06:12 | new layer paint in more.
| | 06:13 | I will make a new layer in here,
eyedropper one of the rust colors in the
| | 06:17 | bottom, press B for brush, and
switch my brush over to a Screen.
| | 06:22 | I will start to brush in a little
bit more on the bottom here, adding in
| | 06:27 | a little extra wear.
| | 06:29 | I can also make this a Multiply;
| | 06:31 | even 5% is going to give me, well dirt.
| | 06:35 | The bottom has been exposed to weather
and elements for years, and so it's okay
| | 06:38 | to have it be, well, fairly rusty in here;
| | 06:41 | dirty and brown and generally degraded.
| | 06:45 | I'm not too picky on color when I do
this yet as it's going to be an overlay.
| | 06:49 | Really what I care about is making this uneven.
| | 06:53 | Now here's the deal with the windows though.
| | 06:55 | We don't want to have this kind of
dirt on the window glass, we need different dirt.
| | 07:00 | What I will do then is rather than
erase this, I am going to paint over this in white.
| | 07:06 | On a new layer, I will use my Marquee tool.
| | 07:09 | Press M for Marquee, and deselect.
| | 07:11 | Then, I will go in and run a
marquee right over that window.
| | 07:15 | I am going to fill this in, in
probably just a white or something similar.
| | 07:22 | Alternately, I can choose a deep gray
as if these have gone dark over time.
| | 07:27 | In the Alpha, these will be fairly transparent.
| | 07:30 | So what I'd like to do is pick a
medium gray as if they are dirty, and I will
| | 07:34 | fill on this new layer, those windows.
| | 07:36 | I will take this and hold
Alt and clone that over.
| | 07:41 | Those are my arrow keys to nudge that
piece over, Alt to clone again, Shift to
| | 07:46 | constrain direction, arrow keys
to nudge it in place, and zoom out.
| | 07:51 | There is the start of my door.
| | 07:53 | It looks a little bit on the beige side.
| | 07:55 | So what I will do is come back to my
color base layer, and just adjust its color
| | 07:59 | by pressing Ctrl+U. I will go a little
bit brighter, a little less saturated, so
| | 08:05 | it's a little bit whiter in the door.
My door is dirty.
| | 08:10 | What I may want to do now is even run
another occlusion with a bigger spread and
| | 08:14 | lay it over as general dirt, or I can
come in here, and use the original rust
| | 08:20 | start as a way to select.
| | 08:21 | I will show that as an end in this video.
| | 08:25 | Here is my original rust copy.
| | 08:27 | What we can see here in the
occlusion is that the occlusion clustered in
| | 08:30 | the inside corners, leaving me basically a
clear selection through most of these pieces.
| | 08:37 | If I use my Magic Wand pressing W, and
clicking on that, I can get a selection
| | 08:42 | of all the crossbars in that door.
| | 08:45 | I'll turn back on the rust start
and turn off that rust start copy.
| | 08:48 | And now with that selection constrained on
yet another new layer, or one of
| | 08:53 | my existing ones, I'm going to brush
in a little bit more dirt along the frame here;
| | 08:59 | just adding in some general wear on
the pieces here that stick out the most.
| | 09:04 | If you notice because I am painting at
a 5% Opacity, or maybe I'll up this to 6
| | 09:09 | or 8, it takes a lot of strokes to
really build up that dirt, and that's okay.
| | 09:14 | We want this dirt to be built
up over time and inconsistent.
| | 09:19 | The occlusion is a great foundation for
this kind of dirt, adding in little bits
| | 09:24 | of corner darkness where we
expect them, and we can add to them.
| | 09:29 | There is that map and I've got some
places where I'm still shiny, and I've got
| | 09:32 | some places that are fairly rusted.
| | 09:34 | What I will do then is test this.
| | 09:36 | I am going to save this image as a
proxy and take it back out, and check it out
| | 09:41 | in Maya and see if it worked.
| | 09:42 | I will ignore the gray windows as I
will handle those with an Alpha in Unity.
| | 09:46 | First, I am going to save my working PSD.
| | 09:49 | I will end up with a lot of working
PSDs in here as part of this process.
| | 09:55 | I don't want to bury this
that deep in the light map.
| | 09:57 | What I will do is go up to the
sourceimages folder, and in here, I will call
| | 10:02 | this 06_04_bake_end.
| | 10:06 | This is the full working
PSD with all of its layers.
| | 10:09 | Now I will save out a
flattened copy and see how it looks.
| | 10:12 | I am going to leave it named 06_04_
bake_end.tif, turning off the layers and
| | 10:19 | temporarily the Alpha Channel as I'm
not going to set that up correctly yet.
| | 10:22 | I am going to bring it in and see how
it behaves, and just if it looks good
| | 10:27 | on that flat polygon.
| | 10:30 | It's okay if you're doing this to have
working files you can go in and delete later.
| | 10:35 | Back over here in Maya, I'm going to
make a new material and put it on that
| | 10:39 | door, choosing Assign New Material
with a low-res door selected, and picking Blinn.
| | 10:44 | Into the color in that Blinn, I will put
a file by clicking on the Texture node,
| | 10:48 | and choose File in the
Create Render Node dialog.
| | 10:52 | In here, I'll click on the yellow file folder.
| | 10:55 | It browses right over to the
sourceimages folder and there's that TIFF.
| | 10:59 | I'll open it up and there is
the start of my garage door.
| | 11:03 | Now obviously it needs a normal
map to really pop out correctly.
| | 11:07 | But we can see in here how the
occlusion is a terrific foundation for the dirt
| | 11:11 | we expect on the door.
| | 11:12 | When I add in some wood grain and
other chips and splintering, it's going
| | 11:16 | to look pretty sharp.
| | 11:18 | A final test then would be look at it
in Viewport 2.0, which is hardware shading
| | 11:23 | that emulates what we will see in game.
| | 11:25 | I'll turn on in Viewport 2.0, my
Multisample Anti-aliasing, and also my
| | 11:31 | screen-space occlusion.
It takes a sec,
| | 11:34 | and now what I get here is a pretty
good approximation of how it will look in unity.
| | 11:39 | Yes, it still needs a normal map
and obviously this scene is unlit,
| | 11:43 | but it's definitely well
that rusty, dirty, grungy door.
| | 11:48 | I'll continue baking objects and using
them as foundations for rust and dirt to
| | 11:52 | really make that detail pop out.
| | 11:54 | Then I will start to add in normal maps
on here using the Transfer Maps dialog.
| | 11:58 | So this single polygon really
looks like this paneled garage door.
| | Collapse this transcript |
| Baking a normal map using the Transfer Map dialog| 00:00 | I've baked the occlusion for the high-res
garage door and used it on the
| | 00:04 | low-res, as we can see here in
this test and it looks pretty good.
| | 00:07 | There is definitely some
detail showing on the door.
| | 00:10 | I still need to deal with the windows in
the Alpha Channel, as we need to handle
| | 00:14 | the transparency slightly
differently to go into Unity.
| | 00:16 | What I would like to do now though is
get the normal map baked out, so I can see
| | 00:21 | how this looks with both the Occlusion
and the Normal on that flat polygon, and
| | 00:24 | see if this low-res door really looks
like the high-res one I have modeled.
| | 00:28 | What I've done here is unwrapped the
low-res and I'm ready to project the
| | 00:31 | high-res on to it for a normal map.
| | 00:33 | I will press F6 to go to the Rendering
section and under Lighting/Shading, I
| | 00:37 | will choose Transfer Maps.
| | 00:40 | I am going to get out of Viewport 2.0
as with enough stuff showing, it's going
| | 00:44 | to bog down my graphics
card with these large maps.
| | 00:47 | I will choose Render and Default Quality.
| | 00:50 | Now I can move around little bit easier,
although, Viewport 2.0 is terrific for
| | 00:53 | seeing how it's going to look in games.
| | 00:55 | What I will do is show that high-res
door, choosing Display > Show, and in this
| | 01:00 | case, Show Geometry > Poly Surfaces.
| | 01:02 | There is my high-res door and we
can see it clipping through here.
| | 01:05 | What I need to do then is make
sure it's set up for the Normals.
| | 01:08 | I had clicked on Normals earlier,
and so the normal map is active here.
| | 01:13 | If you need to remove a map, you can always
click on Remove Map and add a new one back in.
| | 01:18 | What I will do for my normal
map is put this out as a TIFF.
| | 01:22 | It's going to go in as sampledNormals.
| | 01:23 | I am going change this
name and call it garagedoor.
| | 01:27 | This is going to be a temporary file,
and so I can use it, rename it, take parts
| | 01:35 | of it and cut and paste in
Photoshop, and delete it when I'm done.
| | 01:38 | I'm going to use this as part of a
working PSD I will assemble for the whole object.
| | 01:44 | Now get the meshes assigned.
| | 01:45 | What I will do for the target mesh
is to pick this door and click on Add Selected.
| | 01:51 | You may want to rename some objects as
part of your baking, just so you can see
| | 01:55 | things clearer, although in this case
I was able to select it pretty nicely.
| | 01:58 | What it shows me here is it's going to
put that output into the map 1 UV set and
| | 02:03 | right now I'm just showing the mesh.
| | 02:05 | I've got a search envelope which I may
end up needing to play with a little bit.
| | 02:09 | I will go in the Source Meshes and
make sure I add in the right one.
| | 02:13 | I will pick my high-res
mesh and click on Add Selected.
| | 02:18 | It is pPlaneShape17, which
was in there from earlier.
| | 02:21 | I will scroll down and look in the Maya
Common Output and see if I've got the right size.
| | 02:28 | For normal maps I may render these
at the actual size, so that I am not
| | 02:32 | smoothing or degrading detail by
reducing the size of the image.
| | 02:36 | I will try it like this, alternately, I
may try and experiment at 2048 and see
| | 02:41 | which looks better, the
reduced or rendered at actual size.
| | 02:44 | I've set my sampling quality here to
Medium, so I get a pretty decent normal,
| | 02:49 | and I am using a Gaussian filter.
| | 02:51 | We can always increase the
Filter size if we need more blurring.
| | 02:55 | It's going to make this and put the
map into the Assigned shader I have got on here.
| | 03:00 | I will hit Bake and Close and see
how this looks, and if I projected far
| | 03:04 | enough. It baked it out and I have got
my door selected and I will go over to
| | 03:10 | the material attributes and see if it worked.
| | 03:12 | It put a file into the
Bump Mapping called file 3.
| | 03:16 | In that node is my garage door.
| | 03:18 | I can view this in FCheck or here in Photoshop.
| | 03:20 | I'll pull this image up in
Photoshop and see how it came out.
| | 03:24 | In Photoshop, I had opened an image
from Source Images, so I am going to go up
| | 03:28 | a couple of directories and into Images
and there's that garagedoor I had just rendered.
| | 03:33 | It looks pretty decent, although I'm
seeing that I need to adjust my high-res
| | 03:37 | mesh just a little bit.
| | 03:38 | What we are seeing here and I will
zoom in, is that in that normal map, it's
| | 03:43 | taking into account the round corners
and beveled edges, but anything that is
| | 03:46 | a straight up and down variation is
not showing up well, like the windows in the middle.
| | 03:51 | What I need to do is massage those
polygons, push them back and forth a little
| | 03:56 | bit so that they are not perfectly flat.
| | 03:59 | Other than that, the
normal map is working nicely.
| | 04:02 | The important lesson to learn here is
that not only should the geometry go up
| | 04:07 | and down, but side-to-side a little bit as well.
| | 04:10 | That way when the normal map is projected,
all the detail you craft in actually shows up.
| | 04:15 | What I will do here in Maya is to select
that high-res door and I can do this by
| | 04:20 | hiding the low-res and there is my high-res.
| | 04:23 | I am going to isolate it, choosing,
Isolate > View Selected and I'll spin over
| | 04:30 | and it looks like I need
to add some more geometry.
| | 04:32 | Ultimately, I can push and
pull this just a little bit.
| | 04:36 | This door is, well, definitely old,
probably cracked, fairly worn and
| | 04:41 | guaranteed not straight.
| | 04:43 | I can start to grab things and push
them around just a little bit to get the
| | 04:47 | Normals to really work.
| | 04:49 | What I also need to do is to probably
bevel some more edges, right here in this
| | 04:53 | window frame as an example, to
get these Normals to show up.
| | 04:56 | I will start out by taking these
edge loops and pushing them back just a
| | 05:01 | little bit, so that instead of a
perfectly straight edge, these edge loops
| | 05:06 | here on the window frame just move back
a touch, slimming that down, so it's a sloped surface.
| | 05:12 | Now I will come in and Bevel those Edges.
| | 05:15 | Unchecking Offset as a Fraction and
beveling at a quarter inch with three
| | 05:19 | segments, that's going to
give me a good Normal there.
| | 05:23 | I may want to do this on other parts,
selecting them by double-clicking and
| | 05:27 | beveling, pressing G to repeat last,
and there's that bevel.
| | 05:33 | We can bevel everything.
| | 05:35 | The big deal is really getting enough
geometry in here that is not straight.
| | 05:40 | Now I'm going to make this wave just a
little bit, the door is old and cracked after all.
| | 05:45 | I will right-click a pick Vertex as an example.
| | 05:47 | I am going to pick some of the vertices
here in the door and I will press B as
| | 05:52 | in Baker for my soft selection.
| | 05:54 | I can press and hold B and click and
drag with the mouse wheel to increase the
| | 05:59 | falloff radius in that soft selection.
| | 06:01 | What soft selection is doing is, as
that one vertex is picked, the selection
| | 06:06 | fades off to the side as shown by the color.
| | 06:08 | I am going to pull these out just a little bit,
as if the door is slightly out of plumb.
| | 06:14 | I'll pick a few others here and do
the same thing, grabbing those and just
| | 06:18 | pulling them slightly.
| | 06:22 | What this is going to do for my normal
map is perturb or distort these Normals.
| | 06:27 | I have already baked the Occlusion, so
I may end up running my Occlusion again,
| | 06:30 | or I can leave it alone and
simply use the Normals out of here.
| | 06:34 | It's worth some experimentation, it's
fine to end up baking multiple times
| | 06:39 | just to get it right.
| | 06:40 | Now my door is slightly out of whack
and we can see it from the side here.
| | 06:45 | I'm ready to get out of that
isolation and run those Normals again.
| | 06:49 | On my Hotbox I will choose Display >
Show > Show Last Hidden and there is my doors.
| | 06:55 | I will go back to Lightning/Shading and
Transfer Maps and run that operation again.
| | 06:59 | I'll make sure I have got the right
pieces in my Source Meshes, and I am going
| | 07:03 | to override this file.
| | 07:04 | I will hit Bake and Close and see how it looks.
| | 07:09 | My normal map is baked out.
| | 07:10 | I will pull it up again in
Photoshop and see how it looks.
| | 07:14 | I will choose File > Open Recent and reopen
that garage door, updating this time, much better.
| | 07:21 | Now we can see here, because the Normals
vary that all the detail is showing up.
| | 07:26 | This is a proper normal map, where I
have got slight variation across the
| | 07:29 | color and we can really tell it right
there where that color changes just a little bit.
| | 07:35 | In a normal map, blue is strength and
red and green are direction, so the slight
| | 07:40 | red and green shifts here give me
just a little bit of surface variation.
| | 07:44 | I'll take this image and put it in
the material and see how it looks.
| | 07:48 | I'll take my high-res door and press
Ctrl+H to hide it, then select my low-res
| | 07:53 | and go over to its material attributes.
| | 07:56 | In that Blinn, in the Bump Map, I am
going to go in and make sure it's got
| | 08:00 | my garagedoor.tif.
| | 08:01 | If it doesn't show up right, I can
hit Reload and I can see up here in the
| | 08:04 | thumbnail, it's got all of its panels.
| | 08:07 | To really see this, I will go back to
either High quality or Viewport 2.0.
| | 08:11 | In my High Quality render, there is the
normal map and I am going to make sure I
| | 08:16 | go back up to the bump2d node by
clicking on to the go up to the output
| | 08:20 | connection and that it's set to Tangent
Space Normal at a depth of 1. The reason
| | 08:25 | to run it at 1 and make sure your
strength looks right, is that a lot of times
| | 08:29 | in a game engine, Normals are there.
| | 08:32 | We don't have control necessarily over the strength,
as much as, are they there or not?
| | 08:37 | So it's a good idea to make sure things
work at a depth of 1 and look correct.
| | 08:40 | It's working nicely.
| | 08:42 | What I can see is that I have got
what looks like a pretty good garage door
| | 08:46 | with all kinds of rust and dirt on it, and
panels and all kinds of details and round edges.
| | 08:52 | In reality, it's a flat polygon.
| | 08:55 | My baking is working really nicely.
| | 08:57 | I will do a final test in Viewport 2.0,
switching over, and I am going to put
| | 09:03 | a light in as well.
| | 09:05 | It's a good idea sometimes, especially
when you're playing with maps like this
| | 09:10 | to put in a light and say not just in
the default lights, but as an example with
| | 09:14 | a point light, are we
seeing things behaving correctly?
| | 09:18 | I'll pull my light up in the
scene and press 7 to use all lights.
| | 09:23 | As I pull this back and forth, we can
see the Normals apparently redirect the surface.
| | 09:28 | It's working nicely, there's all the
grunge, and the panels, and all the little
| | 09:32 | edges light correctly.
| | 09:33 | This is just a good way to test, as we
are probably going to end it with more of
| | 09:38 | a sun, although we may have some point
lights on the player to give things a little
| | 09:42 | bit of a shine in Unity.
| | 09:44 | But that's a Transfer Maps in a bake.
| | 09:46 | It's working beautifully and between
the two of them I am getting a really nice
| | 09:49 | looking garage door.
| | 09:51 | I still need to go in and handle the
windows and their dirt here and get their
| | 09:54 | Alpha channels set up right in Photoshop.
| | 09:57 | So when it imports into Unity, I can
redirect the Alpha to come across for
| | 10:00 | both Specularity and Transparency,
but the normal map is working.
| | 10:05 | What I should do then is bake out the
rest of these, baking out the cashier's
| | 10:09 | windows, door and the windows on the
side, using those bakes as a foundation in
| | 10:15 | the Occlusion for dirt, and then a
normal map, to get all the surface detail and
| | 10:19 | beveled edges to show.
| | 10:21 | So the low-res pieces look like
the high-res, when they are all done.
| | 10:24 | A good test then is to put that light
on and make sure it's working nicely, in
| | 10:29 | that, as the light travels, we can
really see that normal changing, and the
| | 10:34 | surface looks like, well, that
dirty, grungy garage door I expected.
| | Collapse this transcript |
|
|
7. Planning and Constructing Texture SheetsAssessing the size of elements on a texture sheet| 00:00 | In this chapter I'll start out by
looking at the size of elements in the texture
| | 00:04 | sheet and judging if I need
to bake at a higher res possibly.
| | 00:08 | Then I'll look at making a diffuse map
and painting detail at the right size.
| | 00:12 | Looking at tiling and non-tiling
textures and finally ending up with specular,
| | 00:17 | transparency and diffuse
textures ready to bring into Unity.
| | 00:21 | To start I've baked out all my
different high-res elements; the side windows,
| | 00:26 | the garage door, the
cashier door and cashier windows.
| | 00:30 | I need to do little scene cleanup.
What's happened here, if I pick any of my
| | 00:33 | materials in the checker, is that
as part of the bake, Maya has planted
| | 00:38 | various files in different places, such as
file 8 in the Bump Mapping here in my checkers.
| | 00:44 | I'm going to right-click on Bump
Mapping and break that connection.
| | 00:48 | It's also put in a black Lambert on
different things making a new one each time
| | 00:52 | to put the incandescence in.
| | 00:55 | As an example, way over here is Lambert 6
and in that Incandescence is my high-res door.
| | 01:01 | It works nicely but I don't actually
need it here, what I'm going to do is first
| | 01:06 | pick everything and get
those checkers back on it.
| | 01:09 | I'll select all my objects, right-click,
and choose Assign Existing
| | 01:13 | Material > unwrap_checkers.
| | 01:17 | Now I'm going to do a cleanup in my
Hypershade, I'll choose Window > Rendering
| | 01:21 | Editors > Hypershade.
| | 01:23 | I needed the bake on those materials
but I don't actually need the material
| | 01:26 | themselves. Those are just working
materials Maya inserts just part of the baking
| | 01:30 | process because of the
options that I've selected.
| | 01:33 | So here in the Hypershade, I can see I've
got a lot of extra stuff going on. I've
| | 01:40 | got extra materials we can see here by
all the nodes and also extra textures.
| | 01:44 | What I'll do is choose Edit > Delete
Unused Nodes; this will slim down any of
| | 01:49 | the nodes that I'm not using,
| | 01:51 | returning back to just my checker
texture template and the few materials I
| | 01:55 | haven't seen, the default materials
that it starts out with, and my unwrap.
| | 02:01 | What I've also done is to take
those elements and stick them together in Photoshop.
| | 02:05 | I'll take a look over there
and see how this is working.
| | 02:08 | Here in Photoshop, what I've done is
taken all the occlusion and put it in the
| | 02:12 | PSD called 07_01_AO_start.
| | 02:15 | I've also taken the normals and
put them in 07_01_Normal_start.
| | 02:19 | In this case, I haven't renamed the
layers, I've just copied and pasted, or moved
| | 02:24 | over while holding Shift and placed
those occlusion images in the right place in
| | 02:28 | those UVs. This is a raw working file
that I would go in and probably colorize and
| | 02:34 | scratch and dent, and so forth.
| | 02:37 | Over here in the Normals
I've done the same thing.
| | 02:40 | The big deal in textures is making sure
that the elements are the right size. My
| | 02:44 | garage door looks pretty good. If I zoom
in, I can see the panels clearly and the
| | 02:49 | different normals especially on the
frame in the middle windows here, however
| | 02:53 | I've got a bit of a problem up here on
the cashier door. The door itself looks
| | 02:58 | good, but because of some anti-aliasing
issues and overlapping polys, I'm seeing a
| | 03:04 | bit of smudginess going on to
the normals here, it's messy.
| | 03:08 | The windows are working well, but right
here I'm getting some oddness. I may want
| | 03:12 | to sort this out in a couple of
different ways. The first is in that bake I can
| | 03:16 | choose stronger sampling or bake at a
high-res. The second would be actually to
| | 03:21 | take the normal out of this part, which
is actually the side of the door frame.
| | 03:26 | Really what I need is this normal right
here, where it makes that edge look softly
| | 03:30 | beveled on the door,
| | 03:31 | but the door frame can be
solid blue on the side here.
| | 03:34 | So one option is to simply grab a
piece of color and put it over, or use a
| | 03:41 | marquee and just on a
new layer put in that blue.
| | 03:45 | I'll eyedropper the blue and use
my paint bucket to fill that in.
| | 03:50 | You can treat normal maps basically
like any other image here in Photoshop when
| | 03:53 | it comes to manipulating them; cutting,
pasting, copying and stitching together.
| | 03:58 | The normals give you the colors, the red,
green and blue, but how you'll use them
| | 04:02 | is just like anything else.
| | 04:04 | I've zoomed in on the door and we can
see some places I have a few issues.
| | 04:08 | Really what we're seeing is that I need a
higher sampling right here on the door frame.
| | 04:13 | The door itself looks pretty good
and I'm getting the bevel here on that
| | 04:17 | inside frame nicely.
| | 04:18 | What this tells me is I should
probably render out the door normal at a
| | 04:22 | higher res. The big deal then is to bake
out, as you think it should work, put in
| | 04:28 | and see how it looks which is what I'll do next.
| | 04:30 | You may find you want to render or
bake at a higher res and then reduce.
| | 04:35 | Finally the cashier window looks pretty
good, I'm seeing all the detail although
| | 04:40 | it feels like in some of the anti-aliasing
I'm losing a little bit right there,
| | 04:44 | and this might be a place, again to
render these elements at a higher res because
| | 04:48 | of their size and the texture sheet.
| | 04:50 | What I'll do as an experiment is
save this out, pressing Ctrl+Shift+S and
| | 04:55 | saving this out as a TIFF.
| | 04:58 | I'll call this one 07_01_Normal_end.
| | 05:03 | I'll turn off of Alpha, turn off
Layers and Save as a copy, and save it into my
| | 05:08 | sourceimages folder.
| | 05:11 | I'll do the same over here with the AO,
holding Ctrl+Shift+S and doing a Save
| | 05:16 | As, saving out as a TIFF
and calling this 07_01_AO_end.
| | 05:23 | I'll turn off the Alpha and
Layers for now and Save this.
| | 05:28 | Back here in Maya, I'll try a quick test.
| | 05:31 | The cool part is everything has that
checker material, so really if I put those
| | 05:35 | images in I should get my black building with
white occlusion and normals on the right places.
| | 05:42 | I'll pick any element and
scroll over the material attributes.
| | 05:48 | In the color in that blend, I'm going to
swap in for those checkers my occlusion
| | 05:52 | clicking on the yellow file
folder and picking occlusion end.
| | 05:57 | Now I realize this is going to give me
a lot of black building which is okay in
| | 06:01 | the solid parts for now.
| | 06:03 | There's the update and I'll go back up
to the root material and into the Bump
| | 06:08 | Mapping, in the bump node, I'll put a File.
Remember you can always slide the
| | 06:13 | nameless slider and
increase the icon size if you need.
| | 06:16 | I'll put a file in and
make it Tangent Space Normals.
| | 06:21 | Then I'll go into the file node
and in there I'll browse over for
| | 06:24 | that Normal_end.tif.
| | 06:27 | You may see this occasionally. This is a
TIFF warning error and what we're seeing
| | 06:31 | here is that different flavors of TIFF
can carry different data, and sometimes
| | 06:36 | saving one out of one program shows up
as an error in something else, because
| | 06:40 | it's tagged image file format. We can
add different things to it and the TIFF
| | 06:44 | standard is somewhat fractured.
| | 06:47 | Its okay to see that, it's not going to
affect anything, but if it does pop up
| | 06:50 | don't worry about it.
| | 06:53 | I'll hit Open and now I'm going to hide
high-res objects. I'll hide the garage
| | 07:00 | door, I'll make sure that I pick the
right element here by checking the name.
| | 07:04 | What I've done also here with the Door_
high_res as an example, is gone through
| | 07:08 | and name my objects for baking, that
way I could keep them fairly straight.
| | 07:12 | Door_high_res is the high-res
cashier door, and I'll hide it.
| | 07:16 | I'll do the same with the windows here,
there's my low-res window and I'll make
| | 07:20 | sure I'll pick the high-res.
| | 07:22 | If you can't get to it cleanly, zoom
in, press F to focus and spin around,
| | 07:29 | there's that high-res window.
| | 07:31 | I'll make sure I use Ctrl to
deselect anything else than hide that.
| | 07:35 | I can also look in the
outliner to do this as well.
| | 07:38 | Finally here's the side window, I'll
pick that high-res window and hide it
| | 07:44 | pressing Ctrl+H. I'll turn off the
Wireframe unshaded and there at least is
| | 07:49 | my occlusion on there.
| | 07:50 | I'll turn on high-res display and there's the
normal plus the occlusion on the garage doors.
| | 07:56 | Now I realize that I'm sitting on ground
covered by garage door and that's okay.
| | 08:01 | I can fix this easily enough by
mapping the ground, and I've also got small
| | 08:05 | garage door pictures on the concrete
elements down here I haven't attended to yet.
| | 08:09 | I need to finish the unwrap and find
a space for them in my texture layout.
| | 08:13 | They're fairly small so they're
almost going to be a grungy solid color.
| | 08:18 | But at least my cashier windows look
pretty good, and we're seeing that map wrap
| | 08:22 | around. I also need to deal
with this corner element here.
| | 08:25 | You'll find that there's a lot of
things you end up picking up, or catching
| | 08:29 | later which is perfectly fine.
| | 08:31 | The big deal that I'm after is does
that texture show up correctly? The garage
| | 08:36 | door looks good and this door looks
decent although perhaps a little bit hard.
| | 08:42 | What I'll do to finally test this is
check it out in Viewport 2.0, turning
| | 08:47 | that on and making sure in Viewport 2.0 that
I've got my Multisample Anti-aliasing on.
| | 08:54 | You can use the screen space occlusion
if you'd like, but being that our shapes
| | 08:58 | have occlusion we don't necessarily need it.
| | 09:01 | What I can see in here is that I need
to make sure that the sides of the door
| | 09:05 | frame are white in the
occlusion which I can paint in.
| | 09:08 | I can see that the normal map is
working but I may want to take out the
| | 09:11 | occlusion right here on the
glass because it's a little dark.
| | 09:15 | The resolution looks okay although
it might be a little bit blurry on the windows.
| | 09:19 | My judgment call on this, based on
getting the optimal look, is that I should go
| | 09:23 | back and rerender this window and the
door here at twice size and then downsize
| | 09:30 | in Photoshop to get a better rendering.
| | 09:32 | Overall however, the detail is really
starting to pop out, keep in mind that
| | 09:36 | these are flat polygons with the
texture, and so for the game they're looking
| | 09:40 | pretty good.
| | Collapse this transcript |
| Drawing detail at the right size| 00:00 | In this video, I will look at
painting detail in the right size.
| | 00:03 | So far I have got my occlusion baked out
for all my high-res pieces and applied to
| | 00:08 | the low-res along with a normal map.
| | 00:10 | I have got a few places I need to
pick up in the unwrap, but I just
| | 00:14 | haven't gotten to yet.
| | 00:15 | It's perfectly fine along the way to
model, render, unwrap, bake and come back
| | 00:19 | and pick up other pieces.
| | 00:20 | As long as it all gets done, there is
not really an order to things in a lot of places.
| | 00:25 | What I am going to pay attention to
are the canopy and the poles here first.
| | 00:29 | I'll select the poles and go
back to my Default Quality Render.
| | 00:33 | I will press F to focus in and I can see
they need some attention in the unwrap.
| | 00:38 | Right now they've got their
cylindrical mapping, which is nice as it spans
| | 00:41 | completely around, but it's tiling up
the pole and so I'm seeing obviously that
| | 00:46 | striping which is really that
occlusion texture repeating.
| | 00:48 | I have pressed F3 to go into my
Polygons menu, and I will go under Edit UVs and
| | 00:55 | the UV Texture Editor.
| | 00:56 | What I need to do is to shrink these down.
| | 00:58 | I'll pick the UV Shell
tool and select those shells.
| | 01:02 | They are really selected way out here,
but as long as I can see that Transform
| | 01:06 | tool I am in good shape.
| | 01:08 | What I am going to do is press R for
Scale and scale them down uniformly.
| | 01:12 | I would like these to be fairly big.
| | 01:14 | What I will do is a gauge rather than
swap out my texture here, I can simply
| | 01:19 | select one of my wall elements that I
know is stacked in the area I'm going to
| | 01:23 | paint scratched white.
| | 01:24 | I'll zoom in, turn off the
grid and pull these over.
| | 01:30 | I am going to place them right here
because it sounds neat and I know I will be
| | 01:35 | painting scratches there.
| | 01:36 | Press R for Scale and scale them down.
| | 01:38 | I am going to make them as tall as I
can while still fitting in this space, knowing
| | 01:43 | we're going to paint my scratch texture.
| | 01:46 | I want to get as much detail on these
as possible because it's very likely we
| | 01:50 | are going to get up and close.
| | 01:51 | However, it's a very small area and so
as long as they are pretty good size in
| | 01:56 | here it should work nicely.
| | 01:57 | I will look at the canopy next.
| | 02:00 | There is the canopy and where I had left
it is that some elements are sized out,
| | 02:05 | some of them are still off to the
side and some are ready for stacking.
| | 02:09 | I will do the same thing, selecting
these shells here and pulling them over.
| | 02:14 | This is an area where in order to get
the right size detail I may want to make a
| | 02:18 | break in my texture.
| | 02:20 | As an example, what I had done is
to put these on and let that texture
| | 02:24 | wrap around completely.
| | 02:26 | In order to get better detail in a
texture, we may want to take things like the
| | 02:30 | outside here and split some of the UVs.
| | 02:34 | I'll find a logical place to do it.
| | 02:36 | As an example, leaving this curve
intact and splitting right here, or right here
| | 02:42 | where the side and the curve join the front.
| | 02:44 | I will press W for Move, right-click
and pick UV and select those two UVs.
| | 02:51 | Then I will right-click and
choose Polygons > Split UVs.
| | 02:56 | I will do this as well over here, picking
those two UVs and hitting G to repeat last.
| | 03:03 | Now when I pick the Move UV Shell tool
and move the shell out of the way, I can
| | 03:08 | see I have got one UV Shell and another
that's the whole front on the curves and
| | 03:12 | finally the other side.
| | 03:13 | What this will let me do is make them
scale bigger in that space I have allotted
| | 03:19 | for that scratch white texture.
| | 03:20 | So I am going to place them
over here and rotate them.
| | 03:24 | I will spin this way and take a look at it.
| | 03:29 | It's important here when you are
placing things for texture, not only to get
| | 03:32 | them at the right size
but the right orientation.
| | 03:36 | What I am going to do here is I am going
to right-click on it and make sure I am
| | 03:41 | back in Object Mode.
| | 03:42 | I will go back into that material, my
unwrap checkers and I am going to swap out
| | 03:46 | the occlusion texture in the
color map here for my checkers again.
| | 03:52 | I've picked 05_03_sheet
which is my texture template.
| | 03:57 | The important part here is that I have got my
letters and numbers and I can see where this is.
| | 04:02 | I will press 6 to get out of showing the lights
and go back to just a shaded display.
| | 04:07 | What I can see is that because of
that rotation, I've flipped around this texture.
| | 04:11 | As this is going to be a directional
texture with staining from top to bottom, I
| | 04:16 | need to flip this back.
| | 04:21 | I will press W for Move, pick
this shell and rotate it around.
| | 04:27 | We can see the A is in the right place and
so streaking will travel in the right direction.
| | 04:31 | I am going to pick the other shells and get
them lined up and start painting my texture.
| | 04:38 | There it is upside down and I'll keep flipping
around until it's in the right place.
| | 04:45 | I'm stacking these loosely and the idea
is that I don't want the same texture in the same place.
| | 04:51 | They are stacked over, spun in
the right place and pulldown.
| | 04:58 | I can accommodate that seam there by
having just a minor mismatch because it
| | 05:02 | will be a reasonable streak.
| | 05:03 | I will go through and
finish this out at later point.
| | 05:07 | Right now I am going to start
snapshotting my UVs and painting.
| | 05:15 | What I will do to get the UVs out and
start painting detail is pick a couple
| | 05:17 | of major walls.
| | 05:20 | I will go back under Edit
UVs > UV Texture Editor.
| | 05:25 | I have pressed W for Move and in the
Texture Editor, I'll make sure I select
| | 05:30 | those UVs I want to snapshot.
| | 05:33 | I'll choose Polygons > UV Snapshot.
| | 05:36 | I'm going to run this out big.
| | 05:38 | I had rendered my Occlusion at 2048 on a side,
so I'm going to paint this at 2048x2048.
| | 05:45 | It's going to browse out to the Images Directory,
but I'm going to go and name it.
| | 05:49 | One of the things we see here and if
you're using 2012, we will call it a
| | 05:54 | feature, is that there's an asterisk
occasionally after the title, outUV.
| | 06:00 | So I will make sure I go to the end,
hit Delete and then put the right name in.
| | 06:05 | I'm going to call this walls_template.
| | 06:10 | I'll save this out as a TIFF image.
| | 06:13 | We have some different options in how to do it.
| | 06:15 | What I will do though is uncheck Anti-
alias lines, that way I don't get digital
| | 06:20 | fuzz around my lines.
| | 06:21 | All the lines I have got here in the
selected objects are straight, and so I don't
| | 06:25 | want to have width on the lines
where I want 1 pixel selection.
| | 06:29 | I am exporting out the
Normal range and I will hit OK.
| | 06:33 | It takes a sec and exports out that template.
| | 06:35 | I will go over to Photoshop and
take a look and start painting.
| | 06:38 | Here in Photoshop, I have opened up
my PSD, which has my occlusion in it,
| | 06:42 | called Diffuse_start.
| | 06:43 | I will open up that
template and pull it in here.
| | 06:52 | Here is my walls_template file and we can
see in the preview it's black with white lines.
| | 06:56 | I will click Open and what I usually do
is invert this by pressing Ctrl+I. This
| | 07:01 | is a temporary working file, so I name
it template, that way I know I can clean
| | 07:06 | up my directory later and take
out anything called template.
| | 07:10 | I'll Select all by pressing Ctrl+A, Ctrl+C for
Copy, and paste this right on top in my PSD.
| | 07:18 | Then I will switch its blending mode
over to Multiply and I am ready to paint.
| | 07:22 | What I am going to do for now is
pick this occlusion and group it.
| | 07:27 | It won't let me group the background layer.
| | 07:29 | What I need to do is actually
rename it to layer 0, that's fine.
| | 07:34 | Pick those three, group them by
pressing Ctrl+G and hide them.
| | 07:39 | Now I can paint under those lines,
white and multiply is invisible.
| | 07:44 | It's like multiplying by one.
| | 07:46 | That lets me paint cleanly
and I can see what I'm doing.
| | 07:52 | But I'll start out with as a base color,
making a new layer and putting in maybe
| | 07:58 | a very, very light gray.
| | 07:59 | Alternately, we could start out in
white and start to add some grunge to it.
| | 08:04 | I am going to pick my Foreground
Color and go very bright and pull
| | 08:07 | that saturation out.
| | 08:09 | It's just the tiniest
hint of maybe warmth in here.
| | 08:14 | I'll fill that layer in with my base
and then I'll start to paint grunge.
| | 08:18 | This may take a little bit to paint.
| | 08:20 | So what I would like to do here is
simply look at the size of things that I am
| | 08:25 | painting, as an exercise
engaging the right level of detail.
| | 08:28 | I am going to paint some streakiness along here.
| | 08:30 | I know that all of my polygons are
aligned on the top and so what I will
| | 08:35 | begin with is another new layer, and
a brush, and I am going to make this
| | 08:41 | brush kind of a medium gray with a
little bit of green in it, just sort of a
| | 08:45 | generally grungy color.
| | 08:47 | I'll make my brush nice and small and a
low opacity, and I'm going to start to
| | 08:51 | add in grunge, streaks along the facade.
| | 08:56 | Because it's got a little bit of
green in it, it's got a mossy, dirty
| | 09:00 | quality, and I can start to add in,
well streaks, making sure that they're
| | 09:05 | fairly directional.
| | 09:06 | I want to avoid things that kind of go across
to the side, so I don't have big diagonals.
| | 09:11 | I can always use my Eraser, set in
here as a Brush and take those out.
| | 09:21 | The trick to painting, aside from
making sure you're working at the right
| | 09:24 | resolution is to paint on new layers.
| | 09:27 | If you feel you're going to make a
mark on the document, make a new layer.
| | 09:30 | You want to keep your flexibility all
the way through, that way if somebody
| | 09:34 | says, wait take out the dirt or
move it around, take off that layer.
| | 09:38 | I am going to start in by adding in
more streaks, hitting B for Brush and just
| | 09:46 | going to harden this up a touch.
| | 09:47 | I will just add in some weathering.
| | 09:52 | The trick is really when we get into
distinct streaks, when we start to get into
| | 09:57 | places like chips or fractures in the facade,
I will right-click and in my Brush
| | 10:02 | is here as an example, I've got
sponges and dots and all sorts of things.
| | 10:06 | I am going to pick some dots and add
in just a little bit of dirt along here,
| | 10:12 | clicking several times to really build those up.
| | 10:14 | I will up-size the brush and take up
the Opacity on that Multiply as well.
| | 10:23 | I'm clicking a few times and moving the
brush around, adding in some, well dots
| | 10:28 | and rust, and streaky
stuff, whatever you call it.
| | 10:32 | I'll take this and export
it out and see how it looks.
| | 10:34 | The big deal is painting at the right
size, and seeing if the detail really works.
| | 10:39 | When I turn it off and turn back on
this Group, bring the group up on top and
| | 10:45 | set the Group to Multiply.
| | 10:49 | It works nicely except
that I am missing my texture.
| | 10:51 | The trick then is in that group, to go
in and add in white, making sure that the
| | 10:56 | group is not blacking out the
texture entirely in the tests.
| | 11:00 | I will put a new layer in, press M
for Marquee and add in just a large
| | 11:07 | white block here.
| | 11:10 | I'll press X to swap the colors, pick
my foreground color and make it white and
| | 11:16 | use my paint bucket to fill that in.
| | 11:19 | If you need, you can always
trim out parts of that occlusion.
| | 11:22 | In this case the black is
overriding some of my white texture.
| | 11:27 | I'll deselect and now I will
save this out as a working TIFF.
| | 11:31 | I'll call this Diffuse_end, and
that way I can find it, it's just a
| | 11:35 | temporary working file.
| | 11:36 | I will turn off Layers and
Alpha Channels, hit Save and OK.
| | 11:41 | I will also save out this PSD and I
can always come back to it if I need.
| | 11:52 | Back here in Maya, I am going to swap in
that color texture and see how it looks.
| | 11:56 | I will go into the color, pick that file
and I am going to put in my Diffuse_end.
| | 12:03 | Once that's in, I can see where those
streaks are and it's starting to work nicely.
| | 12:07 | I can see that I have got some
repetition in the streak, so I need to get
| | 12:11 | actually generally streaky and dirty.
| | 12:14 | But it's working, there is the occlusion,
the white texture, and I can see I have
| | 12:18 | got pretty good detail even if somehow I
managed to jump up and get fairly close
| | 12:23 | this is holding up pretty well.
| | 12:25 | I'm practically smashing my face
against the wall here to see those dots and
| | 12:29 | rust or whatever it is and
it's working very nicely.
| | 12:33 | As long as I watch out for tiling
issues, I can paint at a good res, it will
| | 12:37 | reduce down and I won't
see pixels in it too badly.
| | 12:41 | Here is one final test, I will go
over and look at the poles and see if I
| | 12:45 | can find that dirt.
| | 12:46 | It does look like I need to take out
some black up there in the texture,
| | 12:49 | or move those UVs around.
| | 12:51 | And they are right now fairly clean,
which is okay as long as they end up with some dirt.
| | 12:57 | The canopy looks good and I can't
really see where I got that seam.
| | 13:01 | This is how I know I am painting decently.
| | 13:03 | I do need to watch out that my streaks
again are not tiling, but aside from that
| | 13:07 | I'm painting at the right res.
| | 13:09 | So paint twice as big and then reduce
down and test it along the way and see if
| | 13:13 | it's really working.
| | 13:14 | You'll get a rich looking texture
because you're allotting enough space for it
| | 13:19 | and because we are repeating,
you can get a lot of detail in.
| | Collapse this transcript |
| Using tiling and non-tiling textures| 00:00 | In a video game there is often
a choice made between tiling and
| | 00:04 | non-tiling textures.
| | 00:05 | The difference in those
is fairly straightforward.
| | 00:07 | Tiling textures are made to repeat from
end-to-end, top to bottom and side-to-side.
| | 00:12 | An example of a place for a tiling
texture would be this ground plane or
| | 00:16 | whatever is going on here.
| | 00:17 | It is very likely we want a cracked
worn asphalt pattern to simply wrap
| | 00:21 | around the building;
| | 00:23 | we're using non-tiling
textures for the building.
| | 00:26 | As an example, right here at the top I
can see an obvious repeat, this is not
| | 00:30 | tiling correctly, in that I've got stacked UVs.
| | 00:34 | However, there's other places where I'm
tiling quite nicely, right here in the
| | 00:38 | window units as an example.
| | 00:40 | If you ignore this small corner post I
need to unwrap, or hit with a solid white
| | 00:44 | color, we can see that one window unit
is actually repeating very nicely next to the other.
| | 00:50 | I've gone over in Photoshop and updated
that PSD a little bit, I'll bring it in
| | 00:55 | and see if that helps in
the tileability just a bit.
| | 00:58 | Here in Photoshop, what I've done is
I've taken my Diffuse_start.psd and I've
| | 01:02 | added in a new layer which has a
medium dark gray in for all the glass.
| | 01:07 | I simply painted it using the marquee,
selecting right onto the Occlusion and
| | 01:12 | filling it with the paint bucket.
| | 01:13 | I've revised my dirt here, so it's more
smudgy and it stands a better chance of
| | 01:18 | repeating across those elements.
| | 01:20 | I've done the same on the bottom, so
I've got some smudging in the middle, but
| | 01:23 | really it's fairly consistent all along the top.
| | 01:25 | Then I have added in a place
where it's obviously not tiling.
| | 01:30 | Here on the bottom there's some kind of
splotching or mold on the bottom of the
| | 01:33 | door, this is a likely place to not tile,
as it's very rare to see both doors of
| | 01:39 | this kind close-up enough to
tell that it's that same texture.
| | 01:43 | I haven't touched this window set yet,
as this one I need to pay careful
| | 01:46 | attention to it, to make sure that
it repeats seamlessly next to itself.
| | 01:49 | The big deal then is to watch
out for textures that are repeated.
| | 01:53 | We're essentially tiling a texture
because it's part of a stacked sheet of UVs,
| | 01:58 | versus making a seamless end
to end tiling single texture.
| | 02:02 | I'll save this out and try it out and
see how it looks and where I need to pay
| | 02:07 | more attention to how I paint.
| | 02:08 | I've already got the PSD saved, so I'll
press Ctrl+Shift+S and save this out as a
| | 02:13 | flattened TIFF for use. I'll uncheck
Layers and Alpha and call this Disuse_end.
| | 02:22 | Back here in Maya, I'm going to swap out
that diffuse map in my unwrap_checkers,
| | 02:26 | going into the material on any object
and picking in the color texture and
| | 02:31 | swapping that out, I can even just
change the number in here, from 02 to 03.
| | 02:36 | Once that's swapped in, it looks much better.
| | 02:39 | I can see in places that I've got dirt.
| | 02:42 | I can also see an obvious goof I made.
| | 02:44 | I'll go back to Photoshop
and fix that, here's the goof.
| | 02:46 | I'd taken my template layer, the
snapshot at UV lines, and I'd put them out as a
| | 02:52 | multiply layer of black lines on
white, that's all fantastic, except I
| | 02:56 | accidentally exported it with that in there.
| | 02:58 | It's a common mistake and an easy fix.
| | 03:01 | However, looking for a minute here at
the windows, those look pretty good.
| | 03:05 | The dirt so far tiles nicely,
because it just the baked occlusion.
| | 03:08 | So one of the things I need to watch
out for is that whatever I do on this is
| | 03:13 | seamless enough that it looks good
wrapped around four of the same window units.
| | 03:18 | The new smudged dirt, even accounting
for the lines here, looks good across
| | 03:22 | this surface. If I deselect, I can see
not too much of an obvious goof, it is
| | 03:26 | tiling very nicely.
| | 03:28 | I'll fix those lines and
export it one more time.
| | 03:31 | What I've done here for ease-of-use and
recognition in Photoshop is to take my
| | 03:36 | template and rename it.
| | 03:38 | It was called Layer 0 or whatever I
brought it in as. I've renamed it to
| | 03:42 | template and I've locked the layer, I'll
just turn it off and save that TIFF out again.
| | 03:47 | While I'm here, I may as well put a
little bit of dirt along the garage doors.
| | 03:52 | This would be a good test of whether a
large area of dirt is repetitive enough,
| | 03:56 | I can tell it's the same thing.
| | 03:59 | My template actually has lines on it
and I'll turn off this Dirt overlay, so we
| | 04:03 | can see them clearly.
| | 04:04 | What we can do here when painting
textures, especially to make sure that the
| | 04:08 | lines match up nicely, is to select
cleanly inside one shell and paint and then
| | 04:13 | clone it over and make sure it works.
| | 04:15 | I'll present W for Wand and I'll
select the white on my template layer.
| | 04:20 | What this does, and I'll zoom out to
show, is throw marquee cleanly around
| | 04:24 | just that garage door.
| | 04:26 | Now on my dirt layer, which is Layer
6, I can start to add in dirt along the bottom.
| | 04:32 | What I'll typically do here is go under
Select and choose Modify > Expand, I'll
| | 04:38 | expand it out by a couple of pixels,
just so that I am over-painting a little
| | 04:42 | bit, in case there is any gap in the
texture there, it's covered with the right
| | 04:46 | stuff instead of blank white, giving me
a hard white line at the edge of which
| | 04:50 | should be a dirty door.
| | 04:51 | Now I'll turn back on that Dirt overly.
| | 04:54 | What I've also done in my organization
is to keep my raw AO passes all separate
| | 04:59 | in a group. I've cloned that group and
then colorized that to give me that mossy
| | 05:04 | green dirt overlay here.
| | 05:06 | I like to keep working versions,
just in case I need to get back to it.
| | 05:10 | We're not going to export this PSD out
to the game, so it really doesn't matter
| | 05:14 | what we've got going on in it.
| | 05:16 | Now in my dirt layer, I'll zoom in on
that door, eyedropper some of the dirt
| | 05:20 | from somewhere else, let's say, right
there, there's my gray, maybe make it a
| | 05:24 | little bit darker and switch over to my brush.
| | 05:28 | I'm going to paint inside this marquee
using the bracket keys to make the brush
| | 05:32 | bigger and laying some dirt along the
bottom of the door to start, generally
| | 05:36 | making it scratched and
grungy and at least mossy.
| | 05:39 | Now I'll switch over to a different
brush, there are all kinds of brushes
| | 05:45 | available, right-clicking pulls up
the brush palette, and we can get any
| | 05:49 | additional brush from the Internet if
we'd like, searching for free Photoshop
| | 05:53 | brushes as an example.
| | 05:54 | I'm going to pick a speckled brush and
up-size that brush, then I'll start to
| | 06:00 | lay some speckles along the bottom of
that door, simulating well splattered stuff
| | 06:05 | or moss or whatever else it is.
| | 06:08 | I'm clicking several times to start to
add those in and I'm giving it a real
| | 06:11 | subtle, well, splattered dirt look.
| | 06:15 | I'll do a few and up-size that brush,
click a few more times and move around,
| | 06:20 | adding more and more in each time.
| | 06:21 | I still need to add into
this layers of wood grain.
| | 06:25 | I can make wood in Photoshop and then
apply it over here, overlaying it so it's
| | 06:30 | painted wood that's since
become dirty and out of repair.
| | 06:37 | I'll add a few more in, increasing
the Opacity on the Multiply to get some
| | 06:41 | pretty good speckles going.
| | 06:42 | Finally, I'll switch back to maybe a
different brush, a little bit bigger and a
| | 06:47 | little bit harder and add
in a final level of dirt.
| | 06:52 | What I also need to do is trim
through this occlusion just a bit.
| | 06:55 | I'll do a bit and see if this still holds up.
| | 06:59 | I'm going to eyedropper my white, and
I'm going to paint again as an Add or a
| | 07:03 | Soft Light and erase some of that occlusion.
| | 07:10 | As I start to add that in, a
little bit goes a long way.
| | 07:13 | I'm using Ctrl+Z and Ctrl+Alt+Z
to undo and step backwards.
| | 07:17 | I'll bring the Opacity way down, 5% on
that linear dodge, and I'll make sure I
| | 07:22 | am on the right layer, my Dirt overlay.
| | 07:25 | As I start to erode that occlusion, we
can see it disappearing fairly quickly.
| | 07:29 | I need to make sure that whatever I'm
doing in here tiles, because we're going
| | 07:33 | to see both doors next to each other,
and we'll be able to judge fairly quickly
| | 07:37 | if that texture is obviously repeating.
| | 07:40 | I'll take most of the dirt out of some,
not at all in others, and generally mess
| | 07:45 | this up a bit, seeing if I
can get it fairly uneven.
| | 07:49 | I can also come back and add to
that as I've shown previously.
| | 07:52 | I'll let the window frames be fairly
grungy, maybe just at the top a little
| | 07:57 | cleaner, and just a little less dirt up
at the top of the door, just removing
| | 08:02 | some by brushing in with that at.
| | 08:03 | It looks pretty good, I'll deselect by
pressing Ctrl+D, save my working PSD as
| | 08:11 | Diffuse_end and save out a TIFF image.
| | 08:19 | I'm going to save this out as a TIFF,
but before I do, I've got to make sure I
| | 08:23 | fix the original mistake I
came back here to deal with.
| | 08:26 | I'll turn off my template layer, so
I don't have lines across that image.
| | 08:29 | Now I'll press Ctrl+Shift+S and
save this out as a TIFF image.
| | 08:35 | I could override my existing Diffuse_end
or I can append to this name, I'll take
| | 08:40 | that second choice calling this Diffuse_end2,
| | 08:44 | that way I've got both versions.
| | 08:46 | These are really just working files,
so later I can go back and clear out my
| | 08:50 | directory, once I've got a
final texture established.
| | 08:53 | It's a good idea to save some versions,
try some different things, see which
| | 08:57 | works and you can always go back to it,
maintaining your flexibility right up
| | 09:01 | until you take this image into the game.
| | 09:03 | I'll uncheck Alpha and Layers,
saving as a copy and hit Save.
| | 09:08 | I'll click OK, and now I'll bring this back into
Maya and see how it looks. Back here in Maya,
| | 09:14 | I'll click on the Color texture
in that Blinn and just put a 2 after Diffuse_end.
| | 09:22 | The lines disappear and I've got a
much better texture, we can see that dirt
| | 09:26 | tiling along, my windows look good,
there is the, whatever it is on the bottom
| | 09:31 | of the door, and there's my garage door.
| | 09:34 | Looks pretty good, here is that final test then.
| | 09:37 | I'll turn on the high-quality render,
and hit 7 to show that light in the scene.
| | 09:42 | This is pretty well how it
is going to be in the game.
| | 09:45 | We can use either Viewport 2.0 or the
high-quality render in this case to test.
| | 09:50 | What I can see here is that I'm tiling nicely.
| | 09:53 | Although, I've got the same texture
and both garage doors, as long as the
| | 09:56 | lighting varies they're separated by
enough, and they've got enough other stuff
| | 10:00 | going on around them that I really can't
tell it's the same grungy garage door.
| | 10:05 | The unique piece that is not tiling,
this cashier's office door right here
| | 10:09 | has, well, unique moss or mold on it,
and I don't mind that, because I don't
| | 10:14 | see the other door.
| | 10:15 | What I need to do then is to finish
that texture painting, adding in other
| | 10:19 | places where the paint is peeling
or there is other localized dirt.
| | 10:23 | Once I've got it done, I'll take my
low-res door and clone it around to the other side.
| | 10:29 | What I may want to do is put in a board or
something similar instead of glass here.
| | 10:33 | Simply saying that both doors have
been boarded up, in reality, the bathroom
| | 10:37 | door is a solid, and this one is boarded,
and everything got painted in a coat of
| | 10:42 | cheap white paint, that way it'll
look a little more natural in this, well,
| | 10:46 | abandoned environment.
| | 10:48 | I'll pull this light
around and check out this wall.
| | 10:51 | My gas station is generally
grungy and it's working nicely.
| | 10:55 | I need to deal with the foundations in
the ground, but it's coming along, and
| | 10:59 | that texture is working even well on the canopy.
| | 11:03 | I'll pull my light over, swing over in
the scene, and there is my canopy, and I
| | 11:08 | can't really tell where that texture
seam is. The poles look good, and they've
| | 11:12 | got good dirt on the bottom.
| | 11:13 | This is pretty representative of how
it's going to look in game, and I feel
| | 11:17 | fairly comfortable with how
the texture is going so far.
| | 11:19 | I'll continue to paint and try out things.
| | 11:21 | Then I'll also add in a Specular Map
and a Transparency, so when we bring it
| | 11:26 | into the game, I can have, well,
dirty windows I can see through.
| | Collapse this transcript |
| Painting layers of dirt and wear| 00:00 | One of the biggest things when you're
making a texture especially for a place
| | 00:03 | that's been around a while and maybe worn down
or dirty is to think of the dirt in layers.
| | 00:09 | At some point this gas station was
probably clean and functional. Over the
| | 00:14 | years and weather, it's gotten weathered,
dirty, decayed, splintered, mossy, and so forth.
| | 00:20 | So the important part is to start out
as if it was clean and then start to
| | 00:24 | build up those layers.
| | 00:26 | We've got the occlusion to help with
that and I've already shown some painting,
| | 00:30 | adding in tiling dirt across the
top and bottom of these large panels.
| | 00:35 | I can see a goof, I need to fix, where I just
need more white and more dirt right up here.
| | 00:40 | That or I need to trim back when the occlusion
pieces as it's masking over some of this tile.
| | 00:45 | The other thing I need to do is
to well, paint in some of the dirt.
| | 00:50 | What I'll show is how to take the
occlusion and flip it so instead of dark on
| | 00:55 | the windows, it actually goes light as if
there was dust that it build up there overtime.
| | 00:59 | Back here in Photoshop then, I
can see where I need to make that fix.
| | 01:03 | I'll turn on my Template temporarily
and turn off that Dirt overlay, and we can
| | 01:08 | see where I just need to mask out more
of that black, the occlusion is simply
| | 01:12 | darkening giving me a stripe at the top.
| | 01:16 | In my Dirt overlay layer then and I may want
to turn off other layers, so I can see clearly,
| | 01:21 | I just need to add in more white.
| | 01:23 | What I'll do is press M for
marquee and marquee in just another big
| | 01:28 | section right there.
| | 01:30 | It's okay to keep adding to a
texture as you work on it, we don't have to
| | 01:34 | paint it all at once.
| | 01:35 | We can take different parts and put
them in and make them parts of this
| | 01:39 | texture one at a time.
| | 01:40 | On this layer then, I'll make sure I've
got my default white up, just checking on
| | 01:45 | the saturation and brightness, and fill
that marquee. That should get rid of that
| | 01:51 | stripe in the texture.
| | 01:53 | Now I'm going to make
the windows properly dirty.
| | 01:56 | What I've done here and you can see on
this later called glass, is I've put in a
| | 02:01 | deep gray on the glass.
| | 02:02 | The original occlusion is still laying
over that giving me a dark mossy edge on the glass.
| | 02:08 | What I'd like to do is
give it more of a lighter dirt.
| | 02:11 | What we can say is this was clean and at
one point the glass may have been, well
| | 02:17 | fairly clean, and dust has settled.
Dust on glass tends to look light.
| | 02:22 | I'll hold Ctrl and click on the Layer
thumbnail for the glass what that does is
| | 02:28 | select constrained on that layer.
| | 02:31 | Now I'll go over to my occlusion layer
and press Ctrl+0 so I can see clearly.
| | 02:36 | I've got any number of
things that I can do here.
| | 02:39 | I can delete that occlusion, I
can also flip it, I've got some different options.
| | 02:45 | I think what I'll do is take it and
put it on a separate layer, that way each
| | 02:49 | layer can have its own blending mode.
| | 02:51 | In that occlusion layer, the Dirt
overlay I'll call it, I'll press Ctrl+C for
| | 02:57 | copy, Ctrl+V for paste.
| | 03:00 | What that does then is to paste that
occlusion into that same layer. It's
| | 03:05 | actually overlapping those doors perfectly.
| | 03:08 | Now I can hold Ctrl and select that new
layer go back to the original Occlusion
| | 03:13 | layer and delete from it.
| | 03:17 | I'll make sure to turn it on here
in the Layer view and hit Delete.
| | 03:21 | At the moment, we don't see a change,
however when I start to hide some things
| | 03:25 | we can really see a difference.
| | 03:26 | When I try off the glass, we can
see now I've got clear white in those
| | 03:31 | window glass areas.
| | 03:33 | What I'll do is to invert this, and
play with the blending mode a little bit to
| | 03:38 | get this in the right direction.
| | 03:40 | Remember that this is going to be a
diffuse texture with an alpha channel
| | 03:43 | defining transparency.
| | 03:45 | I'll take this new level of
windows that are white and cut out,
| | 03:50 | move them above that Dirt overlay group.
| | 03:52 | The reason for that is I have set the blending
mode for the Dirt overlay group as Multiply.
| | 03:56 | If I take this and invert Layer 8, I'll get
black windows, not be able to see through them.
| | 04:01 | What I'm going to do now and now that
it say Normal blending mode is invert
| | 04:07 | that, then I'll go and play with the
levels to bring some of the black out, so I
| | 04:11 | actually get my gray back in my windows.
| | 04:13 | But it's a terrific start
to light dirt in the corners.
| | 04:18 | I'll choose Image > Adjustments > Levels.
Working on that layer, I'm going to play
| | 04:24 | with these levels until
it starts to get brighter.
| | 04:28 | I'll bring the midpoint down and
we can see that getting lighter.
| | 04:32 | I can also take the Output level up
and there's that gray coming back in.
| | 04:35 | Now bear in mind, this is running as a
Normal layer, what I want to do is change
| | 04:41 | this over to maybe a Screen, or if
that doesn't work, try it as a Multiply.
| | 04:47 | There's that white and I'm
getting my gray in my windows.
| | 04:51 | I can take the Opacity down and it
starts to blend in a little better.
| | 04:55 | I don't mind the windows
looking generally deep and gray.
| | 04:58 | I can always pick the glass
layer and adjust its color.
| | 05:02 | When I turn it back on you can
see I'm almost losing my dirt.
| | 05:05 | Between the two, I can balance it out
to make windows that were clear, that
| | 05:09 | are dark in color but will be somewhat
transparent, that have dirt in all the corners.
| | 05:14 | Now I'll start adding in some dirt.
| | 05:17 | I'll take this glass, and brighten it
up just to touch, pressing Ctrl+U for
| | 05:21 | Hue/Saturation and increasing the Lightness.
| | 05:24 | You could go in to Brightness/Contrast
| | 05:25 | if you want, but I find having a
hotkey for Hue/Saturation makes it easy.
| | 05:30 | Now on this Layer 8, I'm going to
work in light gray, hitting B for Brush,
| | 05:36 | holding Ctrl and selecting that layer to
constrain my painting just to that glass.
| | 05:42 | I'm going to lighten up that gray considerably.
| | 05:44 | Going to the Brightness slider and
bringing it up, and yes it does have a little
| | 05:48 | bit of blue to it which is okay.
| | 05:50 | And I'm going to paint instead of a
Linear Dodge as a Screen and I'll add in
| | 05:56 | just some lightness along here.
| | 05:57 | Adding in some dirt and smudges and
general wear and degrading in the glass.
| | 06:05 | I'll paint this in.
| | 06:06 | It's okay to go little heavy with it.
| | 06:08 | Remember, we are going to have some
transparency on here, so dark, clouded, dirty
| | 06:12 | windows are just fine.
| | 06:14 | I'll increase the brush size
just a bit, and add to the tops.
| | 06:19 | When you're painting, it's important
to paint in overlap, what that means is
| | 06:24 | that rather than painting at 100%
strength with a big hard brush, paint a little
| | 06:28 | bit at a time and let that wear build up.
| | 06:32 | Remember this took years to get to the
state that it's in and so you need to
| | 06:36 | take a little time and build that wear up.
| | 06:38 | Therefore we get the feeling these
windows got dirty in the corners over time
| | 06:43 | and maybe some spiderwebs and other folks.
| | 06:45 | We'll start to see, and even with a
little over paint there, is that these windows
| | 06:51 | take on a rich, dirty look.
| | 06:54 | I'm going to make this color a
little bit brighter, and give it just a
| | 06:57 | little more Opacity.
| | 06:58 | I'm using the up arrows to bring that up.
| | 07:01 | Any time you have a number field in Photoshop,
you can use your arrows to go one at a time.
| | 07:06 | I'll bring this up and paint right
over, adding in dirt on the windows.
| | 07:10 | In this case, this particular window
is really dirty right here, almost completely milky.
| | 07:14 | I'll add a few more in.
| | 07:17 | I'm painting with a mouse in this case.
| | 07:20 | If you're painting with a tablet that
is spectacular, let me tell you I've had
| | 07:24 | to paint sometimes in the
airport with a track pad on a laptop.
| | 07:28 | So I think it's worth having good
painting techniques and good organization,
| | 07:31 | so you're versatile in how you're painting.
| | 07:33 | If you've got Wacom or Cintiq or
some other kind of tablet and you've the
| | 07:39 | ability to draw right on it
and paint that is terrific,
| | 07:42 | but sometimes you just make do with
what you have and learn to get good results
| | 07:46 | from your art and not just the hardware.
| | 07:51 | I'm almost done with my windows and I'll take
it back over to Maya and see how it works.
| | 07:58 | I'm always going to save out my
working PSD, pressing Ctrl+Shift+S and
| | 08:03 | calling this Diffuse_end.
| | 08:06 | Then I'll save out a TIFF image,
pressing Ctrl+Shift+S to Save As again,
| | 08:10 | and saving out my TIFF, calling it 07_04_Diffuse_end,
and turning off Alpha and Layers.
| | 08:19 | Now I've made that goof again so I
need to save it out one more time.
| | 08:22 | I've still left my Template layer on.
| | 08:25 | Remember, this is an easy one to
miss, and I missed it which is okay.
| | 08:28 | Because I've got a layered workflow,
it's very easy to turn off that layer and
| | 08:33 | simply resave that image.
| | 08:38 | Back here in Maya, I'll pick one of my
objects and go in and change that material.
| | 08:48 | There's my Diffuse_end.tif and I'll click open.
| | 08:52 | It works nicely. I can see my fixes are
showing up. My windows have a milkyness
| | 08:57 | to them, suggesting age and built up dirt.
| | 08:59 | I've fixed the goof at the top, where
now my white side, it goes all the way up
| | 09:04 | instead of having a black stripe.
| | 09:05 | I've got a bit of a tile in the texture
here, which as long as I paint some more
| | 09:10 | streaking, might look kind of nice.
| | 09:11 | More importantly I'm adding in layers
and layers of dirt and wear on this,
| | 09:15 | building that up so it looks
like it really did age over time.
| | 09:18 | I'll finish painting the Diffuse
Map and then tackle the specular and transparency.
| | 09:23 | I'm almost ready to take this across into game.
| | Collapse this transcript |
| Painting specular and transparent textures| 00:00 | My diffuse image is shaping up nicely,
and now I'm ready to think about the
| | 00:04 | specularity and transparency for my gas station.
| | 00:07 | I need a couple of different
things here to bring it across to game.
| | 00:10 | I've got a diffuse map and a normal map going.
| | 00:13 | I need to add in a Specular channel in
some place and also define my transparency.
| | 00:19 | I'll take a look in Unity and see what I
need to make, then go back to Photoshop
| | 00:22 | and see what I need to do.
| | 00:24 | I've got Unity opened in a
completely blank project.
| | 00:27 | I haven't imported in any of
the packages for controllers.
| | 00:29 | I'm going to make a new material
just to look at what it needs here.
| | 00:34 | I'll choose Create > Material.
| | 00:37 | The default material is just to diffuse;
| | 00:39 | all it has is an RGB base.
| | 00:42 | I've got a couple of
different things I'm going to need.
| | 00:45 | The first is a Bumped Specular, and
this'll help me on the walls, doors, et cetera.
| | 00:50 | So what I'll do is in the
Alpha Channel, put the specularity.
| | 00:53 | What we can see here is that in the
base RGB is the color and the glossiness is
| | 00:58 | in the Alpha, then I've got a
separate slot here for a normal map.
| | 01:02 | For the doors, I'm going to use a
different material with the same image.
| | 01:06 | Under Transparent, I've got Bumped Diffuse
and Bumped Specular; here is the difference.
| | 01:12 | In a Bumped Specular transparent material,
the transparency and gloss is in the Alpha.
| | 01:20 | Under Transparent in a Bumped
Diffuse, it's just the transparency in the
| | 01:23 | Alpha which is more suited to
the matte finish doors I've got.
| | 01:27 | I'll try it in both and see which
works when I get into Unity in the next
| | 01:30 | chapter, but I know at least, I need to
get my specularity, my glossiness we'll
| | 01:35 | call it, and my transparency in the Alpha.
| | 01:38 | Ideally I can use one alpha for both,
but if I need to vary it slightly I can.
| | 01:42 | If it comes down to it, I can always
bring in a black RGB with an Alpha channel
| | 01:47 | separate for the right transparency.
| | 01:49 | We've got some different options in here,
but I'd like to keep it as concise as possible.
| | 01:53 | Here in Photoshop, I've pulled out my
reference image, just to check and make
| | 01:56 | sure I'm thinking right on the surfaces.
| | 01:59 | It looks like most of the building is
fairly a matte finish. Maybe there's
| | 02:03 | a little bit of a gloss going on here
on the canopy and some of the other surfaces.
| | 02:08 | The doors however are painted wood
and have lost their shine years ago.
| | 02:12 | The glass may still have a little bit of
shine and we can tell by the reflection
| | 02:16 | here, but really it's the
only shiny part on this.
| | 02:19 | However, it is a transparent material.
| | 02:23 | So I need to have transparency here and then
see if I can manage reflection in some way.
| | 02:28 | This is a place if you feel like
getting a little more customized in Unity,
| | 02:31 | you can use additional packages
available such as the Strumpy editor for getting
| | 02:35 | extra material pieces into your materials.
| | 02:38 | I will work with the default Unity packages
for the moment and see how good I can get this.
| | 02:43 | I've got my Diffuse PSD app with all
of my layers, and I'm going to make
| | 02:48 | an Alpha channel that's got the right
parts in it for hopefully Shine and Transparency.
| | 02:53 | Being that the bigger component
of this is really the transparency.
| | 02:56 | Can we see through the windows or
not? I'm going to work on that first.
| | 03:01 | Over in the Channels palette, I have
an Alpha channel left over from the
| | 03:04 | original import, I am going to take
this Alpha and delete it or just clear it.
| | 03:10 | Now I have exactly no transparency in the image.
| | 03:13 | I will make a new channel,
which will be called Alpha 1.
| | 03:17 | What I'll do to get the Alpha channel
right is to either copy and paste or
| | 03:21 | select Layer 8, which is my dirt and
glass overlay, and paste into the Alpha.
| | 03:27 | I'll try a couple of different versions first.
| | 03:29 | I'll hold Ctrl, click on the Layer
thumbnail to select that layer by marquee.
| | 03:34 | I'll press Ctrl+C for Copy, and with
the marquee still up go over the Channels.
| | 03:39 | In the Channels, I'll make sure I've
got my Alpha channel ready, and I'll paste
| | 03:42 | that in pressing Ctrl+V. Pasting that
in allows it to paste into that marquee.
| | 03:48 | Now in the Alpha channel, I need to
fill the rest of this with white so that we
| | 03:53 | can't see through the building.
| | 03:55 | I'll press Ctrl+Shift+I to invert
that selection, and G for the Paint
| | 03:59 | Bucket. I'll fill that selection in in
white, and there's the transparency for my windows.
| | 04:05 | This should do a pretty good
job defining the shine hopefully.
| | 04:09 | What I'll do to see if this works,
before I start pulling everything into Unity
| | 04:12 | and organize materials and so
forth, is to do a quick test in Maya.
| | 04:17 | I'll turn back on my RGB
channels, and turn off the Alpha.
| | 04:19 | I'll go back on the layers and
make sure I have a layer selected.
| | 04:24 | If you can't select a layer make sure
in your channels you have one of the
| | 04:27 | RGB is selected, or RGB.
| | 04:30 | Now in the Layer menu, you
can select one of your layers.
| | 04:33 | I'm going to make sure my Template
layer is off and save this out, pressing
| | 04:37 | Ctrl+Shift+S to save it out as a TIFF.
| | 04:41 | In this case, I'll uncheck
Layers but leave Alpha Channels on.
| | 04:44 | I'll call this Diffuse_end.
| | 04:49 | I'll click Save, and notice here in
the Image Compression, we've got a couple
| | 04:53 | of different options.
| | 04:54 | It's so quick to just click OK on this,
but sometimes we miss what's going on.
| | 04:58 | TIFFs can carry different
compression. LZW is a lossless or a numerical
| | 05:02 | compaction, which simply records things
like the all-black pixels at the top and
| | 05:07 | compacts them, stating one and
repeating that value; JPEG or ZIP or possibly
| | 05:13 | lossy compression depending
on how we would like to use it.
| | 05:16 | I can also run uncompress
to let Unity compress it.
| | 05:20 | As this is a working texture, it
doesn't matter much, although when you get
| | 05:23 | farther in, it may be worth making these
uncompressed by choosing None and then
| | 05:28 | letting Unity actually do the compression on it.
| | 05:31 | I'll click OK and go over to
Maya and see how this looks.
| | 05:35 | Here in Maya, I'm going to
swap out my texture yet again.
| | 05:38 | In the color texture of that unwrapped checkers,
I'll go in and pick the right file.
| | 05:47 | What happens here is that Maya
automatically puts the Alpha channel in the
| | 05:51 | Transparency, what this gives me
then is windows I can see through.
| | 05:56 | I can see through some of the
building where it's got well, mistakenly the
| | 05:59 | texture on the ceiling, that's the roof there.
| | 06:02 | But more importantly, as I spin
around this, in the places that it's applied
| | 06:05 | correctly, I can see through.
| | 06:08 | What I may want to do is dim down that
transparency, as I'm almost completely
| | 06:12 | losing my dirt on the windows.
| | 06:14 | However, it's working nicely.
| | 06:16 | I can see where I need to
shift around some things.
| | 06:19 | As I've got see-through canopy elements
and other things that I can see through
| | 06:23 | that I probably shouldn't.
| | 06:24 | However, where it's
working, it's working nicely.
| | 06:27 | Over here on the side, I've got cloudy windows.
| | 06:31 | I'll pull the light
around and see if this works.
| | 06:38 | When I pull that point light
around, I'm seeing the same thing.
| | 06:41 | Yes the windows are cloudy,
| | 06:43 | yes they look decent although, I
think the transparency is too high.
| | 06:48 | One of the things we're seeing here
is that we really need to pull back
| | 06:52 | the amount of transparency we have, in order
to make the glass really show up correctly.
| | 06:57 | I'm also not seeing any kind of
reflection, and I've got a little bit of a
| | 07:00 | clipping issue right here at the corner.
| | 07:03 | I think that's just a redraw issue
where I was seeing through that, as it looks
| | 07:06 | fine from this side.
| | 07:08 | I'll fix that glass and test it one more time.
| | 07:10 | By the way, on the interior here, my thought is
that the building is going to be inaccessible.
| | 07:16 | It's simply something to go around;
| | 07:17 | maybe we need to discover
something around the back.
| | 07:20 | So inside, I'm going to use a solid
white color in Unity, that way it lights up
| | 07:25 | correctly, dimly, and we can see
there's white walls inside but since we can't
| | 07:30 | go in I'm not going to spend the time texturing.
| | 07:32 | As an alternate, I could take those walls and
stack their UVs just to match the others.
| | 07:37 | We've got some different choices
depending on what we want to do.
| | 07:41 | There again is that
transparency and clipping issue.
| | 07:44 | It's not a big deal.
| | 07:45 | It's really just a graphics card minor goof.
| | 07:48 | I can always go back to the high-
quality display and see if that's any better.
| | 07:52 | There at least is my transparency,
and I definitely still need to lower it.
| | 07:57 | Here in Photoshop, I've gone over to the
Channels palette, and there is my alpha channel.
| | 08:01 | What I'm going to do is
actually make this much brighter.
| | 08:04 | I'll choose Image > Adjustments > Levels.
| | 08:08 | I've got Levels, Curves,
and Brightness/Contrast.
| | 08:10 | Because we're in the alpha channel,
some of the other filters are grayed out.
| | 08:14 | I'll choose Levels and I'm going to
slide this middle back and forth until those
| | 08:18 | windows get brighter.
| | 08:19 | I want to keep my bright range and keep
my darks, but I have some transparency in.
| | 08:23 | I'll try this out, and I can really
see where that dust is building up.
| | 08:29 | I'll turn back on my RGBs, and go back
to my layers and make sure one of them is on.
| | 08:34 | I'll save this out one more
time and see how it looks.
| | 08:40 | Remember, I've got some versions going
here, so I'm going to call this
| | 08:44 | end2, that way I can load them in and
even make a separate material and see them
| | 08:48 | side-by-side and judge what looks better.
| | 08:50 | I'll uncheck Layers, make sure
Alpha is checked and hit Save.
| | 08:57 | Back here in Maya, I'll pick that
material, go in and just swap out that image.
| | 09:03 | I'll put a 2 at the end of end, and hit Enter.
| | 09:09 | I'll make sure I do this on the Transparency as
well if it does not do it automatically.
| | 09:13 | It looks pretty good, it updated that
with the new alpha channel, and I can see
| | 09:17 | through my windows a little bit less.
| | 09:19 | Especially right here on this side, I
can definitely tell that I've got well
| | 09:23 | some serious dirt going on the windows.
| | 09:25 | It's working wonderfully.
| | 09:26 | I'll check it in Viewport 2.0,
and see how this looks.
| | 09:33 | It's pretty good.
| | 09:34 | Here's one last way to test this.
| | 09:37 | If you take a light, such as the spot
instead of a point, and you turn on depth
| | 09:41 | map shadows, Viewport 2.0 can display them live.
| | 09:45 | As an alternate, you can put in a Ray
Trace directional light to simulate the sun
| | 09:49 | and see how this looks in
the high-quality display.
| | 09:53 | I'll delete that point light and go
over to my High Quality Rendering to start.
| | 09:58 | I'll hit 6 to show Textures only,
and put a directional light in.
| | 10:02 | It's important to test this before you
get in game, you've got different ways
| | 10:06 | of testing built-in, has graphics cards evolved
over time and gotten more and more powerful.
| | 10:11 | I've made a directional light.
| | 10:13 | I'm rotating it in the scene to aim down.
| | 10:15 | Let's say a long, low sun.
| | 10:17 | I'll move it up out of the way,
and turn on some Ray Trace Shadows.
| | 10:22 | I'll go under the Shadows, turn on Ray
Trace and under the Lighting choose Use
| | 10:28 | All Lights or hit the number 7, then
under Lighting I'll check Shadows, and I
| | 10:34 | can see it pretty nicely.
| | 10:36 | This gives me a better representation.
| | 10:39 | Obviously, we're seeing a little bit of
a quality hit under the canopy as those
| | 10:42 | shadows are rather jagged.
| | 10:44 | But at least I get the idea of the
dark interior, seeing through the windows, and
| | 10:48 | I get a pretty good
gauge of the windows working.
| | 10:51 | They're definitely dirty.
| | 10:53 | I could even pull back their Alpha
channel just a little bit more, and get
| | 10:56 | them even more opaque.
| | 10:59 | It's a neat way to test it because we're
going to similar conditions in the game.
| | 11:03 | We're seeing a minor display
issue here and it's not a big deal.
| | 11:06 | Really what I'm concerned about is
the transparency and the windows looking
| | 11:09 | correct and seeing into the, well
murky darkness of the abandoned gas station.
| | 11:14 | I'm going to leave the transparency map
alone, and I'll see if this works in the
| | 11:19 | Alpha channel for a specular
or see if it gets me too shiny.
| | 11:22 | It might work nicely or it
might give me a blown out building.
| | 11:26 | I'll test this in the next chapter
when I get these things ready for Unity,
| | 11:29 | and if I have to quickly make a different Alpha
channel to use for specular components I will.
| | 11:34 | My one ally in this is that this
building is weathered and so a lot of the gloss
| | 11:39 | has worn off and surfaces are rough and matted.
| | 11:42 | I need more transparency than I
need shine in this particular place.
| | 11:46 | When you're painting your textures,
make sure you account for the wear and tear
| | 11:50 | you got going on. Make sure you
account for the years something may have set
| | 11:54 | out in the weather and rain,
| | 11:55 | and how things, well sag, rust, get
dirty and generally degrade over time.
| | 12:02 | Build it up in layers and think about the
size of things in your texture sheet as well.
| | 12:06 | It's a big deal to get the textures right.
| | 12:09 | Remember, in a game it's very likely
to get this close to something, and this
| | 12:13 | door looks pretty good up close.
| | 12:15 | If this didn't look good, people
would judge it and lose track of what
| | 12:19 | they're doing in the game.
| | 12:20 | So we have to look at this and say of
course, it's a weathered beaten up garage
| | 12:24 | door, and not thinking anything of it.
| | Collapse this transcript |
|
|
8. Importing into the Game Editor and TestingCleaning up, exporting, and importing the model| 00:00 | In this chapter I'll take my
completed gas station and look at bringing
| | 00:04 | it across into Unity, doing some cleanup in
the model and exporting out the texture.
| | 00:09 | Finally, in Unity I'll add some
lights in and get some materials fairly
| | 00:12 | tuned up, so it starts to look pretty good
and we can see if it's really going to work.
| | 00:17 | What I've done then is to pick up any last
UVs that were hanging out there unfinished.
| | 00:22 | I've done the foundations and also
put a dull, dirty concrete color on these
| | 00:26 | little sidewalks in the island.
| | 00:28 | We're also seeing a bit of
the display card goof here.
| | 00:31 | Sometimes display cards have issues
displaying transparency in Viewport 2.0.
| | 00:36 | It's nothing to become alarmed about.
| | 00:37 | It just means that because there is
transparency in the image, Maya is having
| | 00:41 | a little trouble showing it in the
right place and there is not really a good
| | 00:45 | fix for it the moment.
| | 00:46 | You can always check for the latest
graphics drivers or you can say, yes, it's
| | 00:50 | working in the right parts and
it should work fine in the game.
| | 00:54 | To fix this and make sure it's working,
| | 00:56 | I'll just pick any object with that
material and break that connection,
| | 00:59 | right-clicking on Transparency and breaking.
| | 01:02 | With that broken, my windows are
black again and as I spin around I can see
| | 01:06 | it looks pretty good.
| | 01:07 | I am going to put a separate material
on the sign and the air conditioner.
| | 01:11 | And I've got my shadows going pretty
dark on the back, so I may want to turn
| | 01:15 | those off by choosing
Lighting and unchecking Shadows.
| | 01:18 | Alternately, I can hit 6 and
just see the view without lights.
| | 01:23 | I can see some places where there's a
little bit of a mismatch in the texture
| | 01:26 | and a lit bit of a span, but I'm okay
with it as I may see other things next to
| | 01:31 | it; props such as dumpsters or
stacks of tires or whatever, plus variable
| | 01:34 | lighting, so I think this will work.
| | 01:36 | I've cloned the door around the back and I
had to stretch these just a little bit.
| | 01:40 | I think it will be okay and maybe one
last fix is to actually white out this door.
| | 01:45 | The side door and backdoor are
actually solid in the reference, and the front
| | 01:49 | door we could say is boarded over and painted.
| | 01:52 | I'll leave the windows
alone for the other parts.
| | 01:54 | I've finished the canopy as well
applying that same dingy white texture on all
| | 01:59 | of its elements and even in the varied
lighting here just in the default view
| | 02:03 | it looks pretty good.
| | 02:04 | I think I'm ready to go, so I'll do
a little cleanup in my scene first.
| | 02:09 | You don't have to delete history, but
sometimes it's a good idea to reduce file size.
| | 02:13 | You can do this by picking objects and
pressing Shift+Alt+D or Alt+D. I also may
| | 02:22 | want to combine some things
depending on how I'm running it.
| | 02:25 | At the moment I've got a lot of different parts.
| | 02:27 | As an example, these are separate objects.
| | 02:31 | Really if I can reduce this down to
basically one object it's one draw call,
| | 02:35 | instead of a draw call
in Unity for each element.
| | 02:39 | So that's another thing to do, but
I'll start out with getting the right
| | 02:41 | materials on so that when I bring it
in Unity, I can change the material
| | 02:45 | properties for materials that are already
assigned, instead of making more and more new ones.
| | 02:50 | It's very flexible how you do this.
| | 02:52 | I'm going to do it so it's easier to
organize and pick the parts inside.
| | 02:56 | Right now I've got my texture map
splayed all over these inside elements.
| | 03:00 | What I'll do is I'll pick these
inside walls and ceiling and assign a new
| | 03:05 | material to them, right-clicking
and choosing Assign New Material.
| | 03:09 | I'll put on here just a Blinn
and I'll call this Blinn inside.
| | 03:14 | I'll do this just so I can find
it and make it moderately white.
| | 03:18 | I'll pick the other elements and right-
click and Assign an Existing Material,
| | 03:24 | and there is my inside.
| | 03:25 | All this is doing is helping me
organize a bit and taking care of places that I
| | 03:29 | am not really going to see well, but
need to have a surface so I don't see
| | 03:34 | through the back of my building.
| | 03:35 | I'll right-click and Assign
an Existing and choose inside.
| | 03:41 | Looks like I have just a couple of more elements
and I can hit G to repeat last in this case.
| | 03:46 | Now the inside is all white.
| | 03:47 | I may want to put in a backing polygon
for the door, but I can do that later
| | 03:51 | once I see how this looks when I bring it in.
| | 03:53 | I'll also need backing polygons for the
garage door or I can take the existing
| | 03:57 | poly and mirror it over.
| | 04:01 | I'll put a new material on my sign.
| | 04:03 | I can deal with incandescence or
making things look lit if I need, and I also
| | 04:08 | need to paint a texture for it.
| | 04:09 | I think what I'll do is say that this
is part of a larger project and there are
| | 04:12 | other signs that are generally broken.
| | 04:15 | Ultimately I can simply unwrap it
and put it onto my texture sheet.
| | 04:19 | For now I'll put a new material on, and I'll
call this material after I've put it in, sign.
| | 04:29 | I'll put one more on here, right-
clicking and assigning a New Material, this one
| | 04:33 | will be air conditioner.
| | 04:38 | My thought is I'll end up with other
buildings in my scene and I may have a
| | 04:42 | library of just air conditioner texture
that will apply to multiple pieces as I
| | 04:46 | run around the rooftops and I see
really the same texture in a lot of places,
| | 04:51 | everybody's got an air
conditioner on the top of their building.
| | 04:53 | So I'll leave this alone until
I can deal with another time.
| | 04:57 | I'll make sure that everything
else is assigned my right texture.
| | 05:00 | The small block here at the door and so
forth, just checking and verifying that
| | 05:04 | they've got those unwrap checkers on them,
which I've put in there, my maps that I've made.
| | 05:09 | Now I am ready to export.
| | 05:11 | I'm going to hide my lights and my
cameras, so I don't accidentally select
| | 05:16 | things, choosing Display > Hide > Hide Lights.
| | 05:20 | I'll also choose Display > Hide > Cameras.
| | 05:24 | It's a good idea to save out a working
version of a mesh that's all separate
| | 05:28 | like this, in case you need to adjust it.
| | 05:30 | Then you can take a version and
combine it and then save that out.
| | 05:34 | To get this across to Unity, I'll
select everything in here and combine it.
| | 05:39 | I could leave things separate if needed,
but I'm going to choose to combine as
| | 05:42 | this is really one object
I'll place in a landscape.
| | 05:45 | I'll have other things around it that
the player can interact with and pick up,
| | 05:48 | such as tools or other props.
| | 05:50 | I want to reduce the number of draw
calls I am dealing with, and so, I'll
| | 05:54 | choose Mesh > Combine.
| | 05:57 | Here's the neat thing before I combine
it, right now if I look in the Texture
| | 06:01 | Editor, I've got everything in there stacked.
| | 06:04 | I'll make sure I go back, select
all of my objects and there they are.
| | 06:10 | I can see a bunch of things in here.
| | 06:11 | These backwards UVs are probably some
of my air conditioners or other parts and
| | 06:16 | I've got a giant mess or
so it looks, of stacked UVs.
| | 06:20 | In reality it's working beautifully,
everything is stacked where I wanted it to be.
| | 06:27 | I'll choose Mesh > Combine.
| | 06:30 | It combines it into a single mesh and
I can delete the history by pressing
| | 06:34 | Shift+Alt+D. It's a much cleaner object now,
and it's got multiple materials on it.
| | 06:40 | I am going to name this material unwrap_checkers
over to something different.
| | 06:43 | In this case I'll call it gas_station.
| | 06:47 | Now in Unity these names will
come across, gas_station, inside,
| | 06:51 | air_conditioner and sign.
| | 06:55 | I can name this object as well.
| | 06:57 | I may want to call this something like
Gas_Station01, in case I want to clone it
| | 07:01 | as part of my environment.
| | 07:04 | I'll go back and check out my Texture Editor.
| | 07:06 | You don't have to do this, but
it's nice to see it sometimes.
| | 07:10 | This is the neat part, what I've
got here is that same stack of UVs.
| | 07:14 | Although we look at this
and say, wow, what spaghetti!
| | 07:16 | In reality it's working perfectly.
| | 07:18 | I can discern my curbs, I can see my
garage door cleanly, I've got my windows
| | 07:24 | and doors right up here and
everything is simply stacked as I'd put it in.
| | 07:31 | Once you've got things unwrapped or UVed,
combining and extracting doesn't affect it.
| | 07:36 | So I want to combine it
to reduce the draw calls.
| | 07:39 | Now I am ready to export it, but before I
do that I'll go set up my Unity project.
| | 07:44 | I've opened up Unity and
have not set up a project yet.
| | 07:47 | The idea in Unity projects is
analogous to a Maya project.
| | 07:51 | We've got a structure that contains our
assets we're going to use, and if we set
| | 07:55 | the project first, when we open our
scenes, everything is in the right place.
| | 08:00 | I'll choose File > New Project here.
| | 08:04 | I'm going to Browse to make a new
project in a directory I've got for
| | 08:07 | the exercise files.
| | 08:12 | Here in my Exercise Files folder I'm
going to make a new folder and I'll call
| | 08:17 | this one Game Environments Unity.
| | 08:20 | Once I've got a new folder created and
named, the Select Folder button becomes
| | 08:24 | available and I'll click on it.
| | 08:26 | In Unity, things import as Unity packages,
basically components we can choose to
| | 08:31 | bring in that are readymade if we need.
| | 08:34 | I'm going to bring in
just a few of these to start.
| | 08:36 | I'll add in the Character Controller, so
I can navigate around, Light Flares and
| | 08:40 | Light Cookies, so I can put in shapes on lights.
| | 08:44 | I usually like to bring in Particles,
Physics and let's see what else is in here.
| | 08:49 | Scripts are good, in case we need
some quick interactivity, as are Skyboxes.
| | 08:53 | I may not use all of them, but
importing them in doesn't hurt.
| | 08:58 | I'll bring in some Basic Water and
maybe some Trees. I may not place them, but
| | 09:03 | again, having them in is always good.
| | 09:05 | If I forget to import these in, I can
always go back and import them through
| | 09:08 | the Project window.
| | 09:10 | I'll click on Create and I'm not going
to save my blank project here that I had.
| | 09:17 | Unity is going to take a minute and
create a new project folder, importing
| | 09:21 | those standard assets in and presenting me with
again, a blank project with those pieces.
| | 09:28 | Unity started out and gave me
a minor warning flag down here.
| | 09:32 | Just one of the info files has a space
in it, which is not a big deal, it's just
| | 09:37 | saying be careful with the naming.
| | 09:38 | Unity is pretty good about letting you
know if things are amiss, even if it's
| | 09:42 | something you created
while opening up a blank scene.
| | 09:45 | More importantly in my Standard Assets,
I've got all of the things I imported
| | 09:48 | in, all of my packages, such as my
Character Controllers, and so forth.
| | 09:52 | Now I am going to do some organization.
| | 09:55 | In this project I can bring in assets
by taking them out of Maya and dropping
| | 09:59 | them in that Unity project.
| | 10:01 | At the moment I have nothing in my scene.
| | 10:03 | I'll go back to Maya and look at my export.
| | 10:07 | In Maya, I've been working in inches.
| | 10:09 | I started out in feet and then got into
modeling and switched over to inches for
| | 10:14 | a little bit finer model.
| | 10:15 | For Unity, our units are meters,
so I need to export as meters to get
| | 10:19 | this across correctly.
| | 10:20 | It doesn't mean I need to rescale the
mesh, it means I need to re-measure it.
| | 10:25 | Here's how I'll make this work.
| | 10:27 | First, I'll select my building.
| | 10:29 | I want to make sure I'm exporting
selected objects, rather than a whole scene.
| | 10:33 | That way in case I have something else
still showing, such as one of my high-res
| | 10:36 | doors, it doesn't accidentally come across.
| | 10:39 | I'll choose File > Export Selection.
| | 10:43 | We can export Maya's scenes straight into Unity.
| | 10:46 | However, intuitive versioning in Maya and
Unity and which one you have or download;
| | 10:51 | we may see some slight issues.
| | 10:53 | It's always safe to export out as an
FBX file, which is what I'm going to do.
| | 10:58 | I'll click on Export Selection and in
the Export Selection dialog, I'll change
| | 11:02 | the Files of Type over to FBX.
| | 11:08 | I'm going to redirect this over to my
Unity project, going up in my exercise
| | 11:12 | files, into that Unity
and into the Assets folder.
| | 11:17 | In Assets, there are my
Standard Assets, all of my packages.
| | 11:21 | What I'll do is now call
this file 08_01_export_end.
| | 11:28 | I need to tune up a few things first.
| | 11:32 | Here's the things that need to come across.
| | 11:34 | In Geometry, I want to make sure my
Smoothing Groups get exported.
| | 11:38 | That way my hard and soft
edges come across correctly.
| | 11:41 | I am also going to scroll down and make
sure that I am not taking across Lights;
| | 11:47 | I am going to do my lighting in Unity.
| | 11:49 | Cameras are hidden and I don't have
any of them selected, I don't think.
| | 11:53 | I'll also look in the Advanced
Options and there is my Units.
| | 11:57 | You can work in any units you want, but
I want things to come across at a scale
| | 12:01 | of 1, so I am going to
bring it across as meters.
| | 12:04 | I'll uncheck Automatic and make
the File units converted to Meters.
| | 12:09 | This way when things come across into
Unity with whatever Scale Factor there is,
| | 12:14 | Unity's scale can be 1, and my Character
Controller which is 2 meters high will
| | 12:19 | fit in the scene correctly.
| | 12:22 | I'll hit Export Selection and it
takes a brief second and exports.
| | 12:27 | I'll go over to Unity and it will
import it in automatically for me.
| | 12:31 | Here in Unity, I can see that model came in.
| | 12:34 | When I bring it in, the
Scale Factor initially is 0.01.
| | 12:38 | The idea is it's made for Maya and it
wants to bring across stuff that was
| | 12:42 | modeled in Maya's default units of centimeters.
| | 12:45 | I am going to change this to 1, and hit Enter.
| | 12:49 | We've got some different options in
here, in terms of how are we generating
| | 12:52 | colliders, and colliders let us not
pass through the walls of the building,
| | 12:56 | but instead bounce off.
| | 12:58 | If we make colliders based on a mesh,
every object in here will become a
| | 13:02 | collider based on its polygons.
| | 13:04 | It's okay to do this for a test,
although, when you're making a game you may
| | 13:08 | want to take boxy objects such as the
building, and rather than having every
| | 13:12 | part of the mesh be a collider, fit it
with a box collider, which is cheaper on
| | 13:16 | drawing and rendering power.
| | 13:18 | For now I'm going to check Generate Colliders.
| | 13:21 | I'll scroll down and there's all my materials.
| | 13:25 | It looks pretty good so far.
| | 13:26 | I'll come in and tune those up in a
bit once I get the textures across.
| | 13:31 | I'll click on the Apply button and it applies it,
and now I have two ways to get this in.
| | 13:37 | I can drag my Mesh from the project
window right into the viewer, or I can
| | 13:41 | drag it over into the hierarchy, and
this way it's going to come in, in the
| | 13:45 | place I created it.
| | 13:46 | There is by building and I'll press F to focus.
| | 13:49 | The user navigation is like Maya, Alt+
Left-mouse, Alt+Right-mouse for dolly,
| | 13:54 | Alt+Mouse-wheel for panning,
pretty straightforward.
| | 14:01 | The cool part is my building
came across and it's one draw call.
| | 14:04 | It's ready for its texture and ready
for some fine-tuning of the materials.
| | 14:09 | The last thing I'll do when I am getting ready
to test this is get some ground in here.
| | 14:13 | I'll choose Game Object
> Create Other > Plane.
| | 14:18 | I'll make a Plane, press R
for Scale and scale it out.
| | 14:22 | I'd assume to model a ground plane at
another point and bring it across with
| | 14:26 | a tileable mapping.
| | 14:28 | In this case though, I'll press
W for Move and hold V for Snap.
| | 14:32 | I am going to register on one of
those points and snap this down to the
| | 14:36 | bottom of the building.
| | 14:38 | Then I'll pull this over just a little
bit and I've got a ground plane in here.
| | 14:42 | I'm going to save my scene.
| | 14:44 | We can save Unity
projects and scenes within that.
| | 14:47 | If you get really into making the game,
you may have multiple scenes which are
| | 14:51 | levels that you toggle between
or multiple scenes within a level.
| | 14:54 | For now just for testing,
one scene will do fine.
| | 14:57 | I'll choose File > Save Scene, and
I'm going to save this as 08_01_end.
| | 15:05 | It goes in my Assets folder in my Unity project.
| | 15:08 | This way I can pull up
different scenes if I need.
| | 15:11 | I am ready to start bringing my
textures across and getting my materials on.
| | 15:15 | Then I'll add lights in and see how
this looks to run around the gas station.
| | Collapse this transcript |
| Importing textures and marking them for use| 00:00 | In Unity, now that I brought in my
model, I'm ready to get my textures in.
| | 00:05 | I'm going to go into Photoshop and
start taking out some flattened pieces,
| | 00:08 | seeing if there is anything I need
to tune up or discard along the way.
| | 00:12 | I've opened up my Diffuse_
start.psd and my Normal_start;
| | 00:16 | I've also got my gas station
reference open just to be able to check.
| | 00:19 | I tend to keep reference open a lot
of times, just so I can toggle back and
| | 00:24 | forth and check on what I'm doing,
this looks pretty good so far.
| | 00:27 | I think the last thing I want to do
as part of that diffuse is take out the
| | 00:32 | glass here in that door.
| | 00:33 | A layered workflow makes this easy.
| | 00:34 | I'll scroll down and there's my glass layer.
| | 00:37 | I will zoom in and with a
marquee just select it and delete.
| | 00:42 | I'll delete here off the glass layer,
so it goes nice and white, and then I'll
| | 00:46 | go up to the glass dirt and take that
out as well, it looks pretty good, maybe
| | 00:50 | you needs a little bit of dirt on it.
| | 00:52 | I don't mind having the line there;
| | 00:54 | it's almost like a very, very thin
little reveal next to some plywood on the door.
| | 00:58 | Now I'm ready to save this
out and get it into Unity.
| | 01:01 | I'm going to save out two files from
Photoshop, a diffused with an alpha
| | 01:04 | channel, and a normal map.
| | 01:07 | I'll go to my Channels and
make sure I have my Alpha still.
| | 01:10 | Here in Layers, I'm going to make sure
that my template is turned off and I'll
| | 01:14 | save this out, pressing Ctrl+Shift+S
and saving out both the PSD as my final
| | 01:20 | working file, as well
as a flattened TIFF image.
| | 01:23 | I'm going to save my PSD in my source
images folder calling it Diffuse_end.
| | 01:30 | Now I'll save out the flattened TIFF,
pressing Ctrl+Shift+S and I'm going to save
| | 01:35 | out as a TIFF file with no
Layers, but an Alpha Channel.
| | 01:39 | I'm going to put this in my Unity project.
| | 01:42 | The neat part is that if you put stuff
in the Assets folder like we saw with the
| | 01:46 | model, it will import in
automatically when you go back to Unity.
| | 01:50 | So I'll call this 08_02_
Diffuse_end and as a TIFF.
| | 01:54 | I'll hit Save, and in this case I'm
going to run my Image Compression as
| | 01:58 | None, that way I will let Unity do all the
compression, where it handles it very nicely.
| | 02:03 | I'll click OK and then I'm going
to do the same with the normal map.
| | 02:08 | Here is my normal map and it's drawn
nice and big. I'll hit Ctrl+Shift+S and I'm
| | 02:13 | going to save this out as a TIFF image.
| | 02:17 | I'll put in the same place, going into
my exercise files, into Unity, and in
| | 02:22 | Assets, and I'll call this Normal_end.
| | 02:29 | In this case there's no Alpha Channel needed.
| | 02:32 | Sometimes we'll see alpha is used for
either a height map or something else.
| | 02:36 | One of the things I may want to do is
actually use the alpha and the normal map,
| | 02:40 | not for the normal map itself, but
if I find a need an extra map for the
| | 02:44 | specular channel in another material,
that way I'm only loading in two images,
| | 02:49 | but I'm using different
parts in different places.
| | 02:51 | For now, I'll turn off
Layers and turn off Alpha.
| | 02:55 | I'll hit Save, and again, make
sure the Image Compression is None.
| | 02:59 | I'll click OK, go back over to
Unity and see how this came across.
| | 03:03 | Well we're seeing here is that Unity
imported in those maps for me. I'm going
| | 03:07 | to put those in and test it out, and see
if there's anything I need to do in here
| | 03:10 | to really tune it up.
| | 03:12 | First, I'll get the images set up right.
| | 03:14 | I'll pick my diffuse map and I'll
check and make sure it's marked correctly.
| | 03:19 | When things come into Unity we have a
choice over how they're marked, and they
| | 03:23 | can be a Texture, a Normal, a GUI, an
Overlay, Reflection, a Cookie, Lightmap or
| | 03:28 | whatever you'd like in advance.
I'm going to use this as a texture.
| | 03:32 | The wrap mode and filters seem to be
working nicely, if we needed we could
| | 03:36 | always change these to be
specific instead of repeating around.
| | 03:40 | I leave it alone though, I'll click
Apply, and in this case we can also see Unity
| | 03:45 | is going to reduce that in size.
| | 03:47 | Remember, I had painted this at 2048
on a side, so I have the option here of
| | 03:52 | actually having it come in the
right size or the default of 1024.
| | 03:56 | I'm going to let Unity reduce it, as
it does a very good job, and it's going
| | 04:00 | to compress for me.
| | 04:01 | If I bring that in now we can see down
here in the bottom of the preview it's
| | 04:05 | coming across at 1024x1024 RGBA
Compressed 1.3 Megs, not too bad.
| | 04:12 | I'll hit Apply and it looks good.
| | 04:15 | For the normal map, I need to tag this
as a normal map, under Texture Type,
| | 04:20 | I'll choose Normal.
| | 04:21 | We do have some options in here in
terms of Filtering and Bumpiness.
| | 04:25 | I don't want to create it from the
grayscale, because I've already made
| | 04:28 | the normal map in here.
| | 04:30 | I've got some possibilities in Aniso
Level, how are we seeing it shined
| | 04:34 | essentially, in the edges. I'm going
to leave it alone and see if it works.
| | 04:38 | Again, letting it run at 1024,
coming out of 0.7 Megs down here in the
| | 04:43 | bottom looks pretty good.
| | 04:44 | I'll hit Apply and now I
can put in my materials.
| | 04:49 | When I pick my FBX object or my export
end, I can see the materials done in the bottom.
| | 04:55 | I'll scroll down and there are their properties.
| | 04:57 | They're all starting out as simply a
diffuse material, meaning it just has a color.
| | 05:03 | If I go into the Materials folder,
there they are, and I can adjust them as needed.
| | 05:08 | I'll pick the gas station material
and I'm going to change that shader.
| | 05:12 | Instead of just a diffuse, I'm
going to make it something different.
| | 05:17 | Because this shader is going to go on
everything, I'll go down under Transparent
| | 05:21 | and choose Bumped Diffuse.
| | 05:23 | I've got a diffuse map, the RGB, the
transparency I made an Alpha Channel and a
| | 05:28 | normal map to add in.
| | 05:30 | I can either drag the map over from
the Project window or click on the Select
| | 05:34 | button to get it in here.
| | 05:35 | I'll drag the Diffuse map right into
that None Texture and there it is in the gas station.
| | 05:41 | It looks pretty good, although I'm not
really stunned with how it's handling the transparency.
| | 05:46 | I may want to look at this in other ways.
I'll take the normal map and bring it
| | 05:50 | across as well, and now my gas
station has the right relief from the doors.
| | 05:55 | What I think I'll do temporarily,
just so I can see this better, is make it
| | 05:59 | instead of a Transparent Diffuse, just
a regular Bumped Diffuse, and come back
| | 06:04 | and deal with a transparency
only on the garage doors.
| | 06:07 | I'll dropdown here and pick Bumped
Diffuse, and now my windows are black, but at
| | 06:13 | least I'm not seeing through the building.
| | 06:16 | I haven't made maps yet for the inside or sign.
| | 06:18 | The inside I'm actually to going to
let run, just as a white solid, so it's
| | 06:22 | pretty good as it is.
| | 06:24 | I may need some other polygons again to
cover up some gaps and areas, but so far
| | 06:29 | it's working nicely, and there's
how it's going to look in game.
| | 06:32 | In the next video then, I'm going to
get some lights and a player controller to
| | 06:36 | be able to run around this
and see if it really worked.
| | 06:39 | I'll also look at making a
separate material just for those doors.
| | 06:42 | Part of which may include breaking out
some of that mesh, but I'll start out by
| | 06:46 | getting lights in and seeing if this
really holds up, if my painting and
| | 06:50 | everything worked as advertised.
| | Collapse this transcript |
| Adding lights to test smoothing and textures| 00:00 | With my model imported in Unity, I'm
ready to get some lights in and see my
| | 00:04 | scene. I'd also like to fix some transparency
issues with my materials and get a controller in.
| | 00:09 | Before that though I need to do some
organization, as you can see very quickly
| | 00:13 | my Project window is getting a little
crowded. I've got different scenes running
| | 00:17 | around, textures and the folders
for materials and standard assets.
| | 00:21 | We can right-click in the Project
window and choose Create > Folder and make
| | 00:26 | folders to help organize.
| | 00:27 | I'll make a folder here it called Scenes,
I'll make a new one called Textures,
| | 00:32 | right-clicking and choosing Create and
Folder. This will actually make folders in
| | 00:37 | that Unity project, not just here in
Unity, but will show up in that directory.
| | 00:42 | Now when I start to take things and
move them over, they'll be in the right
| | 00:46 | place, both in an Explore and here in Unity.
| | 00:50 | I'll pick my scenes, holding Ctrl
to add to the selection and drag them
| | 00:54 | into this Scenes folder.
| | 00:55 | Then I'll pick my textures and bring
them over into the Textures folder.
| | 01:00 | I'm going to leave this initial FBX
where it is, although, I could make an
| | 01:04 | import folder as well if I needed.
| | 01:05 | We can very quickly get hundreds of
assets going for a game, between scripts,
| | 01:10 | animations, other interactivity,
materials, textures, meshes, characters and so
| | 01:14 | forth, so being organized is really important.
| | 01:18 | Now in my Scenes I can click
on the Scene and enter into it.
| | 01:23 | I'm going to get a controller in first,
and then I'll put some lights in, and
| | 01:26 | finally deal with that material.
| | 01:28 | I'll go under Standard Assets and
scroll down and there is my Character
| | 01:31 | Controllers. I can even pull up the Project
window just a little bit to make it easier to see.
| | 01:36 | Here's a First Person Controller, which
is basically a capsule with a camera and
| | 01:40 | it's set to understand WASD as
controls, plus a mouse to look around.
| | 01:46 | I'll take this controller and either drag
it into the view, or into the hierarchy.
| | 01:50 | I'll pull it here into the view and it
looks like it's the right height, as we
| | 01:54 | orbit around, it's just about the height of one
of the doors, so I know I got my scale right.
| | 01:59 | Now I'm going to make a light. I'll
zoom out and I'm going to make a couple of
| | 02:05 | point lights around and a
directional light for the sun.
| | 02:08 | I'll choose GameObject > Create
Other > Directional Light, I'll take this
| | 02:13 | directional light and pull it out.
| | 02:14 | What we've got here are different ways
to rotate, right now this is placed in
| | 02:19 | the tool handle at the center
and I'm orbiting on the local axis.
| | 02:25 | I pull the sun back and I'll hit E
for Rotate. I'm going to switch from
| | 02:29 | local over to global and spin that sun
around, we can see where the light is
| | 02:34 | on the building as I spin.
| | 02:38 | I'll make sure that my sun is aiming
down at the building here, so I get some
| | 02:42 | good shadows, and under Shadow
Type I'm going to use Soft Shadows.
| | 02:46 | As a note here, this is a
professional version of Unity.
| | 02:50 | If you're using Unity Indie, you may
not see the Soft Shadow option available;
| | 02:55 | you'll need to bake your shadows.
| | 02:57 | I'm not going to cover baking in these
videos, as that's a whole different topic
| | 03:00 | in the lighting in Unity.
| | 03:02 | However, you can bake and get good
shadows if you're using Unity Indie.
| | 03:06 | In this case because I have the Pro
version, I'm showing my soft shadows
| | 03:10 | real-time in the view.
| | 03:11 | I'll aim the light over, shooting for
contrast between adjacent walls, making
| | 03:15 | sure my corners have good distinction.
| | 03:18 | If you have things that need to shine,
put point lights in, what I'll do is put
| | 03:22 | in some point lights choosing Create
Other, and Point Light, and then moving
| | 03:26 | these point lights out in my scene.
| | 03:29 | They tend to be fairly bright.
| | 03:31 | What I'll do is move them around fairly
close to the building and then pull back
| | 03:35 | their intensity, so they're very, very mellow.
| | 03:37 | I'll also add in a little bit of
blue here just to approximate a little
| | 03:42 | bounce from the sky.
| | 03:44 | In the sliders here, I'll work by HSV
or Hue/Saturation Value and pull that
| | 03:49 | Value and Saturation down.
| | 03:52 | Remember, lights get very big very
quick, they tend to add in and blow out surfaces.
| | 03:58 | In this case, I'm going to warm up
the sun just a little bit increasing
| | 04:02 | the Saturation and swinging the Hue
into the 40 range, and then pull back its strength.
| | 04:08 | Here in the intensity, I'll pull this
back just around 0.3, so it's muted
| | 04:13 | overcast sun. This way when I take my
point lights, bring their range out, and
| | 04:18 | drag up, and by the way, that was
select the number and drag on the name, I get
| | 04:24 | mellow light around it,
approximating the natural bounce in the sky.
| | 04:29 | I'll take this light and duplicate it
by pressing Ctrl+D. This isn't really a
| | 04:33 | complete lighting rig for this game, as
much as a test rig, to be able to let me
| | 04:38 | see what's going on.
| | 04:39 | I'll duplicate this light twice more,
so I have lights here out at the cardinal points.
| | 04:46 | This will give me a good idea
of how the surfaces will react.
| | 04:52 | I'll give it a quick test
and see if it's working.
| | 04:55 | What happens here is that there is a
Main Camera, there is also now my Player
| | 04:59 | Controller in the tags here is noted as
the Main Camera, but when I dragged that
| | 05:04 | First Person Controller in, it becomes
checked as the default camera to go to.
| | 05:09 | I'll hit Play and I'll go into the game.
| | 05:13 | Now I'm actually navigating
around and seeing my building in game.
| | 05:17 | There are project settings in Unity,
if you'd like to get to anti-aliasing.
| | 05:20 | Right now the settings are good, which
is halfway decent, and I show some obvious
| | 05:25 | stair stepping or aliasing, but it
displays fairly quickly, and I'm here to
| | 05:29 | test rather than export a build and
choose in the viewer, good, beautiful or
| | 05:34 | fantastic as my display modes.
| | 05:36 | I also haven't done anything to the
shadows in that light, so we can see some
| | 05:40 | obvious shadow quality issues, but
it's definitely my degraded gas station.
| | 05:48 | As I go around to the back, I can see
some minor issues in the door I need to
| | 05:51 | iron out in the UVs, but again, those
extra point lights really help perk up the
| | 05:55 | surface and I can see that
it's holding up nicely in shadow.
| | 06:01 | Even on the back UVs, where it's tiling,
I can see a title, but with a proper
| | 06:05 | too, I can probably get rid of that
noticeable artifact, also with some better
| | 06:09 | anti-aliasing that scene will disappear.
| | 06:15 | Around here on my windows I can see a couple
of minor issues in the unwrap to take care of.
| | 06:19 | It's not a big deal to fix these,
as I can move the UVs and re-export.
| | 06:24 | Unity will take this and simply re-
import that FBX and update what's here.
| | 06:29 | The normal map and the dirt on the
windows look pretty good however, and
| | 06:35 | here's the front again.
| | 06:37 | The canopy is holding up nicely and
this one area where there's a seam showing
| | 06:41 | is actually fairly logical.
| | 06:42 | It's okay to see a seam as we
probably see some kind of construction seam
| | 06:46 | there as well, being that the building
is falling apart slightly, I think it's passable.
| | 06:51 | Now what I need to do, back in my
project, is get my materials set, I'll do this
| | 06:56 | in the next video, as I need to go back
into Photoshop and make a custom alpha
| | 07:00 | to handle specularity and transparency.
| | 07:02 | I'll show how to do that and bring
it in and run around the scene again.
| | Collapse this transcript |
| Refining materials| 00:00 | I've got my scene in
Unity and it's looking sharp.
| | 00:02 | I'd like to refine the materials a
little bit, adding a little bit of
| | 00:06 | specularity to the walls here and
bringing back the transparency here on the doors.
| | 00:11 | What I am going to do is go back to
Maya and assign a new material to those polygons.
| | 00:16 | Unity will bring it across
when I overwrite 08_04_export_end.
| | 00:20 | I've cloned that that FBX file and
brought it into this new scene just to be
| | 00:24 | able to show that update.
| | 00:26 | Usually I'd end up
overwriting my existing scene.
| | 00:29 | But to account for versioning here
in this video, I've made some clones.
| | 00:33 | What I'll also do is alter the Alpha
Channel with my Diffuse map, allowing for
| | 00:38 | transparency here for a new material
as well as specularity on the building.
| | 00:43 | I'll start by going back to
Maya and updating those materials.
| | 00:47 | Here in Maya, I am going to put a new
material on those windows and doors.
| | 00:51 | I'll pick my building which
has been combined into one mesh.
| | 00:54 | I'll press F11 for Face
and pick those large faces.
| | 00:57 | Maya makes it easier to assign
materials by face than Unity.
| | 01:02 | So as long as you have materials assigned,
Unity will respect them when it comes
| | 01:06 | across, even if it's on components.
| | 01:09 | I'll spin around and catch the other parts.
| | 01:12 | I'll hold Shift to add to this selection.
| | 01:14 | It looks like I'm using an earlier
version of my texture in here, but that's not
| | 01:17 | a big deal as I am going to update it in Unity.
| | 01:20 | I'll catch the transom windows above
the doors, and above the cashier door as well.
| | 01:25 | I'll spin around and get
the window in the back too.
| | 01:29 | With these polygons selected I'll
right-click and assign a new material.
| | 01:33 | I'll put a Blinn on and call
this blinn Windows_and_doors.
| | 01:37 | I'll right-click and pick Object mode.
| | 01:39 | It really doesn't matter if I get the
texture in there or not, as I am going
| | 01:42 | to assign it in Unity.
| | 01:44 | I'm using my materials to organize.
| | 01:45 | As you can see here, I've got
one object with a shape node and
| | 01:49 | multiple materials assigned.
| | 01:52 | If it makes it easier to
see, put a color in here.
| | 01:55 | Here is a mellow orange as an example.
| | 01:57 | This lets me see simply where those
window and door materials are applied.
| | 02:01 | Sometimes what I'll do is I'll go
through and color code things, so when it
| | 02:04 | comes across I can see it clearly.
| | 02:06 | Now I'll export this,
choosing File > Export Selection.
| | 02:10 | In the Export dialog, I had already set
up my export, switching away from the
| | 02:15 | Autodesk Media & Entertainment over to
a user-defined, because I've added in my
| | 02:19 | Smoothing Groups and also unchecked Lights.
| | 02:22 | Down here in Units, I've converted to
meters and there's that Scale Factor.
| | 02:26 | I am going to overwrite the 08_04_export_
end and that way we'll see an automatic
| | 02:31 | update with the new materials in Unity.
| | 02:33 | I'll click on Export
Selection and overwrite that file.
| | 02:37 | I'll go over to Unity and see how that looks.
| | 02:40 | Here in Unity there is the Automatic
Export, there is that new material with
| | 02:44 | that orange or brown color on those doors.
| | 02:47 | Now I can get that material tuned
up and get the texture in there.
| | 02:51 | We can use one map in multiple
materials for different properties in Unity.
| | 02:55 | I'm just reloading the
texture in a different way.
| | 02:59 | In my Materials, I can see already
there's the Windows_and_doors material, I'll
| | 03:03 | select it and dropdown here under the Shader.
| | 03:06 | I'm going to make this a
Transparent Shader using a Bumped Diffuse.
| | 03:12 | In the Main Color I'll click on
Select and I'll pick my Diffuse map.
| | 03:16 | I need to put a different map in here,
so I'm not going to grab it quite yet.
| | 03:19 | But this is where I can go to get it.
| | 03:22 | I'll put the normal map in by
clicking on Select and there is that Normal.
| | 03:28 | The normal map is applied and looks pretty good.
| | 03:30 | We can see in here where some filtering
may be helpful, especially as I scroll
| | 03:34 | around to this side we can see it
scrolling back and forth in those windows and
| | 03:38 | we can handle that in the map in the
way it filters and also when we put other
| | 03:42 | things on in the view, such as Depth of
Field or other shadows and our lights.
| | 03:46 | Now I'll go back to
Photoshop and fix those maps.
| | 03:50 | Here in Photoshop, I've got opened
up my Diffuse map and my Normal.
| | 03:53 | My Normal looks pretty good, although
there is one fix I would like to make.
| | 03:57 | I think I'd done this and
somewhere in the versions had overwritten.
| | 04:01 | Down here in the door frames I
need to copy that blue over again.
| | 04:04 | It's easy to miss stuff sometimes.
| | 04:06 | However, if you've got a good layer
structure, doing a patch is not a big deal.
| | 04:11 | I'll go in with a Rectangular Marquee
and select those areas where the normal
| | 04:14 | is a little awkward.
| | 04:16 | On a new layer then, I'll
eyedropper a blue and fill that marquee in.
| | 04:22 | Now my door frames won't be bent on the side.
| | 04:25 | I'll save out this PSD, always taking
care to save my working PSDs as well as
| | 04:30 | my flattened TIFFs.
| | 04:34 | With the PSD saved, now I'll save out
the TIFF image pressing Ctrl+Shift+S. I'll
| | 04:39 | save out a TIFF, uncheck
Layers and uncheck Alpha Channel.
| | 04:43 | I'm going to put this over in my Unity project.
| | 04:47 | Here in Game Environments Unity, into
Assets, and there is the Textures folder I
| | 04:50 | had created earlier.
| | 04:52 | In Textures, I'll call this 08_
04_Normal_end and click Save.
| | 04:56 | Remember in the Image Compression, we
are setting it to None, letting Unity
| | 05:00 | handle the compression.
| | 05:02 | I'll click OK and when I go back into
Unity we'll see that automatically import.
| | 05:06 | Now I'll take care of my specularity.
| | 05:09 | Because I am going to use this map in
two places, I can have different things in
| | 05:13 | the Alpha Channel for different elements.
| | 05:15 | Right now what I've got in the Alpha is
a solid Alpha except for the windows and
| | 05:19 | the dirt has varied transparency.
| | 05:22 | I'm going to use this large blank
section, which is most of my walls, as well
| | 05:25 | as some of the concrete and door
frames to add in a little bit of specularity
| | 05:29 | for the other material.
| | 05:32 | I've organized in layers here.
| | 05:34 | I can name things as needed and I am
going to take all of my layers and group
| | 05:38 | them in a new group called Diffuse.
| | 05:40 | I'll rename my concrete,
calling it, well concrete.
| | 05:44 | You can rename after the fact, as
long as you can get to things easily.
| | 05:48 | It's not uncommon to have an art
director come back and say, fix that, and
| | 05:52 | you'll say fix what? I
worked on that two months ago.
| | 05:54 | But he or she will expect you
to pull it up and make the fix.
| | 05:58 | If you've got an organized
workflow, that becomes easy.
| | 06:01 | What I'll do is I'll scroll down,
select all my layers by holding Shift and
| | 06:05 | press Ctrl+G to group.
| | 06:07 | I'll double-click on this
group and rename it to Diffuse.
| | 06:11 | Then I'll hold Alt and
clone that group by dragging it.
| | 06:14 | I'll rename the copy Specular.
| | 06:18 | What I am going to do is work here in
the RGBs and then once it's all done,
| | 06:23 | take that Specular channel, copy it and
throw it in the Alpha, I'll turn off my Diffuse group.
| | 06:28 | To make a specular channel we need a grayscale.
| | 06:30 | Basically in a Specular map,
white is shiny and black is dull.
| | 06:34 | So I'm going to end up with
middle grays and the occasional dark.
| | 06:38 | I'll go in my Specular map and
start to desaturate my layers, pressing
| | 06:41 | Ctrl+Shift+U while selecting each one.
| | 06:49 | I'll open up the Dirt
overlay layer and do that as well.
| | 06:52 | I'm ending up with gray on
gray, which is working nicely.
| | 06:58 | To start I am going to take my base
color and dim it down, pressing Ctrl+U and
| | 07:03 | pulling down that Lightness.
| | 07:04 | Roughly a 50% gray is a good base.
| | 07:07 | If you are not sure about what that
gray is, you can also choose Edit > Fill.
| | 07:13 | In the Fill dialog we can Fill using a 50% Gray.
| | 07:17 | This gives me some
latitude in the specular channel.
| | 07:19 | Everything starts out slightly
shiny and I can go brighter or duller
| | 07:23 | depending on what we need.
| | 07:25 | Now I can adjust the specularity.
| | 07:27 | The concrete looks pretty good.
| | 07:29 | It's generally dim and rough
with some minor shiny areas.
| | 07:33 | What I need to do though is take that
wall dirt and dim it down by pressing
| | 07:36 | Ctrl+U. I'll lower down that
Lightness and there's the dirt which is fairly
| | 07:41 | rough and not shiny then.
| | 07:43 | My Specular map is fairly ready.
| | 07:45 | What I am going to do then is take this,
flatten a clone of the group and then
| | 07:51 | throw it in the Alpha Channel.
| | 07:52 | Here is how this works.
| | 07:55 | I've got my layered workflow and my
Specular group which I want to preserve.
| | 07:58 | I'll take this group hold
Alt and clone it once more.
| | 08:02 | Then I'll press Ctrl+E as an
echo to flatten that group.
| | 08:07 | I'll turn off the original and take out
the parts that I know I've already got
| | 08:10 | going nicely in the Alpha.
| | 08:13 | I'll press M for marquee and
start to pick things like those doors.
| | 08:16 | I'm going to take the parts of my
Specular copy that are the doors where I need
| | 08:21 | to define the transparency and delete
them, so I actually have an opening in the mesh.
| | 08:25 | Because the door material goes on selected
polygons, I can be fairly picky about this.
| | 08:29 | I'll use this marquee
and take out those windows.
| | 08:32 | I am going to zoom in by pressing
Z for Zoom and dragging a marquee.
| | 08:39 | If you can't see what you
are doing clearly, zoom in.
| | 08:42 | Now I'll use my Arrow Keys to nudge
that marquee over and delete those windows.
| | 08:46 | That's going to be the Specular channel
or at least the part I am going to use
| | 08:51 | and copy over to the Alpha.
| | 08:52 | I'll press Ctrl+D to Deselect, Ctrl+A
to Select All, Ctrl+C for Copy.
| | 08:57 | I'll go into my Channels
palette and into the Alpha Channel.
| | 09:00 | I'll paste this right into the Alpha by
pressing Ctrl+V. This will work nicely.
| | 09:06 | The polygons that have the
transparency are in the white with a light gray.
| | 09:11 | The polygons that will need the specularity
in the Alpha are here in the darker grays.
| | 09:15 | Different materials will use
the same map in different ways.
| | 09:19 | I'll press Ctrl+D to Deselect, go back
up and make sure my RGBs are visible.
| | 09:25 | Now in my Layers palette, I can turn
off that Specular copy, turn back on the
| | 09:29 | Diffuse and I'm ready to go.
| | 09:31 | This is what the RGB channel will look like,
and over here, that's how the Alpha will be.
| | 09:37 | I am using the 50% Red in here to show it.
| | 09:40 | Remember you can always turn off and
on your RGBs as well in your channels.
| | 09:48 | I'll always save the working PSD
choosing File > Save As and in this case
| | 09:52 | calling it Diffuse_end.
| | 09:57 | Now I'll save out a flattened
TIFF image into my Unity project.
| | 10:01 | Pressing Ctrl+Shift+S and
choosing Save As a TIFF.
| | 10:06 | I'll discard the Layers but keep the
Alpha Channels and put this over in
| | 10:09 | that Unity Environment, into the Assets
folder in the Textures and I'll drop that texture.
| | 10:15 | As I've done previously, I am going
to leave the Image Compression at None,
| | 10:20 | allowing Unity to handle the compression.
| | 10:23 | I'll go over to Unity and pull
this in and see how it looks.
| | 10:26 | Here in Unity it imported those
textures, and I can see them down here in my
| | 10:29 | project window in my Textures folder.
| | 10:32 | Now I am ready to get my
materials all tuned in.
| | 10:35 | I'll take my 08_04_Diffuse_end, make
sure that it's all set as a Texture and
| | 10:40 | pull it in the material that's on this mesh.
| | 10:42 | I'll select the mesh and scroll down and
there's that Windows_and_door material.
| | 10:46 | I'm going to grab this Diffuse
material and drag it right in.
| | 10:51 | There is the transparency in
the windows, it's working nicely.
| | 10:54 | Well we can see here is that Unity has
kept the original color of that material.
| | 10:59 | We can always get rid of this by
changing the Shader and pulling it back.
| | 11:02 | If we pull it back to a
Diffuse, or put a new material on.
| | 11:07 | We can also go in and click on the
Main Color and just simply make it White.
| | 11:11 | That way it won't participate or tint that
material and there's my map showing cleanly.
| | 11:16 | Now I'll make this my transparent material.
| | 11:19 | I'll go in and choose it as a Bumped Diffuse.
| | 11:23 | The transparency shows nicely
and I've got my normal map in here.
| | 11:27 | I'll deselect and clearly I can see
through the windows, and thankfully I can't
| | 11:31 | see through the solid part of the building.
| | 11:33 | Now here's the other material.
| | 11:35 | With my building selected I'll scroll
down and all the way at the bottom is my
| | 11:40 | gas_station material.
| | 11:41 | I am going to click on the Select
button over in the Texture preview and make
| | 11:46 | sure I pick the right one, the 08_04_Diffuse.
| | 11:49 | I'll close that once I've got it
selected, and it is slightly shiny on the building.
| | 11:57 | Here is how I'll test this to finish up.
| | 11:59 | I'll make one new light,
choosing Create Other > Point Light.
| | 12:04 | I'll take this light, pull it out of
the building and see how this shine looks.
| | 12:09 | As I go across I can see that building shining.
| | 12:12 | As I move that light I can see
the shine changing across the dirt.
| | 12:15 | It's a different material and it looks
really good as it shines across curves.
| | 12:20 | We can see right here in
the canopy as an example.
| | 12:22 | There is a slight variation to it
as I move the light back and forth.
| | 12:26 | It's a fine level of detail and
realism I've added in, by using that
| | 12:30 | combination Specular map.
| | 12:33 | In this case I'm using the
Alpha Channel in two ways.
| | 12:35 | Once for the transparency in one
material, which is only applied to certain
| | 12:39 | polygons mapped in certain areas, and
once in another way for the specular
| | 12:43 | component of an opaque material
mapped in again, different areas.
| | 12:48 | I can keep going and fine-tuning this as needed.
| | 12:50 | I may have a little bit of work to do
in my Alpha, as we can see right here
| | 12:55 | I need to adjust those polys slightly,
as I'm a little bit transparent to the bottom.
| | 12:59 | I can continue to go in and adjust my
materials and fix any issues, but it's
| | 13:03 | working wonderfully.
| | 13:05 | My gas station is imported and I
am ready to run around and play.
| | 13:09 | I'll click on the Play
button and see if this all worked.
| | 13:15 | I'll use the W, A, S, D
standard hotkeys and navigate around.
| | 13:19 | And we can see in here that it's working
nicely, except for that one goof in the
| | 13:23 | windows which is an easy fix.
| | 13:25 | I can either fix that in Maya and put a
new material on those polygons, or I can
| | 13:30 | fix it here in Unity.
| | 13:32 | In this case those are single polygons,
so I'm probably better off fixing it in
| | 13:36 | Photoshop, taking the specularity
or the Alpha out of those pieces.
| | 13:44 | The canopy looks good and the obvious
seams there are natural, that's how it'd
| | 13:49 | be put together, so I am okay with it.
| | 13:51 | I could do little more
painting to kind of camouflage those,
| | 13:54 | but that's just more work in
Photoshop which is not a big deal.
| | 13:58 | Overall, it looks pretty good to run
around and my efforts in building modular
| | 14:02 | pieces are worth it, as my textures are
clean and I can stand right next to the
| | 14:07 | building and not see pixelation.
| | 14:12 | I'll finish the last fixes and I am
ready to take this into my game, or bring my
| | 14:16 | game around it and add in props and
other elements like we'd find around, well
| | 14:20 | an abandoned gas station.
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| Viewing the final project| 00:00 | Here is the final gas station model
with all the fixes and patches in place.
| | 00:04 | I've tuned up any textures and
applied the materials making sure they look
| | 00:08 | right in the scene.
| | 00:09 | I've got some lights in to be able to
test it and I'm ready to run around the environment.
| | 00:14 | I'll go to the Game mode, turn
on Maximize on Play and hit Play.
| | 00:18 | I'll back away and spin around to take a look.
| | 00:22 | There is all the detail I've put it in
and those are just flat door polygons
| | 00:26 | with occlusion and normals.
| | 00:28 | I'll run under the canopy and look in the windows,
I can see just barely into the office.
| | 00:34 | The back is dingy and dirty as I'd intended.
| | 00:37 | With a seam in the back, I can either
acknowledge and say it's part of the
| | 00:40 | building or cover up later with a prop.
| | 00:43 | I can look in the garage and I can
see the dirt on the windows as I look through.
| | 00:47 | It looks great and it's ready to
run around in as part of the game.
| | 00:51 | We can add props in and flesh out the
environment, finishing out the ground and
| | 00:55 | adding in the rest of the town.
| | 00:57 | Then we can get in and play.
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ConclusionNext steps| 00:00 | I hope you've enjoyed this course on
lynda.com on modeling and texturing
| | 00:03 | for game environments.
| | 00:05 | If you like to go further, there
are many videos available on modeling,
| | 00:09 | texturing and even rigging
in animation for characters.
| | 00:13 | Thanks very much for watching the
course, and have a good time modeling
| | 00:16 | game environments.
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