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Planning the UV space for projection

From: Game Prop Creation in Maya

Video: Planning the UV space for projection

Now that I've decided to model some high poly elements, I need to look at the UV space. I'll select my table and see what I've got. I'll press F3 to go back to the Polygons menu, and choose Edit UVs > UV Texture Editor. There is my UVs, and as I intended, they are all stacked. It's working perfectly for what I wanted to do in terms of just the color map. However, for the normal map, it's a little on the messy side, and especially if I going to sculpt unique boards. I need to pay some attention to this. By turning off the image, and shading the polygons, I can see that a lot of them are very thoroughly stacked.

Planning the UV space for projection

Now that I've decided to model some high poly elements, I need to look at the UV space. I'll select my table and see what I've got. I'll press F3 to go back to the Polygons menu, and choose Edit UVs > UV Texture Editor. There is my UVs, and as I intended, they are all stacked. It's working perfectly for what I wanted to do in terms of just the color map. However, for the normal map, it's a little on the messy side, and especially if I going to sculpt unique boards. I need to pay some attention to this. By turning off the image, and shading the polygons, I can see that a lot of them are very thoroughly stacked.

What I'll need to do is start to take different pieces and break them out. What we can see a lot of times is that there is different materials applied to different objects which share some common maps. When I pick one board as an example, or even two, we can see that they share only some space, there is just an overlap here on the in so those are actually okay. What I may end up with is a normal map that's specific to the top of the table, and a color map that goes over the whole table because I'll stack the UVs for the legs and they won't see as much sculpting.

Once I start to pick more boards, however, we can see that they're stacked up, well, as I had done. What I may end up wanting to do on this is really kind of break it back down a bit, taking a few or one of each element and spacing out the UVs, sculpting them, and then once they're done cloning and copying those high-res elements around. Alternately I can bake on the lo-res and then copy. My thought is I'll take one corner element, one side, and one more side, spread out their UVs, and between all of these I can get enough variety that when I clone it around, the top looks unique.

The top will then have its own normal map, which does not apply to the legs. I need to do this being mindful of where they sit on the original wood, and this is where things get possibly thorny. When I turn on the image, we can see I have allocated three quarters of it for this wood grain and the other two parts are shared by the chairs. I could make a decision to have all of one kind of wood here, and share a little more the UV space, leaving a separate one for the chairs, but since I have already got it laid out. I'm going to see if I can make do. I'll pick my Move UV shelf tool, select this one, and pull it over.

Then I'll pick one of the other pieces, making sure I click and grab just one, and slide it off to the side. Remember, when you are laying out UVs, it's okay to use space around temporarily, it's a scratch or working space. With these pieces selected, I'll pull them in, and size them up a little bit. They're going to share with other objects the same texture. So I'll have a separate material just for the top in unity. Really what that means is I have one diffuse map, and that will be applied to a whole bunch of furniture and just a specific normal map for that top in a different material, which is not too much overhead.

Now I will pick these ends, deselect the other shelves, and pull them off to the side. Then I'll stack them in. Because these are shared by the boards, they need to make sure that they have got adequate UV space. It's okay in this case to start grabbing things and pulling them up and down to make room. I'd like to try and keep them as big as possible. So I'll zoom in and pull this into the corner. Because I'm going to be beveling edges, I may end up wanting to take these and scaling them slightly to fit in or fitting them on the edges as well as I can, trying to get them as big as possible.

As an alternate, I may want to change the grain direction ever so slightly, pressing E for rotate, and pulling them over. I'll make sure, I go back and pick that Move UV Shell tool and pull things around, and it looks like, I need to make just a little more space here by snugging these a little closer together. This should do it, and I should be able to take these, and put them in place, giving them just enough space for a decent normal map and actually leaving me a little bit left over. It's very easy to grab other shells, so what I'll do is select and then hold Ctrl to deselect the ones I don't want. With these pulled in, I've got the elements to model my top in high poly.

Every UV here is unique. Because it's going to have its own normal and get sculpted, dented, and generally crunched edges, I'll also do some work on the top here. I'm going to sub-divide this greatly and bake or project that high poly into this low-poly UV space. If I had overlaps, we would see that grain and those dented, crunched, or beveled corners skip across surfaces. So allowing for a separate UV, just for the normals here, well help immensely.

I'll right-click, choose Object mode, and I'm ready to start in copying. What I do want to make sure I do here is pick the ones that I've laid out and delete the others. Part of this is making sure you've got the right objects separate. So you may see a lot of what looks like half objects or pieces. This is okay as it's part of the baking process. These are the three I going to use as. I'm going to pick and delete the others. I'll plan on taking the existing ones and mirroring them around. I'm also going to select and hide the other pieces.

That way get a clear field when I zoom around and sculpt these. I'll choose Display > Hide > Hide Unselected Objects, and now I'm ready to get sculpting on these three boards.

Show transcript

This video is part of

Image for Game Prop Creation in Maya
Game Prop Creation in Maya

90 video lessons · 6152 viewers

Adam Crespi
Author

 
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  1. 7m 22s
    1. Welcome
      43s
    2. Using the exercise files
      1m 35s
    3. What you should know before watching this course
      23s
    4. Setting up the workflow
      4m 41s
  2. 46m 16s
    1. Overview of modeling a large prop and planning for modular textures and models
      6m 53s
    2. Blocking out the overall form
      6m 14s
    3. Adding curved panels
      3m 26s
    4. Rounding the corners
      6m 46s
    5. Unwrapping the face frame
      6m 39s
    6. Unwrapping the sides
      5m 8s
    7. Moving and sewing UVs
      5m 23s
    8. Laying out the UV coordinates
      5m 47s
  3. 1h 50m
    1. Overview of the texturing process and PSD networks
      4m 43s
    2. Creating a bump map for the sides
      10m 55s
    3. Adding details to the bump map
      8m 6s
    4. Drawing the bump map for the front
      7m 51s
    5. Adding details to the panels
      7m 45s
    6. Painting the diffuse texture and planning the layers
      3m 35s
    7. Painting the base coat and the logo
      5m 24s
    8. Adding labels and other markings
      10m 45s
    9. Adding soft rust
      8m 32s
    10. Adding rust bubbles
      8m 58s
    11. Setting up a library of gas pump textures
      6m 40s
    12. Painting dirt and rust variations
      5m 23s
    13. Weathering away the paint
      5m 1s
    14. Converting bump maps to normal maps
      5m 36s
    15. Testing the maps
      11m 8s
  4. 1h 28m
    1. Overview of modeling small props
      1m 59s
    2. Modeling a sledgehammer
      6m 11s
    3. Modeling a pry bar
      6m 26s
    4. Adding detail and hardening edges
      5m 28s
    5. Unwrapping as part of building a texture sheet for small tools
      8m 27s
    6. Modeling a metal ladder
      8m 51s
    7. Unwrapping and cloning
      8m 46s
    8. Placing the clean texture
      8m 39s
    9. Laying out a texture sheet for multiple tools
      8m 37s
    10. Painting rusty steel
      7m 46s
    11. Adding dirt and wear
      5m 42s
    12. Planning for optimal texture usage
      7m 37s
    13. Painting dirt and age variations
      3m 42s
  5. 1h 45m
    1. Modeling furniture using simple parts and reusable textures
      2m 53s
    2. Planning and analyzing the modeling of a chair
      4m 56s
    3. Blocking out the basic form
      8m 24s
    4. Adding detail and softening edges
      6m 42s
    5. Refining the silhouette
      12m 9s
    6. Blocking out the form of a round chair
      7m 39s
    7. Adding detail and softening the edges of a round chair
      5m 20s
    8. Unwrapping as part of building a texture sheet for furniture
      14m 36s
    9. Planning the modeling of a table
      3m 14s
    10. Blocking out the basic table form
      4m 41s
    11. Adding legs to the table
      7m 6s
    12. Breaking up the model for texturing
      7m 55s
    13. Laying out the wood texture
      9m 29s
    14. Reusing parts to make a round table
      10m 12s
  6. 39m 23s
    1. Understanding the importance of painting textures from scratch
      2m 9s
    2. Creating the initial grain lines
      4m 43s
    3. Adding value variation across the grain
      2m 22s
    4. Warping the grain
      2m 50s
    5. Adding knots
      4m 27s
    6. Colorizing the grain and planning for stains
      6m 53s
    7. Cutting out boards for a UV layout
      5m 26s
    8. Adding patina and wear to a final texture
      10m 33s
  7. 1h 2m
    1. Understanding the importance of a low poly count
      4m 46s
    2. Overview of normal maps
      9m 26s
    3. Overview of the high-poly projection pipeline
      3m 10s
    4. Planning the UV space for projection
      5m 29s
    5. Working with hard edges and subdividing
      7m 22s
    6. Adding details by beveling and extruding
      6m 50s
    7. Fixing geometry
      7m 39s
    8. Using the Sculpt Geometry tool and soft selection to add dents
      9m 32s
    9. Baking the high-poly model onto the low-poly model to produce a normal map
      8m 21s
  8. 51m 4s
    1. Overview of Mudbox
      4m 26s
    2. Preparing for a smooth export to Mudbox
      7m 43s
    3. Importing from Mudbox: Choosing the right resolution
      5m 9s
    4. Using the sculpt tools
      8m 30s
    5. Painting
      8m 58s
    6. Exporting paint layers from Mudbox
      1m 35s
    7. Extracting and exporting a normal map from Mudbox
      6m 2s
    8. Importing and assigning objects and maps in Unity
      8m 41s
  9. 41m 4s
    1. Overview of ambient occlusion and specularity
      5m 55s
    2. Setting up ambient occlusion as a texture
      7m 3s
    3. Using ambient occlusion as a foundation for dirt
      6m 44s
    4. Using ambient occlusion as a foundation for rust
      10m 5s
    5. Painting a specular map
      6m 48s
    6. Streamlining the import process: Placing maps in the right channels
      4m 29s
  10. 21m 46s
    1. Overview of importing into Unity
      3m 15s
    2. Preparing and exporting props to Unity
      7m 54s
    3. Cloning props in Unity with different looks
      5m 21s
    4. Adding lights to test smoothing and textures
      5m 16s
  11. 22s
    1. Next steps
      22s

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