Easy-to-follow video tutorials help you learn software, creative, and business skills.Become a member

Preparing for a smooth export to Mudbox

From: Game Prop Creation in Maya

Video: Preparing for a smooth export to Mudbox

In this video I'll look at exporting from Maya across to Mudbox, and I'll look at a couple of ways to do this. It depends on the object that we are dealing with and the qualities we want to come across. I've modeled in a Concrete, or Jersey Barrier, like we see alongside the freeways. These are very common and exist by the thousands in the landscape. It's a great object to have in a game as we can use these as a fence. If we're dealing in vehicles we can redirect the player, herding them along the path we want them to go. This one is low poly, as we can see in the Heads-Up Display I've got 14 faces or 28 tris, it's about as low as we can get, and I've left the bottom in case we need to tip these over. I've unwrapped this.

Preparing for a smooth export to Mudbox

In this video I'll look at exporting from Maya across to Mudbox, and I'll look at a couple of ways to do this. It depends on the object that we are dealing with and the qualities we want to come across. I've modeled in a Concrete, or Jersey Barrier, like we see alongside the freeways. These are very common and exist by the thousands in the landscape. It's a great object to have in a game as we can use these as a fence. If we're dealing in vehicles we can redirect the player, herding them along the path we want them to go. This one is low poly, as we can see in the Heads-Up Display I've got 14 faces or 28 tris, it's about as low as we can get, and I've left the bottom in case we need to tip these over. I've unwrapped this.

I'll checkout what the UV Editor looks like, and as you can see I've got one large shell, this is the top right here and the sides splay out around it. There is the bottom, so when I paint I've got one seam down here at a logical corner where the side and the bottom meet. The ends are off to the side, and I've scaled things as big as I can. I've left a little space in the texture right here, presumably there is going to be some steel fittings, or maybe there is some fence on top that can go there. I'm sure I can find a way to use up this texture space somehow.

I'm ready to get this across to Mudbox and in my UI on my hotbox here I've turned on my Command Line and Help Line. It's important because I'll see a live link to Mudbox there in a minute. What I'll do, to start, is choose File and Send to Mudbox--this is new as in 2012 and they've revised in 2013 to add in Send to 3ds Max as well. I'll send this over as a new scene, and what Maya is going to do is connect to Mudbox, we can see Mudbox launching, and it'll pull my object in.

It's pretty straightforward, it receives the updates automatically and brings in the object, it's called pCube1 in this case. What we can see in the bottom right of our Mudbox screen in the Green Bar it says connected to Maya, and there is an Update button. If we look back here in Maya we can see the same thing connected to Mudbox, what this means we have a live link we can sculpt in one and see the change in the other. If we paint in Mudbox and update we're going to see that texture come across here into Maya. It's great because it lets you work on an object and bring it across and see it in your environment, even in your lights if you have those set up.

I'm back here in Mudbox, and the first thing I'll try to do is subdivide. I'll press Shift+D and what happens is that I get a blobject. You may ask what is a blobject? In this case what happened--and I'll zoom around to see it--is that it did not respect the hard edges. So as I subdivided this object it smoothed everything over dividing every one polygon into four, for every subdivision iteration. What this means, and I'll step down so we can see it, is it goes from 224 up to 896.

I'll add in a subdivision level as 3 is the highest I can go. Really quickly we can get a 14,000 face barrier, but it's not quite what we're after. This is fine for organic objects, and there is a lot of work I do where I simply send it over. I'll do this on things that are already round, flowerpots, plants, characters, and so forth, where the subdivided mesh is going to stick closely to the original. I have a couple of options here. I'm going to go back to Maya and show one of them, adding some subdivisions into the mesh and then sending it over again.

Then I'll do an export out as an FBX file and bring across those hard edges. What I'd like to do is insert some additional edge loops and these will help me keep that mesh in place. I'm going to take this and duplicate the mesh pressing Ctrl+D. I'll hide this duplicate as they share UVs, as long as I'm propagating the UVs by subdividing I can take my extremely low poly duplicate and apply the high res normal map later. I'll hide this one, and that way I've also got a working copy if I need to get back to it.

Now I'll take this mesh, and I'll double-click on the Move tool and make sure I preserve UVs. I'll hold Shift and right-click and Insert an Edge Loop. I'll check in the dialog and make sure I'm set at a relative distance. I'm going to land an Edge Loop right here to hold this corner. I'll put one over here and maybe one along the bottom as well. I'll land one more along the top, and then I'll hit the Update and see what I get. This is one option where we're forcibly holding those corners out by adding in additional mesh lines.

I'll click on the Update button and see what it does. Here in Mudbox it brings in that mesh, and I can import it using a Search Distance. I'll hit Cancel, and there is my mesh as it comes across. What we're seeing here is it's got a bit of a dent in there. I'll step down that subdivision and those go away. There is my original mesh, and it's decent, but it may not be an optimal solution as I'm still seeing rounded corners and smoothing artifacts. We need to make a choice in here on our workflow, and it really depends on what we're modeling.

This is a hard surface model, and I want to keep those edges hard. So I'm actually going to bring over that extremely low poly version in a different way preserving the edges and then sculpting it here in Mudbox. Again, it depends on what we're modeling, if it's an organic model or we're dealing in a hard surface we want to preserve hard edges. Back here in Maya, thankfully I've kept my original model. I'm going to take this piece and delete it. I'll wipe out this higher poly I've created and show that low poly. There is my original, and I'm going to send this over in a different way.

Instead of sending to Mudbox I'll choose File and Export. I'll export this out as an FBX file calling it 07_02_start. In my FBX Presets I've chosen the Media and Entertainment Preset to start with and then under Including and Geometry checks Smoothing Groups, which brings across my hard and soft edges. I'll export this out, it's exported, and I'll go into Mudbox and bring it in. Here in Mudbox I'll choose File > Open, there is my FBX, we can work in different formats here in Mudbox.

The native is a .mud file, we can take in and out OBJs a common transfer format or FBXs the preferred one as it brings across rigs if needed. We can also work in Ptex. If you're dealing in something like RenderMan, you can bring these in and take them out if you need where you have essentially a huge or almost resolution Texture. I'll bring in an FBX, and there is that 07_02_start. I'll click Open and not going to save my new unnamed scene.

Now I don't see that connected to Maya button in the lower right, but my object has come across nicely. I'm going to turn off my Grid by choosing Display and unchecking Grid. The important part is that the hard edges have come across, and if I press Shift+D to subdivide, we can see the subdivisions occurring while preserving those hard edges. This is key for this barrier as I want to be able to sculpt this and keep most of the hard edges. I'm going to crunch it on the bottom here, and I can take out some of the hardness.

But some places I still want to show the original creasing from the manufacturing. When I'm done I'm going to bring it out the same way, taking out a low poly FBX, and then baking out textures using under Maps the Extract Texture Maps Operation. I'm ready to start in on my sculpting. And I'll go back and look at the reference in the next video and see what I need to do to crunch this barrier.

Show transcript

This video is part of

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

90 video lessons · 6705 viewers

Adam Crespi
Author

 
Expand all | Collapse all
  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

Start learning today

Get unlimited access to all courses for just $25/month.

Become a member
Sometimes @lynda teaches me how to use a program and sometimes Lynda.com changes my life forever. @JosefShutter
@lynda lynda.com is an absolute life saver when it comes to learning todays software. Definitely recommend it! #higherlearning @Michael_Caraway
@lynda The best thing online! Your database of courses is great! To the mark and very helpful. Thanks! @ru22more
Got to create something yesterday I never thought I could do. #thanks @lynda @Ngventurella
I really do love @lynda as a learning platform. Never stop learning and developing, it’s probably our greatest gift as a species! @soundslikedavid
@lynda just subscribed to lynda.com all I can say its brilliant join now trust me @ButchSamurai
@lynda is an awesome resource. The membership is priceless if you take advantage of it. @diabetic_techie
One of the best decision I made this year. Buy a 1yr subscription to @lynda @cybercaptive
guys lynda.com (@lynda) is the best. So far I’ve learned Java, principles of OO programming, and now learning about MS project @lucasmitchell
Signed back up to @lynda dot com. I’ve missed it!! Proper geeking out right now! #timetolearn #geek @JayGodbold
Share a link to this course

What are exercise files?

Exercise files are the same files the author uses in the course. Save time by downloading the author's files instead of setting up your own files, and learn by following along with the instructor.

Can I take this course without the exercise files?

Yes! If you decide you would like the exercise files later, you can upgrade to a premium account any time.

Become a member Download sample files See plans and pricing

Please wait... please wait ...
Upgrade to get access to exercise files.

Exercise files video

How to use exercise files.

Learn by watching, listening, and doing, Exercise files are the same files the author uses in the course, so you can download them and follow along Premium memberships include access to all exercise files in the library.


Exercise files

Exercise files video

How to use exercise files.

For additional information on downloading and using exercise files, watch our instructional video or read the instructions in the FAQ .

This course includes free exercise files, so you can practice while you watch the course. To access all the exercise files in our library, become a Premium Member.

Join now Already a member? Log in

Are you sure you want to mark all the videos in this course as unwatched?

This will not affect your course history, your reports, or your certificates of completion for this course.


Mark all as unwatched Cancel

Congratulations

You have completed Game Prop Creation in Maya.

Return to your organization's learning portal to continue training, or close this page.


OK
Become a member to add this course to a playlist

Join today and get unlimited access to the entire library of video courses—and create as many playlists as you like.

Get started

Already a member ?

Become a member to like this course.

Join today and get unlimited access to the entire library of video courses.

Get started

Already a member?

Exercise files

Learn by watching, listening, and doing! Exercise files are the same files the author uses in the course, so you can download them and follow along. Exercise files are available with all Premium memberships. Learn more

Get started

Already a Premium member?

Exercise files video

How to use exercise files.

Ask a question

Thanks for contacting us.
You’ll hear from our Customer Service team within 24 hours.

Please enter the text shown below:

The classic layout automatically defaults to the latest Flash Player.

To choose a different player, hold the cursor over your name at the top right of any lynda.com page and choose Site preferences from the dropdown menu.

Continue to classic layout Stay on new layout
Exercise files

Access exercise files from a button right under the course name.

Mark videos as unwatched

Remove icons showing you already watched videos if you want to start over.

Control your viewing experience

Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.

Interactive transcripts

Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.

Learn more, save more. Upgrade today!

Get our Annual Premium Membership at our best savings yet.

Upgrade to our Annual Premium Membership today and get even more value from your lynda.com subscription:

“In a way, I feel like you are rooting for me. Like you are really invested in my experience, and want me to get as much out of these courses as possible this is the best place to start on your journey to learning new material.”— Nadine H.

Thanks for signing up.

We’ll send you a confirmation email shortly.


Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

Keep up with news, tips, and latest courses with emails from lynda.com.

Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

   
submit Lightbox submit clicked
Terms and conditions of use

We've updated our terms and conditions (now called terms of service).Go
Review and accept our updated terms of service.