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

Setting up ambient occlusion as a texture

From: Game Prop Creation in Maya

Video: Setting up ambient occlusion as a texture

In this video. I'll show how to bake the occlusion, now that we have a good idea of what occlusion looks like and the power it has to pop out details. What I have done then is to take my low poly and unwrap it. I'll press F3 to go to polygons and take a look in the editor. My thought is I'd like to have two shutters, because there is a good chance I'm going to see two or more in a scene, and this is the kind of prop we're going to see in a lot of places. It's not uncommon to see whole towns, villages or even just clusters of houses all with shutters.

Setting up ambient occlusion as a texture

In this video. I'll show how to bake the occlusion, now that we have a good idea of what occlusion looks like and the power it has to pop out details. What I have done then is to take my low poly and unwrap it. I'll press F3 to go to polygons and take a look in the editor. My thought is I'd like to have two shutters, because there is a good chance I'm going to see two or more in a scene, and this is the kind of prop we're going to see in a lot of places. It's not uncommon to see whole towns, villages or even just clusters of houses all with shutters.

So having a couple of shutters that match together but are slightly different is a good idea as we can swap out colors if we need and reuse them. I'll press Ctrl+H to hide this mesh, and now I have also tuned up this high poly. What I have done as I spin around back so you can see is to delete all of the back faces. What I'd like to do on this is hit it with a planar mapping, mapping all of this into the size of that one big polygon. This way when I project, it goes right into there, and the detail fits on.

I can also use this to bake out normals. Because I have got the low poly overlapping, I need to make sure that I'm only baking one set, whether it's normals or occlusion--that I'm not overlapping, which could yield some funny results. Now I'll get this unwrapped, and I'll choose Create UVs > Planar Mapping. I'll put this width at 36 and then flip it flat by taking the 90 degree rotation on the Y down to 0. I'll check in the editor and see how this looks.

It looks pretty good. I should get a good occlusion bake. I have mapped this straight on, and it should bake nicely, and the right proportion. Now what I need to do is map it over the low poly and make sure these UVs line up. I'll show the last hidden object, and I'll pick both, right-clicking and choosing Object mode and selecting. Now I'll look at them in the editor, and I have got what looks like a moderate mess. In reality, it's working very nicely. What I'm going to do is to take this high poly, grab it all with the Move Shell tool and scale it down.

I'll scale these, making sure they stay proportionate and match them over the low poly. I have got a couple of options, but I think what I'll do is to get it as close as I can, match it in by eye and then snap the low poly right over it. I'll zoom in, and there is my low poly shell. I'm going to pick both of them, and move them into place. It looks like I'm pretty close.

If you're feeling very picky about it, you can zoom in, pick individual points and use the Align to selected U and V values. I'm okay with it like it is. I can pull it back and forth if needed, but being careful not to select any other shells. I'm ready to bake. In reality, it's not a projection as choosing a source and a target as much as rendering one object and then placing it on the other's UVs. I'll pick the low poly and hide it, and then I'm going to go into my batch bake and bake.

I'll press F6 for Lighting and Shading, and under Lighting and Shading, choose Batch Bake (mental ray). I had used this previously, so it was already set to the occlusion. What I need to make sure of is that I'm baking shadows using a bake set override. I have dropped down in the Color mode and chosen Occlusion, and I have played with the distance. This Falloff is just like we showed in the previous video, the maximum distance at which objects stop occluding, my rays and my quality setting, and there is the Resolution. I'm going to bake this at 1024 square and see how it looks.

I have named it high res shutter, and it's a TIFF. It's going to go deep in the mental ray section of my render data in my Maya project. I'm baking one map with an alpha, and when I'm ready, I'll hit Convert and Close. My occlusion finished. I'll close this dialog and select the object and see what the material looks like. It added this occlusion into the new Lambert on this material. Really I don't care about the material, I just want the occlusion map. It put it in the incandescent slot, and I'll go in and take a look. When I click on View, we can see the occlusion, and it's looking pretty decent.

I think that Falloff Distance is a little bit high as it's giving me some gray in here where I'd like to have white. I can also see where I need to have a few less polygons. I'm getting some overlap here because of overlapping UVs. It may be worth breaking these off separately or deleting those polys. I'll run the occlusion one more time and then bring it into Photoshop and lay it over as a foundation for dirt in the next video. The fix I need if I look at the UV editor is to take these back bottom polygons of the louvers and move them.

What we're seeing, and I'll press F3 to go back to my Polygons menu and into my Texture Editor is that I have got some overlap. The selected polygons are red, meaning they're facing backwards from the direction I mapped. What I'm going to do is simply map these and throw them off to the side somewhere. What I care about is the occlusion rendering on all the blue faces, anything else is irrelevant as I'm simply using this to make a texture, not as a final model. I'll take these pieces I have got selected, and under Create UVs, choose Planar Mapping.

I'm going to grab them and just move them over. I'll press W to move or Ctrl+F12 to convert to UVs, and I'll pull them over here off to the side. I'll shrink them down by using the Scale tool, and really, I don't even care if they're mapped oddly, skewed, or shrunk down to nearly nothing. Here's what I'm after. When I zoom in and take a look, I have got just about all blue. It looks like there is one more poly under here that's still red, so I need to go in and find it, but I'll try another render and see how this looks first.

It may take a few steps of tweaking, taking things and removing them, making sure that the projection is one-sided. We may end up with things kind of strewn around our UV space. All we really care about is having this render be clear. So, whatever you have to do to get there is fine. I'll run the occlusion one more time, Batch Baking, and see how it comes out. I have run my occlusion, and before I did that, I reduced the Falloff a little bit, so they're not quite as gray in the shutters.

I'll see how this looks one more time. In the Incandescence on now Lambert three, there is my image. I'll click View and pull it up. It's much better. I could use a little more strength in the anti-aliasing, but the shutters are definitely popping out. It's a terrific way to start out with some dirt, and it makes that detail really sing. In the next video, I'll use it as a foundation for painting in Photoshop and make these nice and grungy as old shutters that have been left out in the weather are apt to be.

Show transcript

This video is part of

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

90 video lessons · 6149 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 preferencesfrom 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.

Are you sure you want to delete this note?

No

Your file was successfully uploaded.

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.