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Setting up the workflow

From: Game Prop Creation in Maya

Video: Setting up the workflow

In this video, I'll look at the workflow in Maya, Photoshop, and Unity I will be using over this course. I'll also explore how to set the project file so Maya and Unity can find all of the assets correctly. For my workflow, I usually try to minimize the UI as much as possible. What I'll typically do is press Ctrl+Spacebar and make that UI go away. I'll rely on my hotbox, and I'll slim down that hotbox to get the controls where I need them. I'll press Ctrl+Spacebar to bring back the UI, and you can really see a difference.

Setting up the workflow

In this video, I'll look at the workflow in Maya, Photoshop, and Unity I will be using over this course. I'll also explore how to set the project file so Maya and Unity can find all of the assets correctly. For my workflow, I usually try to minimize the UI as much as possible. What I'll typically do is press Ctrl+Spacebar and make that UI go away. I'll rely on my hotbox, and I'll slim down that hotbox to get the controls where I need them. I'll press Ctrl+Spacebar to bring back the UI, and you can really see a difference.

We're limited in how much view we have, and I'd rather have more working viewport than simply UI clutter. First, I'll slim down the hotbox, pressing and holding the spacebar for the hotbox and choosing Hotbox Controls > Show Polygons > Polys Only in this case. This is the Polygons menu, and the tools here are geared towards working in polygons. I'll hold Shift and right-click and access the marking menu for polygon creation. I'll choose PolyCube, noting that Interactive Creation is on, and click and drag in my objects.

There's a cube. And it should go that fast. I'll minimize elements of my UI to give me more working space. I'll leave the toolbox on, and I'll leave the Status Line on at the top. What I will do is press and hold the spacebar for the Hotbox and click in the space to the right of Maya. I am going to turn off my Shelves and I also have turned off the Time slider and Range slider. I'm not animating in this course, and so I don't need the timeline cluttering up the view. I use Ctrl+A to toggle between the attributes and channel box.

This way I can keep this minimized and see attributes if I need. I'll use my default hotkeys Q, W, E, and R for Select, Move, Rotate, Scale are some of the most important. I'll also use F8 through 12 as my function keys to access components in Maya, such as Vertex, Edge, Face, and UV. Finally, I'll use my other marking menus. For example, holding Shift+right- click gives me a modeling menu. I'll insert an edge loop by clicking on an edge. My tools are closed at hand, and very quickly, I can model something and add to it, preserving a good edge flow and not dashing up to the top for my tools. It slows me down.

Not necessarily minutes or hours a day, but it interrupts my chain of thought, and I'd rather have my thoughts be as transparent as possible getting out into Maya. Any way that you can streamline your UI and make your tools fit your hands, you'll get faster, and you'll get a better model going quicker. I'll go over to Photoshop as well, and look at the way to customize there a little bit. Here in Photoshop, we tend to have a lot of palettes running around. Typically what I'll do when I draw is I'll start out a new document and press F: once to take away the Windows UI and once more to go full screen.

I'll use the Tab key to take my menus off and on. I'll press F one more time, and that brings back the Tab menu system up at the top. I'll toggle between these and use Ctrl+0 extensively to zoom extents in the drawing. I'll also customize my layer palette, dropping down in the options and choosing Panel Options. I've made my thumbnails large so I can see what's going on. I'll use my hotkeys extensively: B for brush, V for move, M for marquee, and G for the paint bucket.

This lets me get around quick and draw fast, again getting my thoughts out here as fast as I can make art. In Unity, we can customize the UI somewhat, choosing our display modes up here at the top: Textured, Wireframe, or Textured and Wire. We can also grab tabs and pull them around as we need, so that we can see what we need to when we need to. We can even have floating or modeless windows. I'll pull this back on, and now I've got my project and inspector on the side, and I can pull the viewport down and see my game.

I'll also make sure to set the project here in Unity. I'll choose File > Open Project. Unity looks towards the last projects, and here is my Game Props Unity folder. Right now it's working in the default project folder it creates upon install, set in Documents called New Unity Project. Always make sure you go in and open the project, and then you can open the scene. The same is true in Maya. Set the project and then open the file. This way both programs can find the textures that are associated with scenes, and you won't get blank spots or missing files.

Things will work smoothly and you'd be much happier with the game props you've got. I'll go ahead and set this to the Game Props Unity folder and get started modeling my game props. Now that we've got everything set up, let's get started modeling props for games.

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This video is part of

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

90 video lessons · 6166 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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