IntroductionWelcome| 00:00 | (music playing)
| | 00:04 | Hi! I'm Adam Crespi, and welcome to Texturing
for Games in Maya, Mudbox and Photoshop.
| | 00:09 | In this course, we'll look at
techniques for painting textures for games.
| | 00:13 | We'll start out with painting
textures by hand in Photoshop.
| | 00:16 | Beginning with the Diffuse and adding
Specular and then Normal Maps, we'll
| | 00:20 | create normals from grayscale bumps.
| | 00:23 | Then I'll show you to enhance your Normal
maps, painting directly in the Normal channels.
| | 00:26 | We'll see how to create textures
from high-res models in Maya, rendering
| | 00:31 | using mental ray, and crafting textures
including Occlusion, Normal, Specular and Diffuse.
| | 00:37 | We'll be covering all these features
plus plenty of other tools and techniques.
| | 00:42 | Now let's get started with Texturing
for Games in Maya, Mudbox and Photoshop.
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| Using the exercise files| 00:00 | If you're a premium member of the
lynda.com online training library or if you're
| | 00:04 | watching this tutorial on a DVD-ROM,
you've access to the exercise files used
| | 00:08 | throughout this title.
| | 00:09 | In the exercise files, there are separate
projects for each movie in each chapter.
| | 00:14 | Each chapter has its own folder.
| | 00:16 | In each folder is a folder for that particular movie.
| | 00:19 | In those folders for the movie is a project,
and the projects are named for their application.
| | 00:24 | For example, 01_03_Maya is a Maya project,
and in here we see the default
| | 00:30 | Maya project structure.
| | 00:32 | For movies using Unity you'll see a
Unity project named in the same fashion.
| | 00:36 | 06_03_Unity for example, is a
Unity project with Assets, Library and
| | 00:40 | ProjectSettings folders.
| | 00:42 | Any assets you need to start that movie
are in the Assets folder and there will
| | 00:46 | be named for that particular movie.
| | 00:47 | For example, here's a Color and a Normal map 06_03.
| | 00:50 | In each Unity section there is one scene,
I'll demonstrate first in Maya setting
| | 00:55 | the project, and then Unity.
| | 00:57 | Here in Maya before opening the scene
make sure you set the project choosing
| | 01:02 | File>Set Project and browsing to the correct chapter.
| | 01:06 | In exercise files for example,
I'll pull open Chapter5 movie 05_06.
| | 01:13 | I'll set the project to 05_06_Maya and click Set.
| | 01:17 | Now when I click on the Open button
to open a scene, it takes me to the
| | 01:21 | Scenes directory in that project folder, and
there's the Start File to begin the exercise.
| | 01:25 | These are starting assets for this particular movie.
| | 01:29 | Here in Unity, make sure you open the
project first, and then open the Scene.
| | 01:33 | I'll choose File and Open Project.
| | 01:37 | In the Unity Project Wizard dialog
click on Open Other; it starts out in the
| | 01:41 | default Documents in a New Unity Project.
| | 01:44 | I'll browse to the exercise files and into the correct chapter.
| | 01:49 | In each chapter I'll go into the folder
for that movie and finally there's the
| | 01:53 | Unity project 06_93_Unity in this case.
| | 01:56 | I'll double-click on the project and we
can see Unity recognizes it as a Unity
| | 02:00 | project with Assets, Library and ProjectSettings in place.
| | 02:03 | I'll click Select Folder, Unity will
close and restart with that project in.
| | 02:08 | Now I'll click on 06_03_Start, the
starting scene for this exercise and there
| | 02:13 | are the assets required for this particular movie.
| | 02:16 | In Photoshop the working files are PSDs
and we'll save out flattened images for
| | 02:21 | the different exercises.
| | 02:22 | I'll choose File and Open.
| | 02:25 | I'll browse over to the exercise files
and into the correct chapter and
| | 02:29 | correct movie folder.
| | 02:30 | Here's 08 and 03, in there for example
are skymattes, I'll pick
| | 02:36 | 08_03_skymattes_start and click Open.
| | 02:40 | This pulls open a layered PSD that's
our working source file for the creation
| | 02:44 | of a Skybox, from this we'll save out
flattened images and bring them into the game.
| | 02:49 | If you're a monthly member or annual
member of lynda.com, you don't have
| | 02:53 | access to the exercise files, but you can
follow along from scratch with your own assets.
| | 02:57 | Let's get started with Texturing for Games
in Maya, Mudbox and Photoshop.
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1. Tiling Textures and Texture SheetsIntroducing texture tiling| 00:00 | In authoring games resources are always at a premium.
| | 00:03 | We have to be conscious of how much
we're doing to set up the environment where
| | 00:07 | the game is taking place, before any action happens.
| | 00:11 | We can't simply make all the textures
we need and giant models, as this will
| | 00:15 | swamp the game engine and slow down gameplay.
| | 00:18 | Part of that then is optimizing not only
how many textures we need but how they
| | 00:22 | are used and how big they are in the scene.
| | 00:24 | I'll demonstrate this in Maya with a simple
piece I've made, a brick wall with a door.
| | 00:29 | First, I'll set my project choosing File and Set Project.
| | 00:33 | We can see right now the project
is set to the Default in My Docs.
| | 00:37 | I'll browse over to the exercise files
and into Chapter1 and finally into
| | 00:42 | 01_01 for this movie.
| | 00:44 | And there is my 01_01_Maya project file.
| | 00:48 | In here are all the default
Maya folders for a Maya project.
| | 00:52 | I'll click Set, and then open up 01_01_start
from the scenes folder.
| | 00:57 | Project setup is very important,
so that Maya can keep track of where all your
| | 01:01 | textures are in a relative path, and
that way you can move the project around
| | 01:05 | from drive to drive, without having to re-link textures.
| | 01:08 | I'll Click Open and not save the blank scene
and there is my wall with the door.
| | 01:13 | What I'll do often in Maya is maximize
my viewport by pressing Ctrl+spacebar
| | 01:18 | to work full screen.
| | 01:19 | Press Ctrl+A to bring back the attributes or channel box.
| | 01:23 | And finally, on the Hotbox, click in
the space to the right of Maya and bring
| | 01:27 | back the Status line; occasionally
I'll also bring back the Command line or
| | 01:31 | Helpline just to see if there are
any errors popping up in the bottom.
| | 01:35 | Now I'm ready to work in some pretty good real estate.
| | 01:38 | I'm also working in one big Viewport,
so I can really see what I'm doing.
| | 01:41 | I have a wall and it's got a cap, a door and a door frame.
| | 01:45 | I've modeled all these objects, and I haven't
deleted the history yet or unwrapped them.
| | 01:49 | What I'll typically do is prior to unwrapping
delete the history by selecting
| | 01:54 | the objects and pressing Shift+Alt+D to delete the history.
| | 01:59 | Now I'm ready to get some materials on
and look at what a tiling texture is.
| | 02:03 | I'll start with the brick wall selecting
it and I'm going to work in Blinn materials.
| | 02:07 | As when I transfer these over to Unity,
the material will come across.
| | 02:10 | Anything more complex than that will get
reduced down to a basic unity material.
| | 02:15 | I'll right-click and choose Assign New Material,
in here I'll organize by Maya Surface and choose Blinn.
| | 02:22 | In my Blinn which I'm going to name brick,
I'm going to put in a file texture in the color.
| | 02:27 | Clicking on the Texture node next to color
and in the Create Render Node dialog
| | 02:32 | sliding the nameless slider to make
the icons bigger, I'll choose File.
| | 02:36 | This is a typical workflow.
| | 02:37 | We're going to see our files on the objects
in Maya, and then bring them into
| | 02:42 | the engine and assign them Unity materials.
| | 02:44 | I'll click on the yellow file folder
next to image name and it browses
| | 02:48 | automatically to the sourceimages folder in my project.
| | 02:51 | I'll put on brick commonC, this is a common
or American bond brick, where every
| | 02:56 | sixth course in the brick has a header course.
| | 02:59 | The bricks are turned in to tie the
whites or layers of brick together in the wall.
| | 03:03 | I've drawn this big.
| | 03:04 | This texture is 2048 on the side, so
it's probably too big for a game initially,
| | 03:09 | but it's got a good resolution and we'll scale down nicely.
| | 03:12 | It's also drawn to be fairly large.
| | 03:14 | We're dealing in quite a few bricks
across and down as a square.
| | 03:18 | I'll click Open and press 6.
| | 03:22 | Right now we can see in here that the
default mapping has been wiped out by my
| | 03:26 | extrusions to make the doorframe.
| | 03:28 | I'll hit this with a simple map,
selecting the object and pressing F3 to go to
| | 03:32 | Polygons, choosing Create UVs and Planar Mapping.
| | 03:36 | This wall is 120 tall, I need to actually
count my bricks and figure out how big
| | 03:41 | to tile this image on the wall.
| | 03:43 | I'll pop over to Photoshop and take a quick look at it.
| | 03:46 | Here in Photoshop I'll press Ctrl+O and open up that brick.
| | 03:50 | A brick is 8 inches across and so if we count
the bricks, we can figure out how big to make this.
| | 03:55 | It's 18 bricks across, 18 times 8 is 144,
so I've more than enough brick to go on my wall.
| | 04:01 | Back here in Maya then, I'll set my
Projection Width and Height, which is in
| | 04:05 | scene units, in this case inches to 144 and 144.
| | 04:09 | My mapping is streaking through,
so I'll reduce this 90 degree rotation down to
| | 04:14 | zero and there is the brick on the wall.
| | 04:16 | This texture is tiling and that's really
at the heart of a lot of game textures.
| | 04:21 | It's a clean brick wall, although there
is variation in the color in the brick,
| | 04:25 | there is not dirt or a unique mark that is
causing a repetitive pattern or tile in here.
| | 04:30 | What we talk about with games is textures tiling,
meaning that they repeat seamlessly.
| | 04:36 | Simply because you're repeating a
texture does not make it tile nicely.
| | 04:40 | For example, if I put a mark in my brick,
I will see that same mark every so
| | 04:44 | often, because of the mapping size on here.
| | 04:47 | I can also see in this that the mapping
is not good for tiling it around
| | 04:51 | the wall as it smearing through in
the edges because of the way I hit it
| | 04:54 | with a planar projection.
| | 04:56 | I can fix some of this by selecting it,
right-clicking, choose UV Sets and there
| | 05:01 | is PolyPlanar Projection1 and rotating it on a 45.
| | 05:05 | That's good, although now I've scaled out my brick.
| | 05:07 | A quick fix for this is to scale down
the width after rotation by 70% roughly,
| | 05:13 | this will bring it down to 105 or so.
| | 05:17 | Now my bricks are the right size again,
8 inches; they are the right height,
| | 05:21 | landing evenly on a brick at the bottom,
and they wrap around the wall, which
| | 05:24 | could really use a different texture
because of the header course in the brick.
| | 05:28 | However, it's a good example of a tiling map.
| | 05:30 | What we're seeing in here is that
clean maps tile very nicely, it's when we
| | 05:35 | start to get things that are
unique that we run into trouble.
| | 05:38 | Also, where we change direction in a
map, such as the brick here under the
| | 05:42 | doorframe, where we can see it's
smearing through a bit, that we find we need
| | 05:46 | either another material or a
different way of tiling that texture.
| | 05:50 | I have a non-tiling map I'm going to use here on the door.
| | 05:53 | I'll select it, Assign a New Material and put a Blinn on.
| | 05:57 | In the Color I'm going to add in a File,
and in the image I'll go and choose doorC.
| | 06:03 | It looks somewhat transparent here and
that's because it is an Alpha Channel.
| | 06:06 | I'll click Open, and then in the Blinn,
right-click to break the transparency
| | 06:11 | Maya puts in automatically with an
Alpha channel embedded in the image.
| | 06:15 | There is my door, it's a standard Z
frame door, build up of boards that
| | 06:18 | are bolted together.
| | 06:20 | For now, I'm going to hit this with
some planar mapping, and I'll rotate that
| | 06:24 | mapping spreading it out to 36 wide
and zeroing out the Y rotation.
| | 06:30 | One of the biggest things I do in mapping,
is first get the size right, and then
| | 06:33 | some variant of 0 or 90 in rotation
usually flips it the right way.
| | 06:38 | If you'd like use the dialog under
Create UVs and Planar Mapping you can,
| | 06:42 | although it maybe a bit of a guessing game sometimes.
| | 06:44 | There is the door, and this is an
example of a non-tiling texture.
| | 06:48 | What we can see here is that this door
is matted against white and that mapping
| | 06:52 | needs a little help.
| | 06:54 | I also don't want to see the same door
as this particular door has unique
| | 06:58 | dirt painted on the bottom of it, which will
repeat obviously if I tile it across things.
| | 07:03 | I'll fix up that mapping, selecting
the door, going to the Poly Planar
| | 07:07 | Projection and resizing it a bit.
| | 07:09 | In this case, I'll use the Width and
Height and just bump these up little.
| | 07:13 | Now it's just bigger and wraps around
the side actually smearing through, but it
| | 07:17 | definitely looks like that door.
| | 07:19 | I can continue this with the other elements
in here and that brings me to my
| | 07:22 | next topic in games,
optimizing how many textures I have.
| | 07:27 | Right now to get this far I've loaded two textures;
| | 07:30 | a brick and a door.
| | 07:31 | In each one then we're going to see not
only the color texture but a normal map.
| | 07:36 | I'll add it into the brick to show this.
| | 07:38 | Adding in a file, changing the Type
over to Tangent Space Normals, and in the
| | 07:42 | File dialog picking the brick normal.
It's a large file and I'll turn on the
| | 07:47 | High Quality Display to show that normal map better.
| | 07:50 | What we can see in here is that my
mapping is working nicely, my brick is
| | 07:54 | showing up, and this texture is only 12 megabytes a pop,
doing this will swamp a game engine.
| | 08:00 | So what I need to think about is not
only how does it tile, but how big is that
| | 08:04 | image, how many pixels am I dealing with.
| | 08:06 | It's very possible in this wall I'm
going to see it from this kind of view,
| | 08:10 | fairly close in here, and now I've
loaded in two large tiling textures with no
| | 08:15 | dirt and a door in here, which will also get a normal map.
| | 08:19 | Optimizing resources is a big deal.
| | 08:21 | Now that we understand what tiling is,
we can look at a texture sheet and really
| | 08:26 | how to put those into action to save our resources.
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| Working with texture sheets| 00:00 | With the idea of tiling in mind, we'll
explore a texture sheets as a way to
| | 00:04 | economize how many textures we are using.
| | 00:06 | The idea on a texture sheet is that
rather than using unique textures for every
| | 00:11 | object, we may have a texture atlas, or
master texture sheet, that covers many
| | 00:16 | objects in a game.
Environments are a terrific example of this.
| | 00:20 | We may have a texture sheet that is good
for many of the buildings in the scene,
| | 00:24 | characters then may have their own unique texture.
| | 00:27 | In this scene then, I've got a texture
on the brick, actually two of them; a
| | 00:31 | color and a normal and a color
and a color so far on the door.
| | 00:34 | I'll add in a normal and we'll see how
this looks and then we'll look at what
| | 00:39 | happens with a texture sheet in this unwrap.
| | 00:40 | I'll go into the blaine here on the
door, and into the Bump Mapping, and
| | 00:44 | choose File. In the file setting to Tangent
space Normal, I'll go pick up the door normal.
| | 00:50 | As a side note in naming, I'm
calling each of my files not only what they
| | 00:54 | are but where they go.
| | 00:56 | So in this case DoorN says,
it's a Door and it's a normal map.
| | 01:00 | So I am looking at a list of files.
Let's say here in the File browser or in
| | 01:05 | the hierarchy or project view in Unity,
I can see very well where the pieces go
| | 01:10 | and what they're intended to be
without having to preview each one.
| | 01:13 | Especially as the alpha channel makes
the display in this some what murky.
| | 01:17 | Because of the transparency, having a
good naming conventions so you can find
| | 01:21 | things easily is important.
| | 01:23 | I'll click Open and in the high-quality display
we can really see how my door shows up.
| | 01:27 | I can also test this by using Viewport 2.0.
| | 01:31 | In Viewport 2.0, I have the ability to add
in screen space occlusion if I need, and
| | 01:35 | also anti-aliasing, and really simulate a game environment.
| | 01:39 | It's good to do this, to be able to see
how things are going to behave when you
| | 01:43 | get them in an engine, but still here in Maya.
| | 01:45 | I've turned on my Screen space occlusion and
I'm turning all my Anti-Aliasing at two samples.
| | 01:49 | Now when I turn off the wireframe on shaded,
I get a pretty good idea of how
| | 01:53 | this'll show up and Unity, at least before I gets lights in.
| | 01:57 | What I'll do now, is look for ways to
economize this in a texture sheet, and here's why.
| | 02:02 | Right now, these textures are giant.
Now 12 MB may not seem terribly giant but
| | 02:07 | for that brick wall for example, here
is 12 MB for the color, and 32 MB for
| | 02:13 | the normal map; here is the door at 5 1/2,
and the door normal at another 5 1/2.
| | 02:18 | Very quickly with unique textures like this,
I'm dealing in 55 MB to establish the simple wall.
| | 02:25 | It's simply too big, and this will swamp
a game engine if I keep going this way.
| | 02:30 | What I'll do then is get them assembled
new a texture sheet and I'll max out
| | 02:34 | my might texture sheet at 2K or 2048
on a side. I'll have the door, a door
| | 02:39 | frame, and a brick wall.
| | 02:41 | I've a texture sheet for a color and a normal map.
| | 02:44 | Here in Photoshop, I've taken the
textures I've used on the door and the wall,
| | 02:48 | and put them together on a texture sheet,
matted over a color that works on the edges.
| | 02:53 | The brick is matted against a brick color
for example with the door being matted
| | 02:57 | against the clean blue.
| | 02:58 | I have includes some extra blue matting here
for the door, for the doorframe
| | 03:02 | pieces, and a long gray strip for
the concrete cap on top of the wall.
| | 03:06 | When these maps start out they were
drawn large, and clean in this case; this is
| | 03:11 | my brick for example.
| | 03:12 | In the channels often we will tuck a
spec map, specular highlights in the alpha
| | 03:17 | that way we can use one image twice; once
for the color, and once the shine in Unity.
| | 03:22 | I've done this with the door for example.
Here it actually shows two alphas.
| | 03:26 | I've got alpha one, which is the
specularity on the door where is it shiny or
| | 03:31 | not and Alpha-2 is going to be the
height map for parallax material, making it
| | 03:37 | look like it sticks out and reorients correctly.
| | 03:40 | In my normal then I got the same thing.
| | 03:42 | I need to optimize the alpha channels, but
there is the normal and the alpha for the parallax.
| | 03:47 | These are also very big.
| | 03:49 | For example the door here, press Ctrl+Alt+I
for image size is 720 x 1600. I've
| | 03:55 | rendered it very large and plan to sample down.
| | 03:59 | In my texture sheet then, I drew the
initial sheet at 2048 on a side; screen
| | 04:03 | res is always 72. It really matters how
many pixels we have, and place the pieces in.
| | 04:10 | There's my brick wall at 1024 square and
there is my door larger; and the reason
| | 04:14 | for this on the Texture Sheet in the
planning of it, is so that when we get
| | 04:18 | close to the door, because most likely
we're going to go through a door, we see
| | 04:23 | it in good detail same with the area
given to the frame here in the blue. We are
| | 04:27 | simply more likely to see this closer up.
| | 04:29 | Finally, I have got some extra space
here for other building elements, maybe
| | 04:33 | there is graffiti overlays or other
building materials I would like to use.
| | 04:37 | I'll save this out, and put it on in Maya.
| | 04:40 | I'll press Ctrl+Shift+S and save out a tiff here.
| | 04:44 | I'll call this first one Building sheetC
for color, and I'll turn off layers and
| | 04:49 | save out the alpha channels.
| | 04:51 | Then in my layers palette, where I have
organized by layer sets, I'll turn on the
| | 04:55 | Normal and make sure those layers are on here.
| | 04:59 | I put the normal together as well.
There's the door and the brick wall, and
| | 05:02 | matted against the default blue of normals.
| | 05:05 | I am going to save it out as a TIFF
with the alpha channel being the
| | 05:08 | parallax map or height, and choosing TIFF, I'll
turn off layers and name this Building sheetN.
| | 05:16 | Back here in Maya, I'm going to
start swapping out the materials here for
| | 05:19 | that texture sheet.
| | 05:21 | What I can do then, is actually pick all
of my objects and get a new material on
| | 05:26 | or assigned it existing, and swap out the texture.
| | 05:28 | I'll choose Assign New>Blinn and put in
my texture sheet elements, starting out
| | 05:33 | with just a color. Here's Building
sheetC, it's on and I'll make sure I break
| | 05:38 | the connection to Transparency by right-clicking
on the word, and choosing Break Connection.
| | 05:43 | We can see here is that, that mapping I had didn't work.
| | 05:46 | This is why it's important to plan
the texture sheet first, saying as we're
| | 05:50 | designing these elements, or this sheet, or
this level, what are we going to be close to?
| | 05:55 | What do we need to see in the texture
sheet, and what can we get away with
| | 05:59 | a lower resolution.
| | 06:00 | But we also want to do in a texture
sheet and say, where can we break the
| | 06:04 | geometry, by adding and maybe pop out
on the wall here, to break the linear
| | 06:08 | run of this texture.
| | 06:09 | What I'll do for example is unwrap
the door to lay onto that texture sheet.
| | 06:13 | Now that I have one material assigned
everywhere, I am using one image; although
| | 06:17 | it's bigger I am loading it once.
| | 06:19 | I'll pick the door, and choose Edit UVs
and UV Texture Editor. Here my Texture
| | 06:24 | Editor, I can see my texture sheet,
and right now my polygons are simply
| | 06:28 | spread out onto it.
| | 06:29 | What I'm going to do then is try and
automatic unwrap for example and take
| | 06:34 | these door elements and size them over
that particular piece, working in both
| | 06:38 | views here, so I can really see what I'm doing.
| | 06:41 | I'll use my Move Shell tool, going
under Tool>Move UV Shell, and turning off
| | 06:46 | Prevent Overlap, and start to stack these UVs.
| | 06:49 | I'll pull them in, get them nice and tight,
right-aligned on each other and then
| | 06:54 | take the whole piece and shrink it down.
| | 06:56 | For this example I am not going to worry about
the sides, I'll simply stack them next to it.
| | 07:01 | What I can do though, is get this
using one section of my texture sheet for
| | 07:06 | that door. I'll pull these up, press W for
move, R for Scale, and get them nicely in place.
| | 07:13 | Now as I can see in my view, there is
the door image on the door using one part
| | 07:18 | of one texture sheet and still looking
pretty good in the view; its 1024 tall,
| | 07:22 | which is more than enough resolution for this door.
| | 07:24 | I'll take the shells for the sides
and for now I am just going to pull them
| | 07:29 | over, making sure I am using the
Move Shell tool, so I catch them all.
| | 07:32 | Ideally we would have some kind of
extra material here maybe the doorframe
| | 07:36 | pieces get unwrapped on to it as well.
| | 07:38 | I still need to deal with my brick wall,
but now I've got one image, or one
| | 07:42 | texture sheet, and the door is a part of it,
and even full in the view it looks pretty good.
| | 07:47 | I'm running at 1280x720, and this is
comparable to what we'd see in a game,
| | 07:51 | and even if we go really close, filling
the view up with that door, that texture
| | 07:55 | holds up perfectly fine. That as I'm
charting through here, it's going to look
| | 07:59 | good and uses one image.
| | 08:01 | Planning out the texture sheet then is important.
| | 08:03 | We need to figure out it in here, how
long of a run of the texture we are after?
| | 08:08 | For example this brick wall definitely
needs a tiling texture of some kind, or
| | 08:12 | some sort of break in the geometry such
as another pop out here, to accommodate
| | 08:17 | this linear run of brick along that wall.
| | 08:20 | The cap here can be unwrapped on to that
section of the texture sheet instead of
| | 08:23 | having its own unique material and as can the doorframe.
| | 08:26 | What this means now is I am
going to bring two images into Unity.
| | 08:29 | I diffuse with an Alpha, giving me the
specular highlights, and a normal of an
| | 08:33 | alpha, giving me the parallax map.
| | 08:35 | And I load it once and use it on hopefully,
a whole bunch of buildings, keeping my
| | 08:40 | frame rate up and my resource use down.
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| Designing the modules and sizes| 00:00 | With the idea of our texture sheet
established we need to think about the
| | 00:03 | modules in the texture sheet, and
the modules of geometry we're using.
| | 00:07 | And also the relative size of the
objects in the sheet. As we saw with the door,
| | 00:12 | different elements may have different
sizes in the sheet, depending on how
| | 00:15 | close we're going to get, how many pieces are
shown in them, and what else is going to go on.
| | 00:20 | We may pass through the door and
so we need to see in good detail.
| | 00:24 | This wall however, may be broken up by
lighting, other things next to it such as
| | 00:28 | dumpsters for example, and travel
past it. It may also get overlays of detail like
| | 00:33 | graffiti, or other dirt.
| | 00:35 | Here in Photoshop, I've optimized my
sheet elements a little bit. I have got my
| | 00:40 | building sheets C and N open;
C for color, and N for normal.
| | 00:43 | I made sure these are 8-bit choosing Image>Mode,
and 8bits per channel, and I have
| | 00:49 | also deleted the extra alpha channel in the normal.
| | 00:51 | So now I have the color, which is the
normal map, and the alpha channel, the
| | 00:55 | Height map for the parallax.
| | 00:57 | I'll show this optimization over here in the color,
which I simply saved out of that working PSD.
| | 01:02 | First I need to delete Alpha 2, as that's
the height map I'm not going to need.
| | 01:06 | I'll delete it and now I just have Alpha1,
which is my specular map showing,
| | 01:11 | where things are shiny or not.
| | 01:12 | I can always come back and edit these
later if I am finding that things like
| | 01:16 | the brick are too shiny, although I would like
to be a glazed bricks so this may work nicely.
| | 01:21 | Right now, it says I have Alpha 1
selected and it's a 16-bit image.
| | 01:24 | I'll choose Image> Mode, and 8-bits per channel.
| | 01:28 | These were painted and rendered at 8
and we shouldn't really see a reduction.
| | 01:32 | Now I have RGB, and Alpha Channels,
8bit color and 1 layer in here.
| | 01:38 | In my sheet then I need to consider how
big the pieces are and I'll pull up some
| | 01:42 | reference imagery I have included in
the 01_03 folder to illustrate this.
| | 01:46 | Here in the Reference folder, I've got
some reference imagery of similar brick
| | 01:50 | walls. I'll pull these Open, take a closer look.
| | 01:53 | What we can see in this image, is that
there is a lady on the phone standing
| | 01:57 | next to brick wall. This is not
terribly far back we're actually clipping her
| | 02:01 | feet, and it's a reasonable proximity that we
might see it again, fairly close to the wall.
| | 02:06 | There's a lot of brick, and things on
the wall like the dirt or paint down low,
| | 02:12 | and the dirtiness up top are fairly visible.
Even accounting for the lighting,
| | 02:16 | we can see right here in the center.
| | 02:17 | We know our brick needs to be pretty
decent size and resolution, because we can
| | 02:22 | stand pretty close to it.
| | 02:23 | This is a similar Z-Frame Dutch door,
or half door here, with again my running
| | 02:29 | bond brick, some bricks are missing;
and an interruption, there are two parts
| | 02:33 | in the interruption.
| | 02:34 | The door itself as it breaks the line
of brick here and then this dirt, and
| | 02:39 | maybe new mortar in the brick around the door.
| | 02:42 | Both of those can be used to our
advantage in tiling that texture.
| | 02:45 | Making that repeat on the modules of
that texture sheet, without being terribly
| | 02:49 | obvious, because we're breaking
the visual line here of the brick.
| | 02:52 | Finally, in this brick factory, and I'll
zoom into show it, we may see other geometry.
| | 02:58 | For example, there is a conduit that
snakes along the wall, downspouts, and gutters.
| | 03:04 | These are a bright blue here against
that brick, windows with arches, and
| | 03:08 | finally pilasters, or other pieces that pop out here.
| | 03:12 | Often in a brick wall we put in extra
parts like this for strength. Think of
| | 03:16 | them as ribs on the wall that make it
stiffer, especially in a tall piece like this.
| | 03:21 | This gives us a place when planning
out our texture modules to consider the
| | 03:24 | maximum linear run of that texture.
| | 03:27 | For example and I'll just draw on this image,
our maximum linear run in this case, is only that long.
| | 03:34 | Roughly, we're looking at maybe 12 feet across.
| | 03:38 | At that point we can plan in our design,
in our modules in Maya, that our elements
| | 03:43 | will bend in some way.
| | 03:44 | There is a polygon at some different angle,
or another condition that breaks that texture module.
| | 03:50 | Looking then in our texture sheet at our brick,
I think we've got pretty good
| | 03:53 | resolution. We mapped this at 144 square
or 12' x 12', which is a very tall floor
| | 04:00 | height, and also gives us 12 linear feet
of brick on each side to then break with
| | 04:06 | other geometry. Whether it's a door, or
pilaster we have a good chance of seeing
| | 04:11 | our brick, roughly this close.
| | 04:12 | A whole wall work but we're going
to see it with other things on there.
| | 04:17 | So we need to consider based on reference imagery
how big of a section do we need.
| | 04:22 | We want to scale our elements in
our texture sheet appropriately.
| | 04:25 | This gray up here for example,
is the cap on top of the brick.
| | 04:29 | If we look on our reference imagery on
the brick factory here, there is a little
| | 04:33 | bit of a cap up there, which could be
the same piece that's over here; and way
| | 04:37 | up here on the roof is a cap. Now this
may be metal, but I could probably get
| | 04:41 | away with the same material, but where
is it relative to us as a player assuming
| | 04:45 | we're not jumping run on rooftops,
well twenty something feet up.
| | 04:49 | This cap up here, this cornice is even higher.
| | 04:51 | So these elements can be smaller
comparatively on the texture sheet, and share
| | 04:56 | area; our door then like we've seen
is something we can get very close to.
| | 05:01 | So this proportionately can be a
bigger section on the texture sheet, because
| | 05:04 | conceivably we're going to walk up to
this door, and look through to the inside,
| | 05:08 | or simply pass by it, but at this range.
| | 05:11 | And then finally, there's our brick.
And at a given point we may see 12 feet or
| | 05:16 | so if we are fairly close.
| | 05:18 | If we back out then, we need to have
things that break our modules such as
| | 05:22 | these vertical elements.
| | 05:24 | So in our texture sheet, 12 feet is
pretty good and a thousand 24 pixels tall is
| | 05:29 | adequate resolution for now.
| | 05:30 | We have to bring it into a game, and
see how it looks with the Viewport 2.0 in
| | 05:35 | Maya is a great start on this.
| | Collapse this transcript |
| Stacking polygons in an unwrap| 00:00 | With my texture sheet at least
preliminary laid out, I am ready to model some
| | 00:04 | modules here in Maya, to best utilize
the texture sheet, and solve the issues
| | 00:09 | of tiling through better design,
versus a brute force application of simply
| | 00:13 | more texture resolution.
| | 00:15 | I've got my door mapped on, and
I am ready to look at the wall.
| | 00:18 | Right now it's a straight run of wall
and I'm going to use the techniques I
| | 00:22 | looked at in the reference
imagery to break the run of brick here.
| | 00:25 | I have sized out my brick and made it
144 inches square pilable, meaning that I
| | 00:31 | can have a 12 foot run of break before
I either need to do something else or
| | 00:35 | think about that repeating.
| | 00:36 | What I am going to do is make a module
of a wall with a door in it and a module
| | 00:41 | of a straight wall, and then
a pilaster to go between them.
| | 00:44 | I'll pick my wall and optimize it a
little bit first, pressing F11 for a face,
| | 00:49 | selecting the end face, and deleting
and repeating around the other side.
| | 00:53 | Earlier when I built this I deleted
the top and bottom, and now this is an
| | 00:57 | optimized single-sided construction.
| | 00:59 | I'll press F9 for Vertex select the end
vertices, W for Move if I am not already
| | 01:05 | in the Move tool, and V for Snap.
| | 01:07 | I'll click and drag on the red x axis
and snap this wall right onto the end
| | 01:12 | there, temporarily overlapping the faces.
| | 01:14 | On my transform type and I'm using a
Relative Transform and I'll pull this back
| | 01:19 | by -144, that's my maximum run of brick
before I need to change direction of the polygons.
| | 01:26 | I am ready to unwrap this piece.
| | 01:28 | I'll select it, and in this case use
an automatic mapping, choosing create
| | 01:32 | UVs, and Automatic.
| | 01:34 | What this does for me aside from
orienting my brick vertically, is make
| | 01:37 | sure that, in the Texture Editor, all
of my elements are proportionately
| | 01:42 | correct to each other.
| | 01:43 | They're not sized right and they are
not in the right places, but the wall
| | 01:47 | elements and the ends that fit over the
door here are the right aspects so the
| | 01:52 | brick won't stretch.
| | 01:53 | I'll turn on Shading the selected UVs.
And now I am going to rotate these pieces.
| | 01:58 | I'll use my Move Shell tool, pick a
shell here, and rotate, flipping that around.
| | 02:03 | And doing the same with the other,
each of these shells then can get stacked,
| | 02:07 | and this is very common in games.
| | 02:09 | We stack our UVs, meaning that these
polygons will share that same texture.
| | 02:14 | These pieces over here, these sides on
top of my doorframe, will get stacked on
| | 02:18 | later, but I'll pick all of these
pieces now, and press R for Scale.
| | 02:23 | I'll zoom in and scale them down,
keeping in mind my maximum run of brick.
| | 02:28 | I'll pull these in as tight as I can,
and figure out where I wanted to start
| | 02:32 | out. Rather than have these touch
the edge here, which may cause issues.
| | 02:35 | I am going to pull this brick
up by one mortar joint. This way.
| | 02:39 | it starts out on a stretcher where the
brick is running along the wall, versus a
| | 02:44 | header where they are turned in.
| | 02:46 | And I'll make sure that the side edges
are just inside that brick. Looks like I
| | 02:49 | need to scale in just a little bit
more and I think I'm in pretty good shape.
| | 02:53 | I am making good use of my texture sheet.
What we can see here in this wall,
| | 02:58 | right-clicking and choosing Object
mode and deselecting, is that I've got a
| | 03:01 | brick wall with right-size brick on it,
spanning nicely across and ready for
| | 03:06 | another element to break that texture.
| | 03:09 | Now I can reselect the wall, and pick
those other pieces and get them on correctly.
| | 03:13 | First, I'll take my shells for the sides of the door
and place them on to Map.
| | 03:18 | It's important here to zoom in and make
sure that these UVs are in the right place.
| | 03:23 | What I can do here is part of stacking
my UVs is, pull it slightly higher, press
| | 03:28 | W for Move, and right-click and choose UV.
| | 03:31 | I'll pick the top UVs on that shell and
one of the top UVs on my doorframe, and
| | 03:36 | align these down to the minimum V.
| | 03:38 | I'll do the same here on the
bottom, picking and aligning.
| | 03:42 | Now I can be sure that although it is
different side-to-side, that the vertical
| | 03:47 | spacing of the brick here is a
match on the doorframe side and front.
| | 03:51 | When I look at it here in the Editor,
zooming in and temporarily isolating, I'll
| | 03:56 | see that that brick flows around.
| | 03:59 | Now I may want a different texture, but
it is also blocked by the doorframe, so
| | 04:02 | I am not overly concerned.
| | 04:04 | But even on close inspection with
nothing selected, those mortar joints line up
| | 04:08 | perfectly, and I'm using this texture
sheet, stacking my UVs here, on the front
| | 04:13 | and back of the wall to get the
most out of a smaller resolution.
| | 04:18 | I'll select it and repeat the process
with the other shell over here.
| | 04:22 | I'll do the same thing, pressing W for Move,
right-clicking and choosing UV, and aligning down.
| | 04:28 | It doesn't really matter if you align up
or down, as long as you're consistently
| | 04:32 | moving in the right place.
| | 04:33 | Now I am going to pick this last
shell, and put it in the middle.
| | 04:38 | I can also rotate it, and make sure it lines up.
| | 04:41 | Right here on the mortar joint it will work well.
| | 04:44 | There is the wall, I do have brick
running across the top, and this maybe place
| | 04:48 | to use a different texture; often this
will be concrete or something similar.
| | 04:51 | Again, I'm going to return to my UV
Editor and pick the shell, selecting it,
| | 04:57 | oops, making sure that I press W
for Move, and keeping that selection.
| | 05:02 | And I'm going to put this element,
right here on this gray section, which is
| | 05:07 | also going to be the top cap on the wall.
| | 05:09 | Now it's a much more logical texture.
| | 05:12 | When we look up we see concrete on the
underside, as if there is a concealed
| | 05:16 | piece of concrete, or mortar, or
something in there, helping support this
| | 05:19 | opening, it's a logical place to have
that texture going on, and it works nicely
| | 05:24 | with the rest of the brick I've got.
| | 05:26 | I'll choose Show, Isolate select, and Exit the Isolation.
| | 05:30 | I'll repeat this process with my doorframe.
| | 05:33 | Right now, we can see that those UVs
are really spread all over the place,
| | 05:36 | because there's no mapping applied.
| | 05:38 | I am going to hit them with some
automatic mapping and then start to stitch
| | 05:41 | things back together.
| | 05:43 | This is a place to decide if I want to
split UVs prior to stacking and arranging them.
| | 05:48 | We can see in here, I have got these
large U-shapes we will call them, which
| | 05:51 | are the doorframes going up and over, then
I have got the side of the doorframe here.
| | 05:56 | What I may want to do is pick these
shells, and choose Polygons, and Split UVs.
| | 06:02 | Now, each of these is one unique piece.
It's a perfectly logical break to have on
| | 06:07 | the texture sheet; all of these pieces
lining up vertically, and have a break in
| | 06:11 | the texture at the corner of a doorframe,
because we should see different rust,
| | 06:16 | different paint, or different motifs,
or whatever is going on in there; that
| | 06:19 | that kind of a joint condition is a
logical place to break the texture.
| | 06:23 | I'll pick both of those shells, rotate
them over 90 degrees and start to stack these
| | 06:29 | pieces right in my doorframe area;
selecting all the elements, scaling them
| | 06:33 | down, zooming in, so I can see
what I'm doing, and lapping my shells.
| | 06:39 | Remember in games, it's
perfectly fine to lap over UVs.
| | 06:43 | We can take our shells and get them stacked,
and you may see something becomes
| | 06:47 | so blue, because of so many stacked UVs,
but you can't tell how many polygons are
| | 06:52 | going on there and that's okay.
| | 06:55 | What that means is that I'm
economizing my texture space;
| | 06:58 | I'll pull that in a little more
and close that texture editor.
| | 07:02 | Now I have got my doorframe, now it's
only a color, because I haven't really
| | 07:06 | painted in matching dirt.
| | 07:07 | I can spin those UVs around as I need,
but this doorframe is occupying a small
| | 07:11 | place in the texture, but it
matches the door, because of the color and
| | 07:15 | logically breaks the brick.
| | 07:17 | One last piece then, this top cap.
I'll choose Edit UVs goes in my Texture
| | 07:23 | Editor, and hit it with an Automatic.
| | 07:27 | I am going to leave all these elements
alone, and simply rotate them over, pull
| | 07:31 | them in, and scale them down slightly
just to make sure they fit, making sure I
| | 07:36 | scale uniformly by clicking in the
bottom left in the center of the scale tool.
| | 07:40 | I can stack these pieces and when I add
in some grungy concrete and things, it
| | 07:45 | will span nicely across that cap.
That's a good use of the texture sheet.
| | 07:49 | What we can do then, is say take this
module, actually let's take it without
| | 07:53 | the door, duplicate it by pressing Ctrl+D,
pressing E for Rotate, pressing and
| | 07:58 | holding E and left-clicking to bring
up the Marking menu for rotation, and
| | 08:02 | choosing Discrete Rotate, rotating
this complete element 90 degrees, moving, and
| | 08:10 | pressing V and D, to snap the pivot on
the corner and snapping it onto the wall.
| | 08:14 | Now I realize I need a cap and maybe
this piece is too big, but that's a good
| | 08:18 | logical place to break the texture.
| | 08:21 | My screen space occlusion is
simulating what I'll see in the game. There is
| | 08:24 | darkness in the corner and I also
don't have any lights in here yet.
| | 08:28 | But logically this brick is carrying
around here, and the Shift in direction of
| | 08:32 | the polygons is breaking that texture,
letting me have one big section of brick
| | 08:36 | that spans 12 feet in my texture sheet.
| | 08:39 | As I go around to the other side, I
can take this wall and extend it out
| | 08:42 | further; maybe using a solid wall,
instead of one with the door in it.
| | 08:45 | I'll duplicate it, move it, and snap it
right on, and now this is a logical condition.
| | 08:51 | I might see this let's say running
around a factory; there is a doorway, and
| | 08:55 | there is a doorway. They share a
texture sheet, but everywhere I turn, the
| | 08:59 | lighting seems to change and the
occlusion camouflages that corner.
| | 09:02 | When I go through that doorframe, I see a
door and there's another break in that brick.
| | 09:07 | So as long as I get some reasonable dirt on here,
| | 09:09 | that 12 feet will work just fine, and
I can build all of my modules that way,
| | 09:13 | stacking up those UVs and reusing that texture space.
| | Collapse this transcript |
|
|
2. Painting the Diffuse MapEstablishing base colors| 00:00 | In authoring games, we're constrained
not only by the amount of texture space we
| | 00:04 | have, but also by the amount of geometry.
| | 00:06 | We don't want to bog down our engine
loading up a ton of geometry, which slows
| | 00:11 | down game play, and then try to do
action, characters, particles, whatever it
| | 00:15 | is we're getting into.
| | 00:16 | What we can do then is, think of it
as working with a kit of parts; that
| | 00:20 | there are a finite number of elements
that are going to share texture space
| | 00:24 | on a texture sheet.
| | 00:25 | And we have to be creative with how we
build a level out of that limited kit.
| | 00:29 | The way to think of it is to take a Lego set,
and try to build as many models as possible.
| | 00:35 | You can break it down and reuse,
but you can't add more pieces.
| | 00:39 | You have a unique fixed kit of parts.
| | 00:41 | I've made some space hallway elements
here as a kit of parts for a texture sheet.
| | 00:46 | Now this is not a full kit of parts.
| | 00:49 | I only have a door frame, and a door frame
with doors, a floor, a wall, and a free platform.
| | 00:56 | To really start to make a level, I
should probably build in some room elements.
| | 00:59 | Then I need furniture as well;
| | 01:01 | desks, beakers, labs, aliens in cages,
whatever we're going to do.
| | 01:06 | But this will work nicely
as a texture sheet example.
| | 01:08 | I'm going to use a PSD network.
| | 01:10 | What that will let me do is link a PSD
file into the different properties of a
| | 01:15 | material, simulating the way we'll work
in a game with one or two images being
| | 01:19 | used by multiple objects and multiple
materials, but sharing that texture space.
| | 01:24 | To start with, I'll get a Blinn material on everything;
| | 01:26 | selecting it all, right-clicking,
and choosing Assign New Material.
| | 01:31 | I'll pick Blinn and name this Blinn.
| | 01:33 | We'll call it Space_parts.
| | 01:36 | Now with the Material on, I'll pick one
element and get my texture sheet going
| | 01:40 | through a PSD network.
| | 01:41 | We can only create a PSD
network for one element at a time.
| | 01:45 | So I'll need to do an extra export of
the UVs to go into that PSD as a template.
| | 01:50 | But I'll get started by pressing F6
to go to the rendering module, if I'm not
| | 01:54 | there already, picking one piece, and
choosing Texturing>Create PSD Network.
| | 02:00 | In the Create PSD Network dialog,
we need to first choose a resolution.
| | 02:05 | What I'll do is say I'm going to have
this final texture at 1024 square, giving
| | 02:10 | me a size here to paint at 2048.
| | 02:13 | Next, I'll name this PSD, clicking on
the yellow file folder, and browsing out
| | 02:18 | to the Source Images folder in my project.
| | 02:20 | As long as your project is set,
it should go here automatically.
| | 02:23 | I'll name this file 02_01_space_part_start.
| | 02:27 | At the end of this exercise, I'll
rename that to 02_1_space_parts_end.
| | 02:31 | I'll click Save, and I'm ready for my PSD,
and the particular attributes for that material.
| | 02:36 | I'm going to use map set 1, because I
haven't added any other UV sets, or map
| | 02:42 | coordinates in different places.
| | 02:44 | I'll scroll down, and choose which
elements or attributes I'd like to have.
| | 02:48 | I'm going to pick Color, hold Ctrl
and add bump, scroll down, and choose
| | 02:54 | Specular Color, and open up the detailed attribute list.
| | 02:58 | I can add on a lot of different things here.
| | 03:00 | For example, there is all my mental ray
pieces, and finally, here's Specular Color.
| | 03:05 | There's also Roll-off and Eccentricity.
| | 03:08 | I'll add-in Roll-off and click the right-arrow.
| | 03:10 | Then I'll make sure I get color,
and bump. There is my list;
| | 03:15 | space_parts will have Specular Roll-off,
Color, Bump, and Specular Color, what
| | 03:20 | color is it when it shines.
| | 03:22 | Notice I went back and forth in the
detailed attribute list to get what I needed.
| | 03:26 | I can have it automatically open
Photoshop, or I can go pull it up manually.
| | 03:30 | I'll check Open Photoshop and I'd
like to anti-alias the lines in this case,
| | 03:35 | leaving them as white, and hit Create.
| | 03:37 | Here in Photoshop, which Maya has
opened automatically for me, I have in my
| | 03:41 | layers palette, layer sets.
| | 03:44 | What it's done for me is create layer
sets with the name of the PSD, dot, the
| | 03:48 | name of the attribute.
| | 03:50 | So in this case Space_parts.specularColor
is a layer set with a layer 4 in it
| | 03:55 | that's a 50% gray and ready for color.
| | 03:57 | Whenever I save this PSD and go back
to Maya and update the network, all the
| | 04:02 | different parts of the material will change.
| | 04:05 | Back here in Maya, we can see in the
Blinn is that it's got output connections
| | 04:09 | to that PSD in Color, Bump, Specular
Roll-off, and Specular Color. And going
| | 04:15 | into any one of these shows me it's
using a PSD Network, and using under here
| | 04:20 | that particular layer set.
| | 04:22 | It's terrific for texturing,
because you can see multiple properties.
| | 04:25 | Now what I need is the rest
of my objects in a template.
| | 04:29 | So I'll make sure I select them all,
and choose, pressing F3 for Polygons, under
| | 04:35 | Edit>UV Texture>Polygons>UV Snapshot.
| | 04:40 | I need to make sure before I do that
though that I use the Move Shell tool and
| | 04:43 | select all of my objects.
| | 04:45 | That way, they all snapshot.
| | 04:47 | I'll snap-shot them out,
browsing out to my Source Images folder.
| | 04:51 | Right now it wants to go out to
images where rendered images go.
| | 04:54 | I am going to put it to Source Images,
so when I go there to pull up the PSD,
| | 04:58 | it's in the same place.
| | 05:00 | I'll name this as a temporary
file, calling it space_template.
| | 05:03 | This is a temporary file we can open, copy,
and delete because we're not going to need it.
| | 05:09 | I'll save it and make sure
the resolution matches my PSD.
| | 05:12 | Here's 2048, going as a TIFF,
anti-aliasing the lines, and white.
| | 05:18 | I'll click OK, and then jump over
to Photoshop, and bring this in.
| | 05:21 | Here in Photoshop I've got my PSD open.
| | 05:24 | I'll press Ctrl+O to open and
there is my space template image.
| | 05:28 | I'll open it up, select it all by
pressing Ctrl+A, Ctrl+X to cut, and close this
| | 05:33 | file without saving.
| | 05:35 | I'll paste this into my PSD.
| | 05:37 | We can call it layer 5, or simply
merge it down onto the UV Snapshot.
| | 05:42 | I'll make this UV Snapshot a Multiply
Blending mode, and press Ctrl+I to invert.
| | 05:48 | Now I've got a white color with black lines.
| | 05:53 | In Multiply, we multiply together the
over and under red, green, and blue values
| | 05:58 | and divide by the color space,
always yielding us a darker color.
| | 06:02 | Multiplying by white is like multiplying
by 1; there is no net change, and so we
| | 06:06 | can paint under it seeing our colors clearly.
| | 06:08 | I also like to lock that snapshot, so I
can't accidentally grab it and move it.
| | 06:12 | I am ready to lay in some base color.
| | 06:15 | I will roll up my layer sets, and turn
off the ones I don't need, opening up the
| | 06:19 | Color, and I am going to
rename this layer 2 to base color.
| | 06:25 | Now I am ready to get some color in.
| | 06:27 | I look at my reference imagery
I've included with this file.
| | 06:30 | Here's a metal plating with rivets and
a perforated mesh or a grading between.
| | 06:34 | It's great reference for the
way this metal weathers and rusts.
| | 06:38 | In this elevator, we've got two
different kinds of grading going on;
| | 06:42 | one on the side and one on the floor;
with the side being in panels, the floor
| | 06:46 | being a little more continuous, and long
metal strips that make up a garage door
| | 06:50 | with some caution tape on them.
| | 06:52 | We can eyedropper the colors out of here,
but you may be surprised at what you'll get.
| | 06:56 | What looks like silvery metal with a
bit of rust to it turns out to be very
| | 07:01 | brown when we eyedropper.
| | 07:02 | Down on the floor we get blues,
cadet blues and grays and so forth.
| | 07:05 | So we can take this as inspiration.
| | 07:08 | Here in my base color, I'll press M for
marquee, and start to put in some colors.
| | 07:13 | I'm going to make first my walls that
mellowed out blue, selecting that area,
| | 07:17 | pressing G for the paint bucket,
and filling in that marquee.
| | 07:21 | Pressing Ctrl+D to deselect, I'll go
over to the frame here around the door.
| | 07:25 | I am going to make it a little bit lighter.
| | 07:28 | In mixing colors then, I use different scales.
| | 07:31 | I usually work by HSB;
| | 07:33 | Hue/Saturation/Brightness to
bring up the value on that color.
| | 07:36 | Then I can make it deeper or muddier by
using CMYK for example, adding in black
| | 07:42 | to make it richer, or adding in
yellow to muddy up that color a little bit.
| | 07:47 | RGBs for my taste get very big and
very bright, very quick, and so I use them
| | 07:52 | only at last resort.
| | 07:53 | I'll fill in that marquee with that green.
| | 07:55 | So now I've got some color
contrast between the elements.
| | 07:58 | Now we'll look at the floor,
which will also be my ceiling.
| | 08:01 | I can also pick elements with my Magic
Wand found under the Quick Selection tool.
| | 08:06 | Select it, and make sure I've
got the right layer selected.
| | 08:10 | I'll make sure I am on my UV Snapshot
layer, pick it cleanly, and in that Magic
| | 08:15 | Wand, make sure that Contiguous is on.
| | 08:17 | We can see here I'm getting some different selections.
| | 08:20 | It's good to see that, and remember to check for it.
| | 08:24 | So I've got that piece selected and
I'll expand it by pressing Alt+S, M for Modify,
| | 08:29 | E for Expand, and push it out by a couple of pixels.
| | 08:34 | I'll grab that color, jump over to my
HSBs, swing that Hue into the rust range,
| | 08:40 | because it's a dirty floor, make it
a little richer with a little bit of
| | 08:44 | black, using the arrow keys to nudge that up,
push up the yellow a bit, and add that base in.
| | 08:50 | And what it says for me there is whoops!
| | 08:52 | You've got that layer locked, which is as I intended.
| | 08:55 | Making sure you're managing
your layers correctly is important.
| | 08:58 | So watch out for that.
| | 08:59 | That's why we have separation.
| | 09:01 | Finally, I'll select my doors, and
being careful not to select their gaskets,
| | 09:06 | I'll grab that door frame color, and put it in.
| | 09:10 | I've got a base color going, and here's the magic part:
| | 09:13 | I'm going to save this PSD.
| | 09:15 | Now in this case, I'm going to save it out as an end file.
| | 09:18 | Choosing File>Save As, and naming it
02_01_space_parts_end. Back here in Maya,
| | 09:24 | I'll make sure I pick one of my pieces
that has that material, and replace that PSD.
| | 09:30 | It's looking for that PSD file here,
and I will browse it out or just rename
| | 09:34 | right here in that image name to space_parts_end.
| | 09:39 | Because it's the same file all the way
around, all those different attributes
| | 09:42 | should take on that color. And there it is!
| | 09:45 | There is the green on the floor and the
wall, and the slightly lighter green here.
| | 09:48 | Any other changes I do will reflect
all the way through, in all of the
| | 09:52 | objects and with their UVs.
| | 09:55 | By pressing F6 I can choose Texturing
and Update after I save and all the
| | 09:59 | channels will update correctly. I am
ready to get on my next layers in my
| | 10:04 | PSD such as grunge, and wear, and markings.
| | Collapse this transcript |
| Creating texture details and major landmarks| 00:00 | When we're playing a game we are
immersing ourselves in a world and we want
| | 00:04 | the story of that world to come across.
| | 00:07 | So when we authoring, especially looking
at a game texture using a texture sheet
| | 00:10 | where we know we're going to
see elements multiple times,
| | 00:13 | we need to get into things that inform us of
that world and the evolution of that world.
| | 00:18 | We can assume that at some
point this space hallway was fresh.
| | 00:22 | It was new and straight from the
factory, wherever that is, and it gleaned.
| | 00:28 | Over time then it's rusted, become
scraped, dented, and the markings have
| | 00:32 | worn off and so forth.
| | 00:33 | What we want to get into our texture
then once we have the base color are the
| | 00:37 | major landmarks that tell us how things are.
| | 00:41 | Are there caution stripes on the
thresholds here in the frames that tell us
| | 00:44 | step up, a real trip?
| | 00:46 | Are there yellow marks in the doors or
any way of telling us this is the doorway?
| | 00:51 | Are there stripes across here or
maybe markings as to where we are?
| | 00:55 | We also want major markings and
materials or major landmarks such as in the
| | 01:00 | floor here; the center that might be
done in perforated metal versus the wall
| | 01:04 | might have a panelize construction.
| | 01:07 | I'll jump over to Photoshop and
start adding some layers into that PSD.
| | 01:11 | This is my starting PSD with my base
color laid down and I'm going to get
| | 01:15 | some major markings in.
| | 01:17 | I'll start out by making a new layer
in the space_parts color layer set.
| | 01:21 | This way I have flexibility
to edit and scratch things up.
| | 01:24 | I am going to start in with
striping and holes in the floor or grating.
| | 01:30 | I'll zoom in on the floor and make
myself a grating pattern to begin with.
| | 01:34 | I'll press M for Marquee and make
sure I'm using the Elliptical Marquee.
| | 01:38 | I'm using a fixed size set to 30 x 30
and I'll land in a circle.
| | 01:43 | I'll fill this in white and then deselect.
| | 01:46 | I'll take this layer and Alt+Clone it
by dragging it in the layers palette and
| | 01:50 | offset it choosing Filter>Other>Offset.
| | 01:54 | For my offset, being this is 30 wide, I'll try 90.
| | 01:59 | This way moving the offset out of the way
I get widely spaced dots. Maybe too wide.
| | 02:04 | So using the Preview in the offset
a good idea; and there is 60 and it
| | 02:08 | should work nicely. I'll click OK.
| | 02:10 | Press Ctrl+E to flatten those layers.
| | 02:13 | Alt+Clone layer 5 again.
| | 02:15 | Ctrl+T to transform and rotate it while
holding Shift to snap every 15 degrees;
| | 02:21 | and there is an offset pattern
of dots or what will be anyway.
| | 02:25 | I'll hit Enter to accept the
transformation and M for Marquee.
| | 02:29 | I am going to go back to a
Rectangular Marquee tool using a fixed size here
| | 02:34 | with a size of 60 x 60.
| | 02:37 | Now when I land this marquee over I can
choose half the dots in every direction;
| | 02:42 | and if it's little off that's okay,
because they will tile seamlessly
| | 02:45 | side-to-side and top to bottom.
| | 02:47 | Now with this selected I'll make sure I
press Ctrl+E to merge down layer fives
| | 02:53 | so I have one layer 5 my.base,
and I'll choose Edit>Define Pattern.
| | 02:59 | Here in the pattern it
recognizes my dots and the space between.
| | 03:02 | I'll call this pattern dots and click OK.
| | 03:05 | Now we'll take everything on layer_5
and delete it by pressing Ctrl+A for
| | 03:09 | select all, and Delete.
| | 03:11 | Zooming out, deselecting.
I'll Magic Wand that floor using the UV
| | 03:17 | Snapshot layers lines to
cleanly select that floor polygon.
| | 03:21 | I'll contract in the selection,
choosing Select>Modify>Contract, and I am
| | 03:26 | going to pull it in by 50 pixels.
| | 03:29 | This is a good frame around the outside;
good for screws, and so forth to hold
| | 03:33 | it together with grating in the middle.
| | 03:35 | It also provides me in a texture that's
going to repeat a logical break where I
| | 03:39 | have got metal frames around the
outside of the panels that are assembled
| | 03:43 | together and then placed
next to each other in the floor.
| | 03:46 | Now on layer_5 I am going to fill this
with a pattern choosing Edit>Fill, and
| | 03:52 | filling with a pattern under
Custom Pattern, choosing my dots.
| | 03:57 | There is my floor grating.
| | 03:58 | Now it is in white.
| | 03:59 | So I may want to fix that.
| | 04:01 | I'll zoom in on it and use my Magic
Wand again, pressing W for Wand and unchecking
| | 04:07 | Contiguous I can Magic Wand one of the
whites and either invert it so it looks
| | 04:13 | like we can see through it or
delete it and fill with another color.
| | 04:17 | I'm going to press Ctrl+I to
invert that, Ctrl+U for Hue/Saturation,
| | 04:22 | Colorize lighten that a little bit,
and swing the Hue to match, well,
| | 04:27 | reasonably the panels it's around.
| | 04:29 | So there is black, but in the same
black as the green that surrounds it.
| | 04:33 | I'll deselect by pressing Ctrl+D and zoom
out and there's a floor grating in there.
| | 04:39 | It looks like we can see
through to the darkness underneath.
| | 04:43 | In reality it's just an illusion.
| | 04:45 | It'll hold up nicely in game and give
the idea this is a perforated grating.
| | 04:50 | If we do need, we could put those dots in
the Alpha to actually have transparency
| | 04:54 | through if it's a place we're going to see it.
| | 04:57 | Now I am going to get in some other
major landmarks such as some stripes
| | 05:00 | on those thresholds.
| | 05:02 | I'll jump back to Maya for minute
and explain why I'm talking about the
| | 05:05 | thresholds that look like they
are at the top of this element.
| | 05:07 | Here in Maya, this face is the
threshold on that doorway, and would probably be
| | 05:12 | a good idea for it to have
caution striping of some kind.
| | 05:15 | I may want to extend that
striping partway down the adjacent face.
| | 05:19 | This face however, in the
Texture Editor is at the top.
| | 05:23 | There is that face and the
adjacent face is right here.
| | 05:27 | So I can either put my caution
striping solely on that part or make sure
| | 05:31 | it wraps onto here; and I get a clean look
in caution striping ready to be scratched.
| | 05:37 | We could spin this around and it's
perfectly fine to do that and then take that
| | 05:40 | snapshot out again
depending on how you like to work.
| | 05:44 | It's up to you, you can either
rotate in Photoshop or you can rotate UVs.
| | 05:48 | Bear in mind, it maybe a better use of
the UV space sometimes to rotate things
| | 05:53 | around so that up of the element is not
always up in the texture layout. Anyhow,
| | 05:59 | I am going to paint it upside down
and I'll go back to Photoshop and make
| | 06:03 | some caution stripes.
| | 06:04 | I'll rename layer_5 of Holds or
Grating and make myself a new layer.
| | 06:09 | This new layer will be called Stripes.
| | 06:11 | When we look at the Elevator
Reference Drawing we can see there's caution
| | 06:15 | striping across the bottom of the
garage door and it's yellow and black.
| | 06:19 | I'll eyedropper one of those yellows.
| | 06:21 | I may want to try a couple times to
make sure I get a nice bright color.
| | 06:24 | I go over here a little bit and that looks pretty good.
There's a good caution yellow.
| | 06:29 | The black however is not true black.
| | 06:30 | It's actually roughly
that yellow taken to black.
| | 06:34 | So I'll grab the yellow and remember
that when I get over there to make my black
| | 06:38 | stripes. I'll jump back to my Space_partsStart
and press M for Marquee, zooming
| | 06:44 | in on that door threshold to get the size right.
| | 06:47 | In my Marquee I am going to go back
to a normal size, click and drag out a
| | 06:51 | rectangle and fill it with that
color, pressing Ctrl+D to deselect.
| | 06:56 | I'll press V for move and hold Alt
while I drag down, snapping those layers
| | 07:01 | together and cloning.
| | 07:02 | Now I'll press Ctrl+U for Hue/Saturation
and take the lightness of the second
| | 07:06 | layer down almost to black.
| | 07:09 | It's actually a good match for the same
yellow across here, because the Hue has
| | 07:13 | not shifted; but it will read like black
enough next to the other colors, but be
| | 07:18 | a good match instead of a coal black.
| | 07:20 | Let's pull that lightness down
just a little bit more and OK.
| | 07:24 | Now I'll press Ctrl+E to merge those
layers down, V for move, Alt to clone, snap
| | 07:31 | them together, and merge down again.
| | 07:33 | And I'm making myself a collection of stripes.
| | 07:37 | Every time I Alt+Drag, I get more and
merging them down makes it one layer.
| | 07:42 | Now I have enough stripes to
span nicely across that entryway.
| | 07:46 | Now I am going to put a skew into them.
| | 07:48 | I'll choose Edit>Transform>Skew, grab
the middle, pull it, and there is that shear.
| | 07:55 | The shear has given me an offset in degrees.
| | 07:58 | So I'll pull it up to just
about 45 and see how that looks.
| | 08:02 | I like it and I'll hit Enter to accept it.
| | 08:05 | Then I'll press Ctrl+T again and zoom out.
| | 08:08 | I'll take the end node on this and
scale it back out to my stripes back there
| | 08:13 | width they lost from skewing
and hit Enter to accept that.
| | 08:17 | What this also gives me when I zoom in
is blending between the adjacent colors
| | 08:21 | forcing Photoshop to anti-alias this and smooth them out.
| | 08:25 | We can turn off the pixel grid by choosing
View>Show>Pixel Grid and there's my stripes.
| | 08:32 | Now I am going to take this
block of stripes and position it.
| | 08:35 | I can nudge down with the arrow keys
if I need until it's right in place.
| | 08:39 | It looks like I may need to
scale it ever so slightly.
| | 08:42 | I'll just pull this out again and
stretch just a little bit that way.
| | 08:47 | There is my caution stripes lapping
over cleanly; and I'm ready to select and
| | 08:52 | delete everything that's not on the threshold.
| | 08:54 | What I'll do first though is make sure I'm
consistent in my texture and my major landmarks.
| | 08:58 | After all at the space station factory
there is probably one kind of stripes
| | 09:03 | they used, and those same
caution stripes show up everywhere.
| | 09:07 | Because we're going to see those same
landmarks everywhere, we don't want to see
| | 09:11 | a different stripe every other place,
let's say the doorframe and the floor.
| | 09:15 | I'll take my stripe layer and Alt+Clone
it off to the side and turn off that layer.
| | 09:20 | Now I have got some clean stripes
and then stripes I am going to clip.
| | 09:24 | Back here on your my UV snapshot I'll
Magic Wand that polygon, making sure that I
| | 09:28 | turn on contiguous again, because you
can see as I Magic Wanded the white, it
| | 09:32 | took just about everything.
| | 09:34 | With Contiguous on Magic Wanding that
polygon yields me a clean selection.
| | 09:38 | I'll expand it out by 1.
| | 09:40 | We can see here that I got my template overlay.
| | 09:43 | So I need to expand just a little bit
to make sure I catch all that polygon.
| | 09:47 | Choosing Select>Modify>Expand by 1 pixel.
| | 09:52 | Now on my stripes layer I'll press Ctrl+Shift+I
to invert the selection, and
| | 09:57 | delete and there is my cleanly clipped stripes.
| | 10:01 | We could put another layer of
stripes across here on the threshold or
| | 10:04 | simply live it alone.
| | 10:05 | Hopefully, we'll come back and scratch these up.
| | 10:08 | So most of stripes of worn off, and I think
it's okay to have the stripes just in one place.
| | 10:12 | I can also take my same stripes in my
copy layer, bring them over to the door,
| | 10:17 | shrink them down, and put them on the edge.
| | 10:19 | So somebody doesn't get
pinched in the door for example.
| | 10:22 | I'm getting my major landmarks in and I
can also include in this things like text.
| | 10:26 | Maybe the doors have level markings or so
forth or ship markings or wherever we are.
| | 10:31 | I can put it on the wall maybe rust
in the corners or something similar.
| | 10:35 | Places where there is major landmarks or
joinery that I need to identify cleanly
| | 10:40 | and see and then start to degrade.
| | 10:42 | I'll add in some stripes
across my doors to finish this out.
| | 10:45 | Zooming in on the door and I'm
going to borrow that same yellow.
| | 10:50 | Then I'll click on the Color and go brighter.
| | 10:53 | Pull out the Saturation and
maybe swing it a little bit of green.
| | 10:58 | I am going to use the cyan over
here to green that up considerably.
| | 11:02 | On second thought that
green doesn't look so great.
| | 11:05 | Here's the neat part.
| | 11:06 | There is a current color, there's
the new, and together they fight.
| | 11:10 | Looking at that next to
the adjacent panel, not good.
| | 11:13 | So let's bring it over into
something little more complementary.
| | 11:16 | Here is a blue and now I'll stripe
across the doors, pressing M for Marquee,
| | 11:21 | making myself a new layer and
laying those stripes right in.
| | 11:26 | I'll press G for the paint bucket,
fill that in, and clone them.
| | 11:30 | Let's say it's done with a double
stripe and the blue is the fifth level down.
| | 11:34 | Now I can also add in some
text for example to go with it.
| | 11:38 | Pressing T for text and I'll put in 05,
making the text, selecting it, choosing a
| | 11:44 | font, maybe a good stencil or something
similar, and then up in the size there
| | 11:49 | is a standard stencil in
60 point text; that works nicely.
| | 11:54 | I'll hit Ctrl+Enter to accept it and
it looks like the color wasn't right.
| | 11:58 | The color for the text is up here.
| | 12:00 | So I'll click on that color and
eyedropper right off my foreground. Click OK.
| | 12:04 | Ctrl+Enter to accept the text, Ctrl+T
to rotate, spin it over while holding
| | 12:10 | Shift, and let it go.
| | 12:12 | Now one of my doors will always have
that marking while the other doesn't, but
| | 12:16 | they will have consistent stripes across
and I'll have caution stripes over here
| | 12:19 | on my threshold and holes in the floor.
| | 12:22 | I am going to take this last stripe
layer, stripes copy, and take it out of
| | 12:27 | that layer set, simply dragging it down
either under things or out of layer set
| | 12:32 | entirely above my background image,
| | 12:34 | accidentally landing here in my
specular, pull it on top or maybe just
| | 12:39 | select and cut entirely.
| | 12:41 | For now though I can leave it in spec and
simply turn it off and I'll come back to it.
| | 12:45 | What I'll do is save my PSD as
space_panelsend and bring it back in.
| | 12:51 | Back here in Maya updating the
PSD is going to pick the wrong one.
| | 12:54 | I am going to make sure I pick
any one of my objects actually, go into the
| | 12:58 | Material Attributes, and update that PSD.
| | 13:01 | I'll select it, click on the
name here, and pick Space_partsend.
| | 13:06 | I need to do this on all the associated
channels. As soon as I do it though, we
| | 13:10 | can see that update happening.
| | 13:12 | Here is space_partsend all the way through
and I get an error in yellow on the bottom.
| | 13:16 | It's actually a warning; and what it says
is that the bump layer is empty. All it
| | 13:20 | has on it right now is a 50% gray that
Maya put there, which is perfectly fine
| | 13:24 | as we're going to come back and paint on it later.
| | 13:27 | For now though it's returning an
error saying wait a second, there is
| | 13:30 | nothing going on here.
| | 13:31 | That's perfectly okay.
| | 13:33 | I'll update the specular_roll off and
the specular_color, clicking on the Go Up
| | 13:37 | To Output Connection, once more into
the Material and finish the update.
| | 13:44 | Now with the right file chosen, and again, that
warning at the bottom I've got my PSD updated.
| | 13:50 | There's my floor, here's the threshold
with its cautionStriping and my door with
| | 13:55 | the blue stripes in the 05; spinning
around there is the 05 there as well.
| | 13:59 | I don't mind if its little bit offset,
although I could move it over so it's in
| | 14:04 | center of those panels.
| | 14:05 | Either way is fine and I've started to
get my major landmarks in and I'm ready
| | 14:09 | to start add in rust and scratches and things.
| | Collapse this transcript |
| Adding realism with age and wear| 00:00 | My major landmarks are in, I've added
some extra striping on the doors here as
| | 00:04 | another caution sign, and a light blue
matching the two blue stripes here, on
| | 00:09 | the top and bottom of the door.
| | 00:11 | The light blue denotes
level 5, wherever that is.
| | 00:13 | I am ready to start adding in some age
and wear here and I'll look at the major
| | 00:18 | intersections of panels first.
| | 00:20 | Things tend to rust naturally in the
corners and so it's a great place to start.
| | 00:24 | I'll begin with the wall in Photoshop
and start to add in some rust and then
| | 00:28 | start to rust in as well, any inside
bottom corners on things on my frames.
| | 00:33 | Here in Photoshop in my color layer set,
I'll make a new layer above my stripes
| | 00:38 | and I'll rename this layer Rust. I'll
click on my foreground color and choose a
| | 00:43 | Rust, going nice and saturated and
then using the brightness to pull it down
| | 00:48 | into a deep rich rust color.
| | 00:50 | For rust, I'll use my paintbrush
pressing B for Brush and right-clicking or
| | 00:54 | pressing F5 to access the Brush menu.
| | 00:56 | I'm going to use a soft brush here and use
the brackets if I need to bring up the size.
| | 01:02 | I'll start out by painting in rust on all the
inside corners looking at the wall joints first.
| | 01:07 | Back on the UV snapshot, I'll use my
Magic Wand to select that wall, picking the
| | 01:12 | polygon, holding Shift to add to the
selection, expanding that selection out and
| | 01:18 | then painting in, maybe a 2 pixel expansion.
| | 01:21 | This way, painting on that rust
layer I don't accidently bleed off into
| | 01:24 | somewhere else. I'll zoom in, so I can
really see what I am doing, go back to
| | 01:29 | that brush and brush in a multiply
blending mode with a low opacity.
| | 01:33 | Remember, we're going to see this over
and over and over again, and there is a
| | 01:38 | good chance we're going to take two
of these wall modules without a frame
| | 01:41 | between them and put them next to each
other, so this first pass on the rust
| | 01:45 | needs to seamless and tileable. I'll
zoom out, press B for Brush and it's
| | 01:49 | actually start outside of the wall.
| | 01:51 | I'll click to start and hold Shift
while I click and drag down to add that
| | 01:56 | rust in, click again, hold Shift+Drag and
build that up. I'll do the same at the top here.
| | 02:02 | Again, starting outside, holding Shift,
clicking and dragging down, and letting
| | 02:07 | go, I am doing it one more time.
| | 02:09 | Now I'll add in some bigger rust and
rust in the corners. I'll bring up the
| | 02:13 | brush, take that color even deeper,
zoom out even more, why zoom out?
| | 02:18 | So I can start cleaning the outside
using half the brush and letting it fade
| | 02:21 | off, brushing in that rust, so it
really builds up in the corners here first.
| | 02:26 | Now I'll reduce that brush size and
evenly rust the joining corners, clicking,
| | 02:32 | holding Shift and dragging down, maybe
once or twice. I'll repeat the process
| | 02:37 | on this side making sure I'm straight
across, and that's going to let it be tileable.
| | 02:41 | Now bring that brush down even further,
darken that color in even more and
| | 02:46 | start it right on the line, this has
evenly rusted in the corners here. I'll do
| | 02:51 | the same all the way across, making
sure I click outside of it when I'm holding
| | 02:55 | Shift, that way I don't accidentally
drag a line across. It doesn't matter if
| | 03:00 | the brush is outside the marquee.
| | 03:02 | The big deal is I want that rust
to really burn in those corners.
| | 03:05 | Now I can start to add in some local
wear. I'll go big on the brush, lighter on
| | 03:10 | the color and splotch in some rust.
| | 03:13 | Here's how I'll do this to make sure it's tileable.
| | 03:15 | I'm going to make a new layer and start
some rust with a line going across. I'll
| | 03:21 | do it a couple of times and then add in
some places here where there is little
| | 03:26 | more rust in the panel; the rust has
bloomed across here. I'm going to take this
| | 03:31 | same rust and bring it across the top.
| | 03:34 | Again, brushing in, rust down into that
wall panel. I'll take it from here right
| | 03:39 | off the side, and there is the start
of rust and this should tile decently.
| | 03:43 | Now if you're worried about a rise and
fall on the rust, you can come back and
| | 03:47 | because it's on a separate layer, add a little more in.
| | 03:50 | Here's the trick to tileability: with
that layer I'll choose Filter>Other>Offset
| | 03:57 | or pick it from up at the top.
| | 03:58 | In Offset, I'll offset by 0 on the
Horizontal and on the Vertical maybe 200
| | 04:04 | down. I'm going to let it wrap around here
or just offset it down and clone it back.
| | 04:10 | Now when I deselect and Alt+Clone that
layer back here, I have a match and I
| | 04:15 | can paint out that mismatch. I'll make sure
I'm on the right layer and snap them right on.
| | 04:21 | I'll zoom in to check, press V
and nudge them right in place.
| | 04:25 | E for Eraser, upsizing that brush and
erasing with a low opacity. I'll take
| | 04:32 | out the places where it's joined, and it looks
like my brush is too hard. I'll undo those steps.
| | 04:38 | As a note here, always check your
brush. What happened to me there is that I
| | 04:43 | jumped into my Eraser too fast and I
got a mismatch in the rust in the brush,
| | 04:47 | because, well, it was a hard Eraser.
I'll make sure that hardness is all the way
| | 04:51 | out. I'm erasing with the brush
and I'll take out those lines.
| | 04:55 | I'll make sure I'll do it on both
layers here, actually clearing out a
| | 04:58 | section of rust here. Here's both
sides taking out that hard line, layer 5
| | 05:03 | and layer 5 copy, both have it.
| | 05:06 | Pull that out to open up the line in
that rust, making sure I really clear that
| | 05:10 | out with the eraser to fade that.
Now on both of them, even merge down, I
| | 05:15 | can brush in a nice big spot of rust.
| | 05:18 | This will give me a good rise and
fall on the tiling and some good rust
| | 05:22 | blotching along here, make a bump or
two, and it should repeat seamlessly.
| | 05:26 | If not, I can always come back and
offset it and try it again. I'm going to
| | 05:30 | save this PSD as space_parts_end and
see how it looks, then come back and add
| | 05:34 | more rust on the floor.
| | 05:36 | Back here in Maya I need to update the
PSD, and here's another way to handle it.
| | 05:40 | If we choose Window>Rendering Editors
and Hyper Shade, going to the Texture
| | 05:44 | shows us what looks like four PSDs.
It's actually where the PSD is plugged into
| | 05:49 | each place. I can click on it and go
in and replace that note, pick the next
| | 05:55 | one; there is space_parts_start, which
I'll replace with end, and just bounce
| | 06:00 | all the way through and there's
my error in yellow at the bottom.
| | 06:03 | If you keep working in the same PSD,
you won't need to do this, but if you'd like
| | 06:07 | to have to some iterations,
you can jump through and update that PSD.
| | 06:11 | there's my rusty panel and here's the
test, I'll press W to move the, V for
| | 06:17 | Snap, Ctrl+D to Duplicate and slide it
over. And it looks like I've got a pretty
| | 06:23 | reasonable match across here.
| | 06:24 | With a little bit of variance in lighting
or if I put a panel joint in here,
| | 06:28 | this will look like, well, a rusty hallway,
ready for whatever is going to come
| | 06:33 | at us out of that door.
| | Collapse this transcript |
| Cleaning up seams and joints in textures| 00:00 | I've added some more rust in, making
sure that I caught the inside corners of my
| | 00:04 | frames and along where the frames meets the wall.
| | 00:07 | I have bulked out the rust a little
bit here on the panels and I can see some
| | 00:11 | places where I might need to
pay attention to how does it join.
| | 00:14 | I need some rust on the floor and I
have put a little bit of rust on the door,
| | 00:19 | which could use a little editing
here and there, but works pretty nicely.
| | 00:22 | What I need to pay attention to now are
the joint conditions in places where a
| | 00:26 | texture will be seamlessly next to
another and ways to camouflage this.
| | 00:30 | This is an example, where I might take
one hall module and stick it right next
| | 00:34 | to another and expect them to match.
| | 00:36 | What I can do then is to paint in
some kind of joinery where it's a logical
| | 00:40 | break in texture and made
to go next to something else.
| | 00:43 | For example, these panels might be
passed as one piece here and it's perfectly
| | 00:48 | fine to see four or five of them to
make a length of hallway with some kind of
| | 00:52 | gasket or joint there.
| | 00:53 | I also might see fasteners or something
else on the surface, and again over here,
| | 00:58 | some kind of plates or rivets or
something that denotes that's fastened to a
| | 01:01 | frame in some way. Because we can make
stuff and make it look like anything we
| | 01:06 | want doesn't mean we should.
| | 01:08 | In the real world, things are built of
actual materials, steal, concrete, so forth.
| | 01:14 | Although there may be some magic space
material to make a space station, we
| | 01:18 | have put some rust in and so we have
said yes this is made of a metal of some
| | 01:23 | kind and incidentally, it's wet in here.
| | 01:24 | I'll jump over to Photoshop and
start to paint into my diffuse color both
| | 01:28 | mechanical and color joinery.
| | 01:30 | Here in Photoshop, I also need to
scratch up those markings a little bit,
| | 01:34 | especially here on this threshold. I
need to think about zillions of people
| | 01:38 | or aliens or whoever they are have trod
over this and scratched up that caution tape.
| | 01:43 | I'll press V for move and right-click
on the layer and choose Stripes.
| | 01:47 | Pressing E for Erase and then right-
clicking and choosing my Brush palette, I'll
| | 01:52 | pick one of my scatter brushes and use
the bracket keys to upsize this brush.
| | 01:57 | I'll bring up the Opacity, so I have
scratched most of that off. Here on
| | 02:01 | the stripes layer, zooming in so I can see
better, I'm going to erase in some scratches.
| | 02:07 | Now it looks like my brush is still not hard enough.
| | 02:10 | So I can undo it pressing Ctrl+Z,
making sure I have the right layers selected
| | 02:14 | and hardening that up.
| | 02:17 | There's not really a hardness on this
particular brush, because it is that
| | 02:20 | scatter brush, so what I'll do is just
make sure the opacity is all the way.
| | 02:24 | Now I'll try scratching that out and it's
decent, but still too soft for my taste.
| | 02:29 | I'll go with the smaller brush.
| | 02:31 | One of the things to learn is that when you are
using brushes they're made for a distinct size.
| | 02:35 | In this case, with a smaller scratch
here and more of them, I can erode that
| | 02:40 | nicely and this has been kicked and
stomped and scratched over and had equipment
| | 02:44 | and aliens and things over it and so we
can scratch away at that caution tape.
| | 02:50 | We can even leave some little bits
here and there, you know there is a little
| | 02:53 | bit left right on that corner in the
midst of all that scratching and using the
| | 02:56 | smaller brush takes out those fuzzy
lines, giving me what looks like scratches
| | 03:01 | on those edges, I'll just wear this
away here. Over years that's really just
| | 03:06 | gotten beaten up to the point where
there's some places that are just missing.
| | 03:10 | We want to try and camouflage our
brush strokes by overlapping here, leaving
| | 03:13 | some areas in and some are completely
off and keeping the direction fairly
| | 03:18 | parallel, so that as we eat away at
this caution tape, there are some places
| | 03:22 | that are still there and scratchy and
some other places that are fairly intact,
| | 03:26 | like the corners where it's harder to
step, more of it's going to be a eroded
| | 03:30 | across the middle here until
we're left with not really much.
| | 03:33 | That's pretty good!
| | 03:34 | Years of feet have scratched that out and
I need to make sure I get my rust in here.
| | 03:39 | It's on my layer 5 which I can merge
down if need onto the rust layer and I've
| | 03:44 | still got my rust color up.
| | 03:45 | I'll go back to my brush and in my
soft brush make sure with a smaller brush
| | 03:50 | size that I add a little bit of rust in.
I'll use my UV snapshot and just select
| | 03:56 | that polygon and brush in a little bit of rust.
| | 04:00 | It looks like the color is little bit off.
| | 04:01 | I want to make sure that my brush is
still Multiply and I'll click on the
| | 04:05 | foreground color, borrow an adjacent
rust color and then bring up the Saturation
| | 04:10 | a little bit, swing it little more in
orange, but leave it brown and try rusting
| | 04:14 | in here. That's a better match,
underneath that tape, where it's been kicked
| | 04:19 | and scratched and scraped and now
is starting to rust on that edge.
| | 04:22 | Now here's the other advantage
to working in pieces like this.
| | 04:26 | I can press Ctrl+U for Hue/Saturation
and balance out that Hue to start to match
| | 04:31 | my other rust in there. There it is.
And now I'll deselect and I have got some
| | 04:36 | more edge and wear on that well,
fairly battered caution tape.
| | 04:40 | Now for the joinery, what I need
especially on my wall panels here is some kind
| | 04:44 | of reveal or gasket where they're
joined in and the way I'll do this is
| | 04:48 | actually by using the existing polygon
lines. I'll zoom in, press B for Brush,
| | 04:54 | flop my colors by hitting X and take
that brush down. I'm going to right-click
| | 04:58 | and bring up the hardness on the
brush all the way up and take the color to
| | 05:03 | Normal at maybe about a 70%.
| | 05:07 | Now over those polygon lines I'm going
to get a black here, so I'll click and
| | 05:11 | drag outside, go right over, wait,
making sure I'm on the right layer, okay
| | 05:16 | important safety tip and then what I
said when in doubt use another layer, well
| | 05:20 | I almost got caught there, so it's worth noting.
| | 05:23 | There is my brush and very hard
dragging down this line, scrolling over gently
| | 05:29 | so it doesn't zoom too much
and adding in a joinery strip.
| | 05:34 | We can back this up if we need in our
normal map, but for now this kind of gets
| | 05:39 | the idea of across of some kind of
joint in there and provides a natural break
| | 05:43 | in the rust where I expect to not see
this particular piece rusting. I'll take
| | 05:48 | this layer Alt+clone it up and zoom in,
making sure that it's snapped on that
| | 05:54 | line, so these tile nicely, flatten
down the layer and rename it to gaskets.
| | 06:00 | Now I'll do the same on the floor.
| | 06:02 | Here's how I'll handle this.
| | 06:03 | It just needs a little bit
of an extra line in there.
| | 06:06 | I'll Magic Wand that floor
polygon on my UV snapshot layer.
| | 06:10 | If you notice, I like this technique,
because it lets me go in and grab the
| | 06:14 | shells very specifically.
| | 06:15 | With those selected, I'll choose
Select>Modify>Expand and push it out by
| | 06:20 | a couple of pixels.
| | 06:21 | On my gaskets layer, I'll
fill it in that same color.
| | 06:25 | Then I'll contract it choosing Select>
Modify>Contract and I'll bring it in
| | 06:30 | by four and then I'll delete and that
leaves me a clear black edge around that floor.
| | 06:37 | This is great because now the floors
will join at a black edge seamlessly tiny
| | 06:42 | and really the kind of place we expect
to see filled with grime and dirt
| | 06:46 | and whatever else and providing a
logical joint between these panels.
| | 06:50 | While I'm here, I'll also add in a
little bit of brush texture across that
| | 06:55 | panel. I'll make a new layer and rename
it brushed. I'll Magic Wand that layer
| | 07:01 | again, and here in brushed, I'm going
to fill it with a 50% gray, pressing
| | 07:07 | Shift+F5 and choosing Gray. I'll throw
some grain in, choosing Filter and Filter
| | 07:15 | Gallery, under Texture here's Grain.
I'll run some horizontal grain across and tell
| | 07:20 | that intensity to relax a whole bunch.
| | 07:23 | The same with the contrast, I'll
pull it way out, so it's barely there.
| | 07:27 | There is my grain and now I can
deselect and set this layer to a Soft Light or
| | 07:33 | maybe an Overlay and I start to get a
little bit of a grain pattern going.
| | 07:37 | I'll smooth it out just a touch
with a little motion blur, choosing
| | 07:40 | Filter>Blur>Motion Blur by maybe three
pixels, an angle of zero, lines up with
| | 07:47 | the grain and I'll hit OK. Now I
have got in this, perforated panels with
| | 07:53 | grain on them, which I can bring into
the shine later and really make this look
| | 07:56 | like it's made of a brushed steel or
something similar versus a totally flat color,
| | 08:01 | I'm going to save my PSD and do the
update again and see how this looks.
| | 08:06 | I've updated my PSD, so now
I'm using Space_partsend.
| | 08:10 | Notice that the image name, it's a
relative path, source images and the file,
| | 08:14 | that's how I know I've got a good project
set up that I can take anywhere with me.
| | 08:18 | When I deselect this piece and make
sure that my wireframe on shaded is off
| | 08:22 | there is a joint between the panel and
it's logical to have those end at black.
| | 08:26 | I'll reinforce it with my Bump Map and
I get what looks like ball pens, rusting
| | 08:31 | and well falling apart a little bit and
joined together at some kind of faithful
| | 08:36 | rubber gasket that's still managing to
hold up after all these years in space.
| | 08:40 | There is my scratched up caution tape
and my floor panel and here's the test.
| | 08:44 | I'll duplicate it and move it over
using the Align tool, snapping on the panels,
| | 08:51 | deselecting and there is the floor
with its holes and its joining piece,
| | 08:57 | matching up nicely and cleanly at a
gasket onto the wall, ready for whatever is
| | 09:03 | going to go on in here. I'll put it
next to the door and see how it looks when
| | 09:07 | it's altogether, picking the pieces,
pressing V and D to move the pivot and
| | 09:11 | snapping them together.
| | 09:12 | Of course things line up conveniently.
| | 09:16 | I planned it that way, but silliness
like that aside, we should take that
| | 09:21 | attitude when we're constructing these pieces.
| | 09:23 | It's not an accident that everything
seems to be lining up, that is carefully
| | 09:28 | done and constructed, so that when we
get our space hallway together and clone
| | 09:32 | out the rest of the parts; let's say
picking these, duplicating, moving and
| | 09:37 | sliding over that everything is an
easy even match. That all the pieces match
| | 09:43 | together and we can run down this space
hallway and it looks like well, decrepit
| | 09:47 | space hallway, like we'd expect.
| | 09:49 | Here's the final test as I take these
floor panels, duplicate them, slide them
| | 09:54 | up to the ceiling and rotate them around.
| | 09:56 | Now it looks like I have got the same
panel on both sides, so I'll make sure
| | 10:01 | under Shading you choose BackFace
Culling, making sure everything is in the
| | 10:04 | right direction and finally snapping
these panels in. I was trooping around
| | 10:09 | the space station, down the rusty
hallway and suddenly the doors open and
| | 10:14 | something jumped out at me.
| | 10:15 | What we can see here is that everything
is meant to join together and I've taken
| | 10:19 | care of joinery conditions here where
things need to be immediately adjacent
| | 10:22 | without a break in geometry.
| | 10:25 | Well, I don't have a direction change to
accommodate two panels next to each other.
| | 10:29 | With a pipe across here and some
lighting, you won't notice it's the same rust
| | 10:33 | and it's really tiles nicely.
It's the same with the doorframes.
| | 10:37 | Here's one frame and there is a frame
with the door and they're really not close
| | 10:41 | enough together to notice
they're the same pieces.
| | 10:44 | So I can reuse these in my kit of parts
as often as I'd like to make up all the
| | 10:49 | space hallways I can stand.
| | Collapse this transcript |
|
|
3. Specular Maps: Bringing Out the ShineUsing diffuse layers as a basis for specular maps| 00:00 | One of the most important
components in the texture is actually the
| | 00:03 | Specular Component.
| | 00:04 | We need our Specular Map, to do things
like make the rust dull and the metal
| | 00:09 | shiny where it's still in pretty decent shape.
| | 00:12 | We can also use that specular wrap to
add in scratches on the floor here and
| | 00:16 | make this metal grating really pop out.
| | 00:18 | Right now we are seeing just the raw diffuse color.
| | 00:21 | It's unlit or flat lit in Maya.
| | 00:23 | And it's not a good way to judge how
this is going to look when it shines.
| | 00:26 | We are using a Blinn material and this
is a next-gen material for games, so it's
| | 00:31 | a good simulation to use and
test out what we are doing.
| | 00:34 | I have broken the transparency by
right-clicking on the word Transparency and
| | 00:38 | choosing Break Connection.
| | 00:39 | Maya puts it in automatically if
there's an Alpha Channel and a PSD.
| | 00:43 | But we don't want transparent metal walls.
| | 00:46 | I'll demonstrate how the specular
highlight looks at the moment by putting a
| | 00:49 | light in. It's a good idea to do this;
not just looking in the viewport, but
| | 00:52 | actually putting a light in by
choosing Create>Lights>Point Light.
| | 00:56 | We will put a point light in, move it up
in the corridor, spin around to be able
| | 01:01 | to see it and press F to focus.
| | 01:03 | Now with this light in place, I will
turn on High quality display and press 7 to
| | 01:10 | show the lighting in the view.
| | 01:12 | When I go into the corridor, we can
see it's all very even, that is I pulled
| | 01:15 | this light up and down, we can see the
shine change a little bit, but everything
| | 01:19 | is the same just the light value changes.
| | 01:21 | Pulling the light close to the wall
doesn't show any extra shine here in the
| | 01:25 | gray metal and doesn't show any
glimmering highlights in the rust or on the
| | 01:28 | screws I have added.
| | 01:29 | We can see that and we need to
define how this looks and we will go back
| | 01:33 | to Photoshop to do it.
| | 01:35 | One more thing before we dash back to Photoshop.
| | 01:37 | I am back out in my scene and I will
press 6 to go back to shaded and get out of
| | 01:42 | High quality display for a minute.
| | 01:44 | I've done a quick test here with my
modules, taking the three frames and putting
| | 01:47 | them together to make the basis of a T intersection.
| | 01:50 | I need a couple extra polys here, these
triangular corners and I can use two of
| | 01:54 | my existing floor polygons and
wall polygons to close this off.
| | 01:58 | We want to think in this way.
| | 01:59 | If we need extra pieces, can we take what
we have and put it on an existing sheet?
| | 02:03 | Here is a quick trick to make this work.
| | 02:06 | I'll take a wall, press Ctrl+D
to duplicate and slide this over.
| | 02:10 | We can see here, holding V for snap,
that it doesn't quite line up and finish
| | 02:15 | out how the intersections should be.
| | 02:17 | When I turn on Wireframe on
shaded, we can see a gap there.
| | 02:20 | And simply cloning it over will
leave polygons hanging off the edge.
| | 02:23 | I will press and hold W and left click
anywhere and bring up the marking menu
| | 02:28 | for move, and I will turn on Preserve UVs.
| | 02:30 | Now with that on, I'm going to craft a
new poly and slide it over and keep the
| | 02:36 | UVs as they are instead of stretching them.
| | 02:38 | I will press F9 for Vertex, select these
vertices and snap them onto the existing wall.
| | 02:44 | When we spin around, we can see I have
started to go on to part of the frame and
| | 02:49 | so now I will pull these back halfway.
| | 02:51 | I think these are about 250 wide, so I am
going to slide it over to let's say about there.
| | 02:56 | Now I will take this object, duplicate
it by pressing Ctrl+D, V for snap and
| | 03:02 | snap it over onto itself.
| | 03:03 | When I turn off Wireframe on shaded,
I have a reasonable juncture here. Yes
| | 03:08 | the screws are off a little bit and
that's okay, it adds a character to it
| | 03:11 | with the panel sort of in the
middle here and a joint accommodating the
| | 03:14 | difference in rust.
| | 03:16 | This helps to finish out that intersection
and preserving UVs allows me to slide
| | 03:19 | those words around without
stretching out that texture.
| | 03:23 | I'll make sure that my panel is snapped in,
so it's light-tight, pressing F9 for
| | 03:27 | Vertex, V for snap and snapping it over.
| | 03:31 | What this lets us do is build up our kit
of parts, taking pieces we already have
| | 03:35 | on texture sheets we already have,
making new parts and unwrapping as we go.
| | 03:38 | Now I will go in to Photoshop
and work in the Specular Map.
| | 03:42 | Here in Photoshop, I have got my PSD up.
| | 03:44 | And right now I'm working
the spaceparts color layer set.
| | 03:46 | I am going to use some of the pieces
from this to make that specular map, and the
| | 03:51 | most obvious at the moment is the rust.
| | 03:53 | Where the metal is clean, it should be
shiny and where it's rusty, it should dull down.
| | 03:57 | I'll take this Rust layer and select it and
clone it then drag it into that other group.
| | 04:02 | There is rust copy and now I can
take it and pull it down into that
| | 04:07 | specular layer set.
| | 04:08 | I will put it into the specular rolloff above layer 1.
| | 04:12 | In this rust then, I can define where is it shiny or not.
| | 04:16 | I also need in here a color in this
specular rolloff because we can see layer 1
| | 04:20 | is blank and that's why we are
getting those errors in Maya.
| | 04:23 | Here is how I will start to
make this specular layer set.
| | 04:26 | First I will roll up color and turn it off.
| | 04:29 | There are the Specular layers at the moment.
| | 04:31 | I will go in to layer 1, press Shift+F5
and fill it with a 50% gray, that way
| | 04:36 | it's neutral, neither shiny nor dull
and I have range up and down here into
| | 04:41 | white and black to craft my specular highlights.
| | 04:43 | Then I will take my Rust copy and
press Ctrl+Shift+U to desaturate it.
| | 04:48 | Already this would give me some variety.
Just by saving this and update the PSD,
| | 04:52 | we will see that I have shiny metal in
the middle and dull here in the rust.
| | 04:56 | I'd like to add to it as well though.
| | 04:58 | I'll go back into the Color group,
scroll down and find the holes in the floor.
| | 05:03 | I will take them hold Alt, clone them
down into the specular rolloff and then
| | 05:08 | also go find the grain.
| | 05:09 | It's in here somewhere, called Brush.
| | 05:12 | Again, I'll Alt+clone it down
and into that that other group.
| | 05:15 | What I start with a lot of times then
for my specular layers is simply a clone
| | 05:19 | of the diffuse made gray.
| | 05:21 | I'll take this brushed copy and
desaturate it Ctrl+Shift+U again.
| | 05:26 | I'll do the same with the holes
making sure that I've got black here.
| | 05:29 | And then I'm going to go into the
levels and pull that all the way down to
| | 05:34 | black, choosing Image>Adjustments>Levels.
| | 05:37 | It doesn't look like much because I have
got a tiny little blip here in gray and
| | 05:42 | black because of the way I constructed it.
| | 05:44 | What I can do though is pull this down,
either making it a little shiny or
| | 05:48 | little duller depending on what I'd
like, pushing that mid gray around for
| | 05:51 | example and making the space between
the holes brighter. Leaving the holes dark
| | 05:55 | will give me a center panel that looks
a little bit shinier, then I will pull
| | 05:59 | the black level up and make
sure those holes are nice and deep.
| | 06:02 | By pushing these two together I can get a
really different specular highlight going.
| | 06:06 | I will use my levels on the brushing as well.
| | 06:09 | And I will zoom in to see how this looks.
| | 06:11 | Right now this is an Overlay
layer and it's fairly muted on that
| | 06:15 | specular highlight.
| | 06:16 | I am going to turn this over to a
Screen to really make it pop out here, but
| | 06:21 | then I will put it may be under
the holes and see how that looks.
| | 06:24 | We also have the advantage here in our
layers of moving things around little bit.
| | 06:28 | On second thought, I think I would like
to have it be brushed there, on top and
| | 06:32 | that way it's two different tones of metal
with brushing over them and the holes in there.
| | 06:37 | I'll play with my layers and also work
on the color or density of this map a
| | 06:41 | little bit, choosing Image>Adjustments
>Levels again and pulling this value
| | 06:45 | around on the brushing, so that the
holes retain their depth and the brush
| | 06:49 | panels pop out on the sides.
| | 06:52 | Now the last part to it then is I am
going to take the black and the holes and
| | 06:56 | subtract it from the brushing.
| | 06:57 | So I don't have brushed darkness.
| | 06:59 | On the holes layer, turning off brushing
temporarily, I will press W for 1, make
| | 07:03 | sure Contiguous is off and
my Tolerance is nice and low.
| | 07:06 | I will Magic Wand the black, go over
to the brushed copy layer and delete,
| | 07:12 | pressing Ctrl+D afterwards to deselect.
| | 07:15 | Now I have got a good specular map for
the floor where the shine is going to
| | 07:18 | vary all the way across.
| | 07:19 | I will pull in other layers and see how
it looks, but first I'll save this map
| | 07:23 | and go test it in Maya.
| | 07:25 | Back here in Maya, I have updated my
PSD, so I am using the right images and
| | 07:28 | have all the right components.
| | 07:30 | I've still got my light in place and I
will go in the High quality and make sure
| | 07:34 | I press 7 to show the lighting.
| | 07:36 | When I do that and move the light around,
I can definitely see a change on the walls.
| | 07:40 | We can really see where that rust is
dull and the wall between is shiny,
| | 07:44 | watching the specular highlight
travel and the intensity change.
| | 07:47 | We've also got a good travel going on
the floor where the specular highlight
| | 07:51 | changes ever so slightly on the
holes versus the frame outside.
| | 07:55 | We can keep going with our specular work,
making sure things really pop out here
| | 07:59 | and bringing up the intensity of that
highlight by making the values lighter.
| | 08:03 | To make things really pop out,
I'll paint in a little bit of white.
| | 08:06 | For example I would like a little bit more
specular highlight right here on the wall.
| | 08:11 | I will go in layer 1, put a new layer
over it, press D for default, X to flop
| | 08:16 | colors, B for brush and
upsize my brush a little bit.
| | 08:20 | This is a big soft brush and I'm
going to paint my specular highlights in a
| | 08:24 | linear dodge or add at a very, very
low opacity; 5% is almost too much.
| | 08:29 | I will just start to add in, oops,
that's too hard, a little bit of soft
| | 08:33 | brushing right here in the middle of that panel.
| | 08:36 | And this is going to bring out a little
bit of shine under it, add blows out to
| | 08:41 | white very quick, so little a bit goes
a long way, but now it would be nice and
| | 08:45 | shiny in the middle.
| | 08:46 | I will do the same here on these panels,
just adding in a little extra shine
| | 08:49 | here and there and a little bit on the doors.
| | 08:52 | This is why we deal with a 50% gray in
specular highlights, so that as we paint
| | 08:57 | we've got range up and down.
| | 08:59 | I can have dull dark rust and bright walls
where they are well, hopefully not as rusty.
| | 09:03 | I'll save this and go update the texture
in Maya and check it out one more time.
| | 09:08 | Here in Maya then, once I have got
that PSD set, I can choose texturing and
| | 09:12 | update PSD networks and I will see a difference.
| | 09:16 | Now when I take this light and pull it
close, once the PSD network is updated, I
| | 09:20 | will start to see how that highlight changes.
| | 09:22 | We are close to the wall and I can
see as I pull this light around, the
| | 09:26 | highlight spreads out and
concentrates and spreads out again.
| | 09:30 | I can really make this pop out and
once I get a Bump or Normal in, it will
| | 09:34 | really start to shine nicely.
| | Collapse this transcript |
| Creating dents and scratches| 00:00 | Once you've got your base specular map
established, you can start to add small
| | 00:04 | details, things that really show up in
a specular map like scratches and dents
| | 00:09 | for example in metal.
| | 00:10 | What I have done here is to take some
more of my diffuse color layers over into
| | 00:14 | the specular rolloff and do
some adjusting on their levels.
| | 00:17 | I took the stripes over and pulled their
contrast out entirely and made them brighter,
| | 00:23 | as if some of the tape that was still
on there is still little bit shiny.
| | 00:27 | I've also brought the screws over and made
the screw heads brighter, letting them fade
| | 00:31 | off so I've got bright points on the panels.
| | 00:34 | Finally, on the doors, I've brought
the strips and markings in and made them
| | 00:38 | brighter as if the paint have
a little extra pop right there.
| | 00:41 | Now I'm going to add some
degrading here in the specular level.
| | 00:44 | What we can do is, like what we did
with the stripes here, using a brush to add
| | 00:49 | scratches in, and the scratches will be
brighter in the metal. I'll start out
| | 00:53 | with a new layer and as you noticed in
my Layers palette, I have turned off my
| | 00:58 | thumbnails, choosing the dropdown menu
and going to Panel Options, and turning
| | 01:01 | them off, because I had a lot of layers
going as I was dragging back and forth.
| | 01:06 | I'll throw this back on medium and
just pull this layers palette over again.
| | 01:09 | Now for some scratches on things.
I want to look in scratches at the
| | 01:13 | most obvious places.
| | 01:14 | I'll start here on the floor.
| | 01:16 | What we need is instead of dull rust
here, scratched metal and shiny places on
| | 01:21 | what's left to the stripes.
| | 01:23 | I'll use my brush again, right-
clicking, and choosing one of my spatter
| | 01:26 | brushes, for example.
| | 01:27 | I am going to paint in a linear dodge
or and add again and see how this looks.
| | 01:32 | As I start to scratch this over I want
to watch how directional it is, I also
| | 01:36 | need to constrain it, but a quick test
shows me, very nicely I'm going to get a
| | 01:41 | bright specular highlight there.
| | 01:42 | I'll use my UV snapshot and the magic
wand to constrain that selection turning
| | 01:47 | on contiguous to make sure I'm grabbing
the right part, I'll expand this out a
| | 01:51 | little bit choosing Select>Modify>
Expand and push it out by a couple of pixels.
| | 01:57 | Now back on that layer
and here's my Layer palette.
| | 01:59 | I'm going to brush in those specular highlights.
| | 02:02 | I'll make sure that where I am brushing
runs parallel to the other scratches, so
| | 02:06 | I'm going to put on this particular
floor panel here, some extra scratches where
| | 02:10 | it's really been worn away letting
some of the areas really bloom up to white
| | 02:14 | very quickly and scratch that in.
| | 02:16 | When we paint scratches like this, we
want to think of them occurring over time
| | 02:21 | that this has become scratch through
years of use and so we may see some
| | 02:24 | direction change as well in the
scratches, but we want to let that build up in
| | 02:29 | here but as we're adding these scratches
in it is getting shinier and shinier in
| | 02:33 | places and occasionally overlaps that
some of the edges they are nice and bright
| | 02:37 | where it's been chipped in that,
whatever chipped it actually buff that stripe a
| | 02:40 | little bit and so forth.
| | 02:42 | We want to use any brush we can that
will give us a mechanical wear that over
| | 02:47 | years of people running by and
aliens and things being dragged over, the
| | 02:51 | edges of this have become very, very
scratched even right across the tape occasionally.
| | 02:56 | That's really going to bring out the
highlights in here making it look like a
| | 02:58 | scratched threshold in this door.
| | 03:01 | I can do this on any corners I like
as well to really make them pop out.
| | 03:04 | For example, I'll work on the frame in
this section using that same technique of
| | 03:09 | the magic wand expanded selection and
scratches painted in white on that extra
| | 03:15 | layer, pressing B for brush and now
I'll add in scratches all the way along.
| | 03:20 | Over years, this has become well
scratched, things going by and streaking across
| | 03:25 | it and so forth, so paint it in, it's
on another layer and so if you don't like
| | 03:29 | what you're seeing, you can
simply delete it and start again.
| | 03:32 | I will make my brush a little bigger
and just add some more scratches on these;
| | 03:36 | these are the vertical sides of this frame here.
| | 03:39 | This is the kind of thing that's
really going to make this thing.
| | 03:42 | What we need in game a lot of time,
especially when we're dealing in metals
| | 03:45 | like this is that the specular
highlight really concentrates in bright areas,
| | 03:49 | so it looks scratch.
| | 03:51 | Anywhere this metal is going to be
open and raw, we want to paint in those
| | 03:55 | specular highlights.
| | 03:56 | I can really use that value as well,
I've got some very dark rust and some very
| | 04:00 | bright areas and I can do the same on the floor.
| | 04:02 | Again, I'll use my brush, magic wand
that floor polygon, go bigger with the
| | 04:07 | brush and make sure I'm on that
specular layer and paint those scratches right
| | 04:11 | in, it's going to have some good
streaking across here and really on the edges
| | 04:16 | and so forth and let it be uneven.
| | 04:18 | The less even we can make things the better.
| | 04:21 | Any chance we have to make our
specular highlights very across the surface
| | 04:25 | will help us and it will let it go nice
and bright there and I am going to use
| | 04:30 | that same trick of selecting the holes and
then deleting from that specular highlight.
| | 04:34 | So here's the holes copy layer, I'll
deselect turnoff Layer 6 for the moment
| | 04:39 | that's my extra brushing and magic wand
that black color making sure Contiguous is off.
| | 04:46 | There is the holes switching back to
Layer 6 which I should probably rename,
| | 04:51 | we'll call it scratches and delete.
| | 04:54 | Now the holes are black again than the
floor is scratched, they are nice and
| | 04:58 | bright in the middle and the threshold
and sides of the frame are scratched as
| | 05:01 | well and I can add some scratches on
the other corners to finish it out.
| | 05:04 | Go back to Maya and see how it looks.
| | 05:06 | I have come back to Maya after
updating my PSD and making sure all of the
| | 05:11 | networks are correct.
| | 05:12 | Now what we can see is I bring this
light back-and-forth and put it especially
| | 05:16 | close to that floor, is that
specular highlight really changes?
| | 05:19 | I see it change across the
stripes and in the rust, a little bit of
| | 05:23 | scratches that really show.
| | 05:24 | When I bring it down closer I can
definitely see that travel and when this is
| | 05:28 | accented with a normal map it'll really pop-out.
| | 05:30 | I have brought up my light a little bit.
| | 05:33 | Here's an intensity of even two is
not too strong, When we pull this
| | 05:36 | back-and-forth, we can really see
what's going on with those specular
| | 05:39 | highlights and it's a good idea to test
it this way and make sure you're really
| | 05:43 | seeing how this'll show up.
| | 05:44 | Eventually we want to bring this into a
game engine like unity and make sure it
| | 05:48 | all works, but for now this is a great
way to handle a test and see if our maps
| | 05:52 | are working correctly.
| | 05:54 | The scratches work and I can really
see that shine changed across all the
| | 05:57 | elements, and when I get close
here I'll really see it show.
| | 06:00 | At this stage choosing Viewport 2.0 may
give us some odd results as it tries to
| | 06:05 | load the diffuse in the bump and lays
the UV's right over and it looks a little
| | 06:10 | strange, so we may want to hold off
Viewport 2.0 for a minute as it makes this
| | 06:15 | tape look a little bit strong.
| | 06:16 | Later once we get a bump in we can
use this and make sure we turn off
| | 06:20 | that template layer.
| | 06:21 | For now though, I'll see if there is
anywhere I also need to add in more
| | 06:24 | scratches and then see what else my
specular map needs to really pop-out.
| | Collapse this transcript |
| Tweaking specular maps for joints and seams| 00:00 | Part of making a good specular map,
like making a diffuse, is thinking about the
| | 00:04 | joint conditions, and if there's
anywhere to break the texture conveniently,
| | 00:08 | because we're tiling and overlapping pieces.
| | 00:11 | For example, in the diffuse layers
I've added in a black gasket here to join
| | 00:15 | these panels together. It's a thin
black line but provides me a texture break
| | 00:19 | and a place where I have mismatch and the rust.
| | 00:22 | I need to make sure I have things like
that and my specular channel as well, so
| | 00:25 | I get an obvious dark line or dark
spot where these pieces join together,
| | 00:30 | because it's a different material.
| | 00:32 | A large part of a specular channel
then is really saying what is the material
| | 00:36 | and how does it function in this place.
| | 00:39 | The rubber then should be duller than
the surrounding metal, so I want to make
| | 00:43 | sure we get those black layers in.
| | 00:45 | I also need to finish out my module
here of this T intersection adding in
| | 00:48 | those triangular parts.
| | 00:50 | That's a great place to make sure I
have got an extra joint condition going on.
| | 00:54 | I'll take care of that by putting in
some poly's. There are any number of ways
| | 00:58 | to do this. We can extrude from existing
pieces or create new ones. I'll extrude.
| | 01:03 | Pressing F10 for edge, selecting one
of my edges holding Shift and right
| | 01:07 | clicking and choosing Extrude Edge.
| | 01:10 | I'll pull this edge out and we
can see it maps onto the text or
| | 01:13 | sheet conveniently.
| | 01:14 | Now I'll press F9 for Vertex, W for
Move and start to snap these in place,
| | 01:19 | holding V for Snap and snapping this right on.
| | 01:22 | I'll take this vertex here and press Delete.
| | 01:26 | That closes it up, so now this is one face.
| | 01:29 | It's up to you how you want to
handle this. I would like to combine this
| | 01:32 | eventually so it's one object that is
one module that goes into Unity as a T
| | 01:37 | intersection. I can join hallways too.
| | 01:39 | So I can these attached and just make sure
it goes in the right place in the unwrap.
| | 01:43 | If I pick this face press F3 for
Polygons and go to the Texture Editor, I'll see
| | 01:48 | where this landed, one
giant triangle over everything.
| | 01:52 | What I'll do then is pick the Move
Shell tool and select it and there is this
| | 01:57 | one big shell hanging out.
| | 01:59 | I'll scale it down and plant it
conveniently over some of the rust. It's
| | 02:04 | important to zoom in and make sure
you're at the right scale, very easy to have
| | 02:08 | elements that have too much texture on
them, I'll pull this down to about here
| | 02:12 | and move it over so it has a screw
maybe, well that looks reasonable.
| | 02:17 | They'll help fasten these pieces together.
| | 02:19 | And I'll make sure it's part of accommodating
that joint condition that when I
| | 02:22 | pull it down I actually see one
black joinery line right here next to the
| | 02:26 | screw. It's a little detail reusing the
existing map and I'm okay with it being a
| | 02:31 | mismatch side to side, because I've
got some of the existing language showing
| | 02:35 | up in that small part.
| | 02:36 | I need to do this on the other side, so
what I'll do is, take this element and
| | 02:40 | extract it for the moment.
| | 02:42 | I'll choose Mesh and Extract.
| | 02:44 | We can extract and combine to our hearts content, really.
| | 02:46 | It doesn't matter because we're
going to combine it all anyway.
| | 02:49 | Once UV's are on it doesn't matter if it's
a separate object or part of the same one.
| | 02:54 | I'll take this piece, center it's
pivot by choosing Modify and Center
| | 02:57 | Pivot, duplicate it, slide it over,
press F9 for Vertex and put the
| | 03:02 | vertices in different places.
| | 03:05 | The reason I'm doing this is so I get a
different element side to side instead
| | 03:09 | of the same piece, then by UV I'll take
these UVs and slide them around and pull
| | 03:14 | the distortion out. I'll get it close
to the existing one but not exact, making
| | 03:20 | sure that it's got a little bit of variety in it.
| | 03:23 | This way when I'm going through this
game I've got pretty close to the same
| | 03:27 | pieces, but not quite all the same, just
a little off here, enough that things are
| | 03:32 | well, different looking.
| | 03:34 | Later I can combine these elements in,
but now that module is fairly finished out.
| | 03:38 | What I can do then, as a test, is to take
my floor if I can get in and select it,
| | 03:43 | duplicate it, slide it over and see
what else I need to add in, it's looks like
| | 03:48 | this floor is going to be too small and
the choice here is I can either scale it
| | 03:51 | up or shrink it down and duplicate it, so there is four.
| | 03:55 | Part of than is really saying I'm reusing texture
because I can accommodate more
| | 03:59 | poly's. How much extra can I put in
before I need to make new pieces.
| | 04:04 | I am going to take this element and
shrink it matching in the mesh size roughly
| | 04:09 | on the wall, snapping it into place and
holding V and D to move the pivot. I'll
| | 04:14 | duplicate it out to get four floor panels.
| | 04:17 | Now with all four of my floor panels
duplicated, I'll pick them, making sure I
| | 04:22 | spin around and pick the right
piece and slide their UV's around.
| | 04:26 | First I'll go by vertex.
| | 04:27 | Remember that I had preserve UV edges on,
so as I pick these and slide it over
| | 04:32 | I'm not distorting terribly.
| | 04:34 | There is my floor panels; that works
fairly nicely, and I'll slide this over just
| | 04:39 | a little bit and then go
look at the texture editor.
| | 04:42 | There is those elements and so what
I'll do here, now that I've widened out
| | 04:45 | these pieces, is right-click and
choose UV, press W for move and take these
| | 04:50 | existing UV's and slide them into the right place.
| | 04:54 | I'll pick three like this and use the maximum
or minimum U or V and pull these in.
| | 04:59 | I'll do the same here, selecting,
grabbing the UV's and pulling them around.
| | 05:05 | We'll take these, pull them up to the
max and then slide them forward, so I get
| | 05:09 | panels all around here and it's a good
match on my floor. Looks like I went a
| | 05:13 | little bit far here just in the
snapping and again I'll take it, pull it back
| | 05:18 | and then check on my UV's. We can see as
I do that what preserve UV is doing and
| | 05:23 | so is a really nice tool to be able to
grab these pieces and pull them around.
| | 05:30 | There they are down at the minimum V
and I can right-click and choose Object
| | 05:34 | mode and I've got four floor panels
with a like mesh or like grading that
| | 05:39 | matches in my larger elements with a
different scale, so I get a textural
| | 05:43 | breakup as I get into the intersection
here and I've solved this design problem
| | 05:47 | here with the same pieces.
| | 05:49 | I can accommodate the extra polygons just fine;
| | 05:52 | it's really the texture space that's big deal.
| | 05:54 | I'm just using flat poly, so three
extra poly's is no sweat. I've closed
| | 05:59 | off this space, I can use the same
four to accommodate the ceiling here and
| | 06:04 | finish out this T module.
| | 06:06 | Now I'll look at the joint conditions
in Photoshop and update the PSD.
| | 06:09 | Here in Photoshop I'll do the same
thing I did with the rust, taking things like
| | 06:14 | the gasket layers and making sure I
copied over to the specular highlights.
| | 06:18 | There is my gasket.
| | 06:19 | I'll take this, which is just really
the thin lines connecting and hold Alt to
| | 06:24 | clone it. I'll drag it down and put it
into the specular roll off layer set.
| | 06:29 | I'll make sure it's in the right place,
it came in way down here under the base,
| | 06:33 | so I'm going to pull it up almost all
the way up to the top. I'll turn off my
| | 06:38 | color group just so I can see what's
going on and there is my specular layer.
| | 06:42 | With my gaskets in, they're nice and
dark right at the edges, so there's
| | 06:46 | deliberate break and shine where the
panels join and also where the floor
| | 06:49 | panels joined together.
| | 06:51 | If needed you can pull this up higher in
the layers, so that the darkness of the
| | 06:55 | gaskets is overriding everything.
This is really the big deal in joint
| | 06:59 | conditions between materials.
Just thinking about materiality in your
| | 07:02 | specular highlights in general.
| | 07:04 | We want to have varied specular
highlights to go with our varied color.
| | 07:08 | This map describes very clearly in a shine
where is this shiny and where is it dull?
| | 07:14 | It's shiny in the middle, dulls to the
sides. The screws are shiny and the
| | 07:17 | panel joints are dark, the elevator
or doorway gaskets here are very dark.
| | 07:23 | The joints between the wall panels are
dark, so it's shine that varies in rust
| | 07:27 | to dark to shine again. It's a clear
deliberate break so I don't see any axin
| | 07:31 | or goofs tiling and reusing that texture.
| | 07:34 | I can update the PSD check it out and
keep going in Maya and see if there is any
| | 07:39 | other piece I need to build up in the
mean time to finish out my kit of parts.
| | Collapse this transcript |
|
|
4. Normal MapsPainting as grayscale| 00:00 | The third major component of
our textures is a normal map.
| | 00:04 | We can use a grayscale bump, but normal maps
are going to react better to light in a game.
| | 00:09 | What we can do then is paint our
normals as gray and then convert them.
| | 00:13 | There's any number of ways to convert
to a normal map and then we can paint
| | 00:16 | actually in the normal map colors afterwards.
| | 00:19 | Right now, we can see in our layers
I have started out with layer 3 in
| | 00:22 | spacepart.bump layer set.
| | 00:24 | It's just a flat gray and really
there is nothing going on in that bump.
| | 00:29 | I'm going to use the same technique of
borrowing some of my diffuse layers to
| | 00:32 | become those bump pieces.
| | 00:35 | I've got my specular roll off going, too.
That's a good place to start, because
| | 00:38 | it's already a grayscale and then I
can borrow some of the color as well.
| | 00:42 | What I'll start out with then, is in that
specular roll-off layer grabbing things
| | 00:47 | like the holes and maybe some of the screws.
| | 00:50 | Those are a great place to begin with the bump.
| | 00:52 | A lot of times what I'll do then is go
to panel options in the layers palette,
| | 00:57 | take off the thumbnails.
| | 00:58 | Now I can take my layers holding Alt,
drag and clone, and pull it into the bump.
| | 01:04 | I'll even turn off that roll-off
group so I can see what's going on.
| | 01:07 | I'll turn on the bump and
there is what I have got so far.
| | 01:11 | As I start to take these pieces and
drag them in while holding Alt, we'll see
| | 01:15 | these appear in that bump; and it's a
great way to keep track of what's going on.
| | 01:19 | I'll take the gaskets and pull them in
as well, and let's see anything else?
| | 01:23 | Not the brush, not the rust, not the level
color, not the stripes. Feels pretty good.
| | 01:28 | A consideration when
painting a bump is not overbump.
| | 01:32 | Yes, the stripes are, well, tape of
some kind or a sticker that's applied.
| | 01:36 | Yes, they probably do have thickness.
| | 01:38 | However, if we add those into a normal
map they're going to look like they've
| | 01:42 | really got some volume to him.
| | 01:44 | So I want to make sure when I'm painting
my bump in here that I don't overdo it,
| | 01:49 | that there is a subtlety to it.
| | 01:50 | That, plus the specular highlights
really brings out this image, without having
| | 01:54 | things look absolutely crazy
like they pop out of the surface.
| | 01:58 | The rust is a great example of that.
I am going to let it go in the shine.
| | 02:03 | It's got a diffuse color, but I'm not
going to bring it across to the bump where
| | 02:07 | it creates large ringed blotches all over the walls.
That will look odd.
| | 02:10 | So a bump can be considerably more
mellow and although it matches the specular
| | 02:13 | highlights, it doesn't have to be
everything straight across transferred.
| | 02:17 | Now I'll look in my color layer set and see
if there is anything else I want to bring in.
| | 02:22 | It looks pretty good.
| | 02:23 | I may grab the holes layer and just
bring it over. The reason for this is
| | 02:27 | just in case I need something different
in the selection, because I have moved
| | 02:31 | it around a little bit in color and luminance.
| | 02:33 | I can go through and rename, although
I don't mind the copy in here as it's
| | 02:36 | going to flatten anyway.
| | 02:38 | As long as I have a good idea of what this layer is, it's fine.
| | 02:40 | It's up to you how organized you'd like to be.
| | 02:42 | To start then I can try this in my bump, but I
already see where I'm going to have an issue.
| | 02:47 | Down here on the floor I have got
these screws and I've got the holes in the floor,
| | 02:50 | but they're too bright compared to the frame around.
| | 02:53 | So now I need to get in and adjust the luminance in this.
| | 02:56 | I'll turn off holes copy 3 as it's a temporary
layer and there is holes copy 2.
| | 03:00 | Under Image I'll go to Adjustments and
Levels and I'll start to bring this down,
| | 03:05 | leveling that out so it's pretty close
in value to the adjacent floor.
| | 03:09 | My gaskets layer could use a work as well,
although I like the way this goes a little bit lighter here.
| | 03:14 | I'll make sure it's desaturated, pressing
Ctrl+Shift+U and just zooming in to check the value.
| | 03:20 | It'll give me a little bit of an edge right there
that's going to make this panel pop out.
| | 03:24 | Now I want to add in some subtle details.
These holes are punched in, but I'd
| | 03:29 | like to give a little bit of a ring around here.
| | 03:31 | I'll select holes, turn off Contiguous,
and use my Magic Wand to grab that black dot.
| | 03:37 | I'll expand the selection choosing Select>
Modify>Expand and push it out by a pixel.
| | 03:44 | I'll make a new layer and fill this new layer in gray
somewhere between what I've got and the hole color.
| | 03:51 | I'll use my paint bucket to fill it in
and then contract the selection choosing
| | 03:55 | Select>Modify>Contract
and I'll pull it in by 2 and delete.
| | 04:01 | Now the holes have a little bit of a ring
to them on the edge as if there were
| | 04:04 | punched into that metal and it's going to
make that shine wave across there.
| | 04:08 | It's a great way to start out the bump thing.
| | 04:11 | Looking at the major landmarks and
things we need, it's looks like I need to
| | 04:14 | bring more of the screws across as
well right here on the wall panel.
| | 04:17 | Then also use my levels to even these out so
they don't pop out of the surface too much.
| | 04:22 | I'll adjust the levels on these
and then I can bring the others over.
| | 04:25 | In terms of adjusting here, it's really
up to you what you'd like to use.
| | 04:29 | Some folks prefer Hue/Saturation, some
like to use curves, some like to use levels.
| | 04:33 | As long as you're pushing the luma
to where you want it, anything goes.
| | 04:37 | I'll take these screws and
push them down just a little bit.
| | 04:40 | So that way they look like they're
recessed in the floor slightly and this is
| | 04:43 | where a bump map may differ from the spec a little.
| | 04:46 | In the spec these screws are nice and bright
and white as if they're made of a
| | 04:50 | polished steel or something that's less likely to rust.
| | 04:53 | In the bump however, fasteners like this are often recessed.
| | 04:56 | So I'm going to make the choice in here to
take the screws push their mid-gray down.
| | 05:00 | They really start to darken.
| | 05:02 | Hold the white or the black up or down
and make sure they really push in.
| | 05:06 | They now sit in a recess and then the screw
heads stick up a little bit and that's
| | 05:11 | going to give me some extra depth in that bump.
| | 05:13 | I'll bring this over to Maya, reset and
update the PSD, and see how it looks in light.
| | 05:18 | Here in Maya I was updating my PSD network.
That way I have got some iterative PSDs is going.
| | 05:23 | You can work in one, but personally
I prefer to have a couple of versions
| | 05:26 | running around and that way if
something goes wrong I can go back.
| | 05:29 | They're just named and I'm going
through an updating here using my hyper shade.
| | 05:33 | In the Textures tab there is my
PSD and it lists what it's doing.
| | 05:36 | Here's normal, color, spec color, and so forth.
| | 05:40 | In each of these then I'm selecting it
and in the Attribute Editor I can go and
| | 05:44 | update that particular file.
| | 05:46 | In the materials though we're seeing is
it's not showing its swatch correctly.
| | 05:50 | In case this happens you can always
right-click and choose Refresh Swatch; it'll
| | 05:54 | take a minute and then
regenerate that swatch on the material.
| | 05:58 | Remember that it's rendering so it
may take a second and it's also depends
| | 06:01 | on the size and complexity of the PSD, but
there is that material showing up nicely.
| | 06:06 | Now what I'll do is try out Viewport 2.0.
| | 06:09 | I'll make sure to break the transparency there
and that's just a function again of having my alpha.
| | 06:13 | I'm in high-quality already and I
should be seeing a decent bump going on.
| | 06:17 | This is a place though to use Viewport 2.0
if you can't see it nicely. It is working.
| | 06:22 | Even before I get there I can see in
the high quality that the screws stick
| | 06:26 | out and the punched openings in the grating here
look like they have little rolled edge to them.
| | 06:31 | Now I'll go into Viewport 2.0
and adjust some of these settings.
| | 06:34 | The advantage to testing it like this, especially
with anti-aliasing on, is you can see it close to game.
| | 06:40 | I've taken the sample countdown a little bit,
but turned on Multisampling Anti-Aliasing.
| | 06:43 | I'll also turn on my Screen Space
Occlusion and maybe customize this a bit.
| | 06:49 | Right now there's an amount and
a radius and this is in pixels.
| | 06:52 | So depending on the amount of gloom we
want in our game we can bring this up or down.
| | 06:56 | Here it is as 32 and I'll bring back the amount just a bit.
| | 07:00 | So there is a little more spread on the
gloom, but a little bit less density to it.
| | 07:05 | I'll hit Close and now turn on Viewport 2.0.
Because I'm working with a PSD,
| | 07:11 | it's loading the normal, but not necessarily
the color, which for my test here is just fine.
| | 07:16 | Later I'm going to take this over to Unity once I get
the normal map fully crafted and see how it goes.
| | 07:21 | It's working great though.
| | 07:22 | The gaskets here between the panels are recessed,
the screws are recessed in holes, but they pop-out slightly.
| | 07:28 | The floor panels there, holes here have
a little rolled edge to them.
| | 07:31 | The wall panels have gasket lines really showing nicely.
| | 07:35 | I am seeing the mesh line across here on the door,
it's a function of what's off or on in the PSD.
| | 07:40 | For the moment I don't really care,
because I haven't touched it.
| | 07:43 | I'm looking at the major pieces that I
just crafted that bump on and it seems to
| | 07:47 | be working terrifically.
| | 07:48 | Now I can add in any other detail I need
in my bump map and then think about how
| | 07:52 | it converts to a normal.
| | Collapse this transcript |
| Creating edges and borders| 00:00 | With the major elements of our bump
in place we can start to think about
| | 00:03 | other details and things that are really
show up on a normal map that add to the realism.
| | 00:08 | I do want to do a quick graphics fix here.
| | 00:11 | I'm seeing the mesh lines overlaid in
the bump and although they're neat looking
| | 00:15 | they're causing some issues and they
don't quite look right. Also right here
| | 00:18 | on the edge for example where there's a
mesh line trying to bump in that corner,
| | 00:22 | it looks a little strange. It's an easy fix.
| | 00:24 | I'll jump over to Photoshop
and show what's causing this.
| | 00:28 | Here in Photoshop I have got my
UV snapshot layer on and locked.
| | 00:32 | I need this, because it helps out with
the painting and in a normal display, or
| | 00:36 | high-quality display in Maya, it looks
fine, but because I have got the bump
| | 00:41 | layer on and other things on it showing up.
| | 00:43 | So I'll turn off this UV snapshot and
save out this PSD, reload it in Maya
| | 00:48 | with that snapshot layer off and those lines
will go away and I can see my objects clearly.
| | 00:53 | I've updated the PSD, broken the transparency
connection, and now I can see that bump clearly.
| | 00:59 | The floor grating looks
terrific and the screws really pop out.
| | 01:02 | The joint between the panels has a
nice edge to it and now my edges are
| | 01:06 | clean here at the frame.
| | 01:07 | Now I'm ready to add other details into
my bump map; and this is where our bump
| | 01:11 | can differ somewhat from a specular and color.
| | 01:14 | There's a lot of things that need to
match in, but there's some places where we
| | 01:18 | want extra detail in the bump that the other two flow over.
| | 01:21 | For example, some of the details
I'll add in are edge condition.
| | 01:26 | Right now these polys are very
perfect on the edges. Although they're
| | 01:29 | lighting decently and the screens
base inclusion is helping a little bit,
| | 01:33 | they're very perfect, because they're low
poly and I haven't really done anything to them.
| | 01:38 | I'll add that into the bump map so I
start to get some small dents on the
| | 01:42 | edge from wear and tear.
| | 01:43 | I can also put in things like slightly
embossed panels on the door for example;
| | 01:47 | and anywhere else like right here maybe
where this is slide rolled edge or maybe
| | 01:51 | a welded joint here that's
describes the way this was built.
| | 01:54 | Here in Photoshop I'm going to start
out by making some welded joints, because
| | 01:58 | this was an assembled piece and it
looks fairly industrial and rusty.
| | 02:02 | So I'm going to assume that the
connections are not ground smooth and painted over.
| | 02:05 | But we actually do need to see in
the bump map the beads of welding.
| | 02:10 | I'll go into my bump layer and turn back on
my UV snapshot so I can see where I'm working.
| | 02:15 | I'll zoom in on a section of
the frame here to start out.
| | 02:18 | Now I'll make myself a new layer.
| | 02:20 | I'll call this new layer welding.
| | 02:22 | I'll press D for my default colors and then
make that black just a little bit brighter.
| | 02:27 | I'll press B for Brush and use a very
tight, very hard circle brush and very small.
| | 02:32 | Here's one about 13 which will work well.
| | 02:35 | I'm going to paint in a Normal mode and
bring up that Opacity to 100 and put in a circle.
| | 02:40 | I know, remarkable!
| | 02:41 | He made a circle on the canvas now what is
he going to do that's so exotic? Here's what.
| | 02:46 | I'll zoom in, press B for Brush, X
to flip the colors and lay another
| | 02:51 | circle right over it.
| | 02:54 | Now I have got two circles one's
dark and one's light and I'll take this
| | 02:57 | layer and Alt+Clone it.
| | 02:59 | Press Ctrl+E to merge down
the layers and Alt+Clone again.
| | 03:02 | Ctrl+E and Alt+Clone and I'm
building up a series of dark and light
| | 03:08 | crescents, which are a bead of
welding, that's what it's called, where these
| | 03:12 | two panels are put together.
| | 03:14 | So I'll make myself a nice long strip of welding bead.
| | 03:17 | And yes I realize it's way oversized, but that's okay.
| | 03:20 | One of the things Photoshop is
really spectacular for is resizing images.
| | 03:25 | That's what we do we bring
in photos, we resize things.
| | 03:28 | So when we say let's take this
layer and transform it, choosing
| | 03:32 | Edit>Transform>Scale, Photoshop is
going to do a terrific job of not only
| | 03:37 | scaling it, but anti-aliasing and
again for us and blending those adjacent
| | 03:42 | colors so I get something nubbly in
bumpy with ribs in it that looks like a bead
| | 03:46 | of welding that I can lay over the joints.
| | 03:49 | I'll lock my scale here and set that width to maybe 50.
Nah, a little less.
| | 03:54 | I'll use my arrow keys and nudge
this down in percent. That's good.
| | 03:59 | I'll hit the Move tool and apply the
transformation or hit Enter to accept it.
| | 04:04 | Now I can take this bead of welding here
and start to position it on all the joints.
| | 04:08 | I'm going to use the lines here in my
mesh as a guide to put this welding on,
| | 04:13 | lay it over and let it hang off the sides just a bit.
| | 04:16 | Holding Alt I'll clone this out, use the nudge
arrows, and make sure it's in the right place.
| | 04:22 | I'll take this piece hold Shift and Alt
and clone it down to the next place.
| | 04:27 | I named this first so that way everything
is called welding and it's easy to clean up.
| | 04:31 | Now these frames will have an edge and
it looks like they're put together from
| | 04:36 | pieces of steel instead of, well, hatched as one element.
| | 04:39 | Now for the joinery I'll take the same
element, pull it up here, nudge it down
| | 04:44 | onto the line, and make sure I have got
this weld bead at the top and bottom of
| | 04:48 | the next pieces over.
| | 04:49 | This is a great way to think of how do
I make this put together from something.
| | 04:54 | One of the big things I see in 3D often
is it because we can hatch things out of
| | 04:59 | as much virtual clays we need, we do.
| | 05:02 | What it leads to some times is pieces
looking like they were simply cast whole.
| | 05:08 | In the real world things are built up.
| | 05:10 | Yes, it's a space station, yes, it's
something we've never seen on a place we've
| | 05:13 | never been to, but somebody did have to
make this out of pieces of steel we'll
| | 05:18 | say and so we want to take all of our
elements and say how were these assembled
| | 05:22 | in a real manner and it's fairly mundane.
| | 05:25 | These were welded by, well, somebody
in a welding shop wearing goggles,
| | 05:29 | welding things, sparks flying et cetera, and
put together to make this exotic space station.
| | 05:34 | And it's these details that are going to
read in the game that we see our pieces
| | 05:38 | are still of humble origins.
| | 05:40 | Now I'll take this layer and this gives
me in odd dot here where these overlap.
| | 05:45 | So I'll make sure as I'm cloning that;
| | 05:47 | that I lap these layers together correctly.
| | 05:48 | So when I merged down the layers the
weld beads don't have strange dots in them.
| | 05:53 | I'll Alt+Clone this up and finish it out.
This is going to make all of my
| | 05:57 | panels look like they're welded together.
| | 06:00 | I can let them overlap a little unevenly, too,
because it's not perfect and that will add nicely to it.
| | 06:05 | Now I'll start to take these layers
and pull them down under so that as I am
| | 06:10 | putting these in, the dots go away.
| | 06:12 | If you're finding that the order is off, you
can always move things around even further.
| | 06:16 | I have got dots coming back.
| | 06:18 | So I'm going to make sure I get the
right order in here in thing and I can take
| | 06:23 | these and also erase parts.
| | 06:24 | For example, I have a dot here.
| | 06:26 | I'm going to right-click on this
weld bead and there is welding copy 11.
| | 06:29 | I'll erase just a little bit,
just enough in here to gray that.
| | 06:33 | It's okay if there's a little dot
that sticks out once in a while.
| | 06:36 | I can also get back in here, right-click on a layer,
there's 15, and make sure it's on top of things.
| | 06:42 | Here's 14 and I'll pull it over and some of the dots go away.
| | 06:46 | Once I have got it altogether I can
use Ctrl+E to merge down these pieces.
| | 06:51 | This is a way to think of how stuff works.
| | 06:54 | How is it put together and why do we need to see it?
| | 06:57 | So we believe it's made of something
that we're saying it's made of in the
| | 07:00 | diffuse color, not just simply anything
with a color on it that we are telling
| | 07:05 | somebody is made of steel.
| | 07:06 | I'll update this PSD and take it
back to Maya and see how it looks.
| | 07:10 | We can see in here that that
welding really makes a difference.
| | 07:13 | That at those panels where they join a
little extra detail there really makes
| | 07:17 | it look like not just polygons placed
in space. Especially right here at this
| | 07:21 | panel where I need to make sure I take out
a chunk of welding where those panels joint.
| | 07:26 | The welded bead here really
reinforces that it's built of something.
| | 07:29 | If I switch back out of Viewport 2.0
to a high quality render, I can get the
| | 07:33 | bump and the color showing up as well.
| | 07:36 | Here in the high-quality rendering we
see both parts together. I'll make sure
| | 07:40 | that my light is on and I press 7
to show the light in this scene.
| | 07:43 | The intensity on this light is a little
bright so I'll back it off just a bit, a
| | 07:48 | little more space gloom will help out.
| | 07:49 | Now I've got the welding showing up and
it's really stuff going on under the rust.
| | 07:53 | Not particular beads, but close enough to
the language of welded beads we believe it.
| | 07:58 | It shows up right here and they've
applied this caution striping right over it,
| | 08:02 | which is very true, it often happens.
It paints right on.
| | 08:04 | I have got my flooring showing up in the joints here.
| | 08:07 | Now it is aliasing a little bit which is
adding to the drama and craziness in the weld.
| | 08:12 | So in game it'll anti-alias.
| | 08:14 | So I have got a choice to make on how I
view it high quality or Viewport 2.0 to
| | 08:19 | preview what's happening. But between
the two I get a pretty good idea of how
| | 08:23 | this texture will work and I can finish
editing in weld beads, I should probably
| | 08:26 | put some right along here as well
as it should be built up of parts.
| | 08:30 | Then I can think about maybe the elevator
doors having an embossed pattern or
| | 08:34 | something on them and see if there is
any other details or joining conditions
| | 08:37 | that really reinforce that this is built of something.
| | 08:40 | It's almost ready to convert to a normal map
and then we can really see how this
| | 08:44 | reacts to light properly.
| | Collapse this transcript |
| Converting texture sheets to normal maps| 00:00 | Once you've got the grayscale bump map
all set, you can convert it to a Normal map.
| | 00:04 | We want to do this so that our
surfaces react to light correctly.
| | 00:08 | What I'm seeing at the moment is a
combination art artifacts and display modes.
| | 00:13 | Right here it looks like this floor
texture is stretching, but as I spin around
| | 00:17 | that stretch goes away.
| | 00:18 | I'm seeing aliasing, because I'm in
the high-quality display and that's also
| | 00:22 | making my edges right here look jagged.
| | 00:24 | Switching over to Viewport 2.0 allows
me to turn on Anti-aliasing in the screen
| | 00:29 | and in that Viewport 2.0 dialog I can
kick up the number of samples if I need.
| | 00:34 | Running at 8 lets me see a lot
better resolution and really tell if my
| | 00:38 | textures are working nicely.
| | 00:40 | I'm still seeing what looks like
little bit of a blend there, but that'll go
| | 00:43 | away with anything I do in games such
as depth of field, fog, and also whatever
| | 00:47 | lighting is going on with it.
| | 00:49 | I've added some emboss panels in the
elevators and finished out some welding in places.
| | 00:54 | We can see especially in Viewport 2.0
how a Normal map is going to react better
| | 00:58 | than a Bump, because the Bump is
blurring and stretching oddly right there.
| | 01:02 | In high-quality display it looks just
fine, and that's just really a difference
| | 01:05 | in the way those two modes work.
| | 01:06 | Now I will jump over to Photoshop and
look at how to flatten down my Bump mapped
| | 01:11 | and convert it to a normal.
| | 01:12 | Here in Photoshop I've got my grayscale Bump,
my Snapshot is turned off, and my Color is on.
| | 01:17 | I'll turn off my space_parts color
and take this Bump group and clone it,
| | 01:22 | holding Alt and dragging and just
landing it between other groups or layers.
| | 01:26 | What I'll do often is take a group
such as the Bump, clone it, flatten the
| | 01:30 | clone, convert it to a normal, and then
put that back into that space_part Bump
| | 01:35 | layer set, keeping the existing
layers tucked in another folder somewhere.
| | 01:39 | This way Maya correctly reads the
layer set in the PSD link, but I still
| | 01:43 | have the flexibility to go back and
edit that native Bump, those grays, in
| | 01:48 | case I need more detail.
| | 01:49 | I'll press Ctrl+E with that Bump copy
selected and now I have one layer called
| | 01:54 | space_part_bump_copy that
I can convert to a normal.
| | 01:57 | I'm going to use xNormal for this and
there is lots of different plug-ins out there.
| | 02:01 | nDo you can even bring in dDo or if
you're a Mac user you can use FilterForge
| | 02:06 | to do this as well.
| | 02:07 | As long as it's converting to a normal
whatever you'd like to use is just fine.
| | 02:11 | I'll pull up xNormal and then start
copying and generating Normal maps.
| | 02:16 | Here in Xnormal I've got a lot of
different things I can do. I can bring in high
| | 02:20 | and low definition meshes and bake from
one to the other to generate a normal.
| | 02:24 | I can also use in my tools here a Height map
to normal or Tangent Space Normal to Cavity.
| | 02:30 | What I'll though is just a Height to Normal
taking in a gray and converting it straight across.
| | 02:35 | In Photoshop I'll press Ctrl+A to select all,
Ctrl+C to copy, and then bring
| | 02:39 | back up xNormal, I'll choose Height
map to Normal map, and right-click and
| | 02:44 | paste that copied map in.
| | 02:46 | Alternately, if I've saved it out
as a unique file, I can browse to it.
| | 02:50 | Once it's pasted and I can right-click in
the Normal map section and choose Generate.
| | 02:54 | There is the Normal and what was the
grayscale, such as the welding here, is now blue.
| | 03:00 | Actually, read, blue, and green.
| | 03:01 | In a Normal map then our blue
defines strength with red and green
| | 03:05 | defining surface direction.
| | 03:07 | The gasket to the side of that panel
is now recessed nicely and if I take a
| | 03:11 | look around in this, scrolling up and
down, I'll see all kinds of different
| | 03:14 | details popping out.
| | 03:15 | There's the holes and they've got
that nice rounded edges, if they were
| | 03:19 | stamped into the floor.
| | 03:20 | Those will shine as I run over them.
| | 03:22 | The screws are gently recessed, which is
even the top of the screw head showing nicely.
| | 03:26 | Once I've got it then I can right-click
and Copy or Save a Normal map.
| | 03:30 | I'm going to copy it and
bring it back into Photoshop.
| | 03:33 | Here in Photoshop I'll open up my Bump
and make a new layer and paste it in,
| | 03:38 | pressing Ctrl+V. Now I'll deselect,
if I haven't already, turn off that
| | 03:43 | space_parts_bump_copy layer, and
there is the Normal map in there.
| | 03:47 | What I can do if I need is to take
these layers and either group them or move
| | 03:51 | them to a different layer set
so I retain my flexibility in editing.
| | 03:55 | I'll select all of my various gray layers
by picking one holding Shift and
| | 03:59 | picking the bottom and then press
Ctrl+G to group or make a layer set.
| | 04:04 | I'll rename this group within space_
parts_bump to bump and that way it just
| | 04:08 | loads in layer 6 as my normal.
| | 04:10 | I'll rename this to normal base and
I'll save this PSD and update it in Maya
| | 04:16 | and see how it looks.
| | 04:17 | I've loaded in my updated PSD.
| | 04:20 | There's one small change I need to
make to get the Normal to show properly.
| | 04:24 | I'll go into the Bump mapping and
that takes me to this file here my PSD.
| | 04:29 | In the PSD then I can go up to the
Output Connection and this gives me the Bump
| | 04:33 | 2D node where I can specify this is
being used as a Tangent Space Normal instead
| | 04:38 | of the grayscale bump.
| | 04:39 | I'll dropdown under Use as and choose
Tangent Space Normals. Much better.
| | 04:44 | Let's see that difference again.
| | 04:45 | Reading the normal as a bump makes the
welding book very rough and very large actually.
| | 04:51 | It really spreads it out.
| | 04:52 | Changing over to properly use it as
Tangent Space Normals makes that welding
| | 04:57 | slim down and now I've got small beads
of welding in the corners and when I get
| | 05:01 | close to them they look like they're lighting correctly.
| | 05:04 | The floor is working nicely as well.
| | 05:06 | Switching over to the Viewport 2.0
will show me terrific detail.
| | 05:11 | What I'm seeing in here is probably a graphics artifact.
| | 05:14 | In the way it's redrawing or
it's trying to read my transparency.
| | 05:17 | I'll make sure I break that connection
and see if I need to either reload that
| | 05:21 | texture or just refresh the view.
| | 05:23 | However, even in this blue view is working nicely.
| | 05:26 | What I'm seeing as I get close to my
objects in Viewport 2.0 with Anti-aliasing
| | 05:30 | on is that it looks like a bead of welding.
| | 05:34 | At some point things will fall down or not hold up.
| | 05:37 | I can get pretty close until I start to see
it is just texture on a polygon after all.
| | 05:42 | But when I back out to a reasonable
distance, it really looks like it's got the
| | 05:46 | relief and subtlety we expect to see.
| | 05:49 | When that's all together with our other parts,
this Normal map will really make
| | 05:52 | this environment pop out.
| | Collapse this transcript |
| Enhancing the normal map| 00:00 | One the normal back has been made and applied
and you're satisfied with how it looks on the objects,
| | 00:05 | you can finish the construction of module.
What I've done here for example, is
| | 00:09 | to add the same floor panels onto the ceiling,
making sure that they're in the
| | 00:13 | right place and the normals are flipped accordingly.
| | 00:16 | I've also cloned out the walls on the
other side of the passageway, so that this
| | 00:20 | is one straight passage.
| | 00:22 | I've got a joining module, which I won't
export as part of this straight piece.
| | 00:25 | So I've got doors and street
passageways for limiting line of sight.
| | 00:29 | I've finished out the triangular
corners in my T intersection.
| | 00:33 | And if I need I could make very quickly
a cross or two-way intersection.
| | 00:37 | I've also unwrapped this floating panel,
and I'll probably find a place to use it,
| | 00:41 | when I bring it across to the game engine.
| | 00:43 | Remember we're making a kit of parts
here that shares one texture space, and
| | 00:47 | that way we're we reusing the texture
and getting a better resolution, well
| | 00:51 | making the elements we need to bring into
our Level Editor Unity, and make our game.
| | 00:56 | What I'd like to do though, before I
get into Unity with this, is just buff out
| | 01:00 | the normal map a little bit.
| | 01:02 | On the floor, although it's nice looking,
when I go in to high-quality it doesn't
| | 01:06 | quite pop in the holes, they
don't look quite deep enough.
| | 01:09 | The lighting is nice, but even so it feels
like the black really sits up on the surface.
| | 01:15 | I'd also like to enhance the normal map a
little bit and make it, little bit stronger.
| | 01:19 | Remember that, when we bring objects or normals
into a game, they run at the strength of one.
| | 01:24 | It's really a question of is there or not,
not how strong is it.
| | 01:28 | So we need to make sure, the strength
looks right first as we're crafting the map.
| | 01:32 | I'll jump over to Photoshop and push this a little bit.
| | 01:35 | In Photoshop right now I'm looking
at my diffuse color layer set.
| | 01:39 | I'll turn that off, and there in the
space_parts_bump_layer is my normal.
| | 01:43 | It's in our standard Normal map colors; blue
for strength and red and green for direction.
| | 01:48 | What I'll do is go into the normal base
and make a new layer over it, darkening the holes.
| | 01:53 | I'll use my space_parts_bump as a selection
to drive the holes and paint them in.
| | 01:59 | I'm going to magic wand the black,
making sure that Contiguous is off, and
| | 02:03 | the Tolerance is low.
| | 02:05 | There the holes plus the adjoining gasket selected.
| | 02:08 | I'll press M for marquee making sure
I'm using a rectangular marquee, hold Alt
| | 02:13 | and deselect the parts I don't want to move around.
| | 02:16 | I'd like these joints between the panels to be
very slight, so I'm going to leave their values alone.
| | 02:21 | Now with just a hole selected I'll zoom in,
turn off that space_parts_ bump_copy layer
| | 02:25 | and on the normal base add a new layer above it.
| | 02:29 | I can eyedropper this blue, it's the
same blue all-around with those RGBs.
| | 02:34 | I'll pick it and in the brightness slider,
lower just a little bit, how bright it is.
| | 02:39 | So get a deeper blue in their, then on
that new layer, I'll use my Paint Bucket
| | 02:43 | and fill in those holes, which
will make them show up as darker.
| | 02:46 | We can paint right in the normal map.
If you'd like you can even over paint in
| | 02:51 | purple or red to change direction of a surface.
| | 02:54 | What I'll also do is take my normals and lay them
over themselves to really push how they look.
| | 02:59 | I'm going to take this layer 6 and flatten it on to there.
| | 03:03 | Then I'll take this normal base layer,
hold Alt and clone it in that same layer set.
| | 03:07 | I'm going to blur it slightly, choosing Filter>Blur
and Gaussian Blur by just half a pixel.
| | 03:15 | That'll smooth out any edges and
facets in our artifacts, then I'll set the
| | 03:19 | blending mode for this layer to Overlay
and that normal map really pops out.
| | 03:24 | Here's the difference; there is the
original, there is the overlay; and those
| | 03:28 | colors really leap. This is going to
make that normal map really stand out when
| | 03:32 | it comes across into the game.
| | 03:34 | We can find any other areas needing attention,
maybe the embossing here on the
| | 03:38 | panels needs to be little deeper, or
if there's anything else we'd like to paint in.
| | 03:42 | I'll also go and check any areas such as the
welding and make sure they're not too pixilated.
| | 03:47 | This looks pretty good; it'll give me
the drama I expect from a welded joint,
| | 03:51 | without being terribly obvious
in terms of pixilation or color.
| | 03:55 | I'll save this PSD and bring it back across,
and then take the whole mess into Unity.
| | 03:59 | I've brought the new PSD across, and we
can see those normals, the holes look a
| | 04:04 | little deeper, the welding seems to pop
out a little more, and the screws have a
| | 04:08 | good reveal around them.
| | 04:09 | We can use this technique layering the
Normal over itself as many times we'd
| | 04:12 | like to really get things to pop out.
| | 04:15 | And painting or over-painting or under-painting
a little bit, to make those blue
| | 04:19 | values really rise and fall correctly.
| | 04:21 | Now I'm going to take this over to
Unity, and see how it looks as a test.
| | 04:25 | What I'll do is export these pieces
out as FBXs and then, bring in the images
| | 04:30 | and assemble the materials.
| | 04:32 | I'll start by exporting these
pieces out as FBXs from Maya.
| | 04:36 | First, I'll hide my lights,
choosing Show and unchecking Lights.
| | 04:40 | I'll make sure I hit 6, so I can see things
clearly without lights, just in shaded display,
| | 04:45 | and make sure I have all the parts.
| | 04:47 | I'm going to pick all of these elements first.
This is my T intersection we'll call it.
| | 04:52 | I can combine these meshes if I'd like
or I can export them uniquely,
| | 04:56 | it depends really on what we'd like to do with it.
| | 04:59 | It depends also on how we're going to
attach colliders and anything we're going
| | 05:03 | to have go on with elements detaching.
| | 05:05 | For this trial though, and I'm going to
pull it into just a temporary working
| | 05:08 | Unity project, I'm going to
take them across as parts.
| | 05:12 | I'll choose File and Export Selection.
I'll export these out as FBXs.
| | 05:17 | They'll land in my scenes and I'll
manually move them over to keep track
| | 05:22 | of what's exporting and importing exactly,
versus having Unity try to pull in everything.
| | 05:27 | In the FBX Export, I'm going to make
sure under Geometry that I take my hard and
| | 05:32 | soft edges, also called
smoothing groups occasionally.
| | 05:35 | And down at the Advanced Options under
Units uncheck Automatic and I'm going
| | 05:40 | to convert to Meters.
| | 05:41 | This way when I bring in my pieces,
I can set my scale to 1 all around.
| | 05:45 | I'll name this T intersection. There is
that FBX, and now we'll do the straight
| | 05:50 | hallway the same way.
| | 05:51 | For this because I know that the
doors are going to need to animate, I can
| | 05:55 | choose to either take the doors with it
or export them separately, for now
| | 05:59 | because it's just a scratch project
to test out the material, I'll take it
| | 06:02 | altogether, again exporting out that selection.
| | 06:06 | Here in Unity, in my scratch or working
project, I've dropped the FBX files into
| | 06:11 | the Assets folder and Unity has
brought them in automatically.
| | 06:14 | I haven't brought in there textures yet
and I need to fix their scale. I'll set
| | 06:18 | their Scale to 1, and then apply this.
| | 06:21 | And for now I'll just generate colliders
on the mesh. I'll do this on both of
| | 06:25 | my pieces I've name them T intersection
and S hall, and I'll just do a simple
| | 06:29 | test in here, of putting them together in an
assembly to see how they look with a light or two.
| | 06:34 | Now I'll go over to Photoshop and take my materials out.
| | 06:37 | Here in Photoshop I need to take out
my layers flattened. What I'll do then,
| | 06:41 | once I've save my PSD is start to
flatten some groups as copies. I'll take my
| | 06:46 | normals for example, Alt clone it,
making sure it doesn't land in another layer
| | 06:51 | set, press Ctrl+E to flatten it,
and do the same with color and spec.
| | 06:56 | Now that I got three flatten layers,
I'm going to take this specular roll off
| | 07:00 | and tuck it in the alpha channel of the
color, selecting all, copying, going over
| | 07:05 | to channels and making a new alpha to paste that into.
| | 07:09 | If you have a height map you can also
use in the alpha of the normal map for
| | 07:12 | parallax. I haven't made one yet and
so I'm just going to use this for gloss.
| | 07:16 | Now with that alpha on I'll go back to
into my layers, make sure I turn on the
| | 07:21 | color and save out this image.
| | 07:22 | I'll say this out of the flattened TIFF
with an alpha channel, and we'll call it
| | 07:26 | just for testing 04_04_space_end.tiff.
| | 07:29 | I'll move it over manually for Maya
project to the Unity product as well.
| | 07:33 | Once I've put those TIFFS into my
Assets folder, Unity picks them up
| | 07:37 | automatically. I'll select my Normal Map,
and make sure I tag the texture type
| | 07:41 | as a Normal. If you'd like, you can also
use the Advanced section, if you'd like
| | 07:44 | to play with, not only how does it
create the Normal, but MIT map filtering and
| | 07:49 | a nicer levels, determining how
this looks and shines a little bit.
| | 07:53 | I'm going to leave it alone its just a
standard normal map turning off Create
| | 07:56 | from Grayscale and setting the max size
down to 1024 to see how it looks. I'll
| | 08:03 | Apply it and check the max size as
well in the texture, it's set to 1024.
| | 08:07 | Now I'll start to bring my pieces in.
| | 08:09 | I'll take the hall module, drag it
into the hierarchy and take the T
| | 08:13 | intersection and do the same. With
both of those in, I can snap them together
| | 08:18 | pressing V for snap, snapping on to
a vertex and assembling my pieces.
| | 08:23 | Now for the test to really
see if I texture sheet works.
| | 08:25 | These objects right now have either
no material or just a standard diffuse.
| | 08:30 | I'm going to make one material to use on all of my parts.
| | 08:33 | I'll right-click Create a New Material.
| | 08:36 | And for this I'm going to use a Bumped Specular.
| | 08:39 | I'll take my color map drag it in,
take my normal map, drag it across to the
| | 08:44 | normal, and take this new material,
and put it onto those pieces.
| | 08:48 | I'll select the whole element and drag the normal on to it.
| | 08:51 | This is where I actually combining these
might help, in adding on the material
| | 08:55 | and not having so many parts in the FBX.
Its working nicely though, as I add
| | 08:59 | these on I can really see this material starting to pop out.
| | 09:02 | There's most of my elements in. I'm
missing a couple of these small triangle corners.
| | 09:07 | Obviously, since this is a temporary
export I'm not overly concerned about
| | 09:10 | optimizing the mesh. When I finally
take the pieces across though, I'll make
| | 09:14 | sure that this works.
| | 09:15 | Looks like I have one extra polygon
going on there. For some reason it was
| | 09:19 | cloned and I have a fighting face.
As a side note. its worth catching these kind
| | 09:23 | of things and updating that FBX,
so that it imports properly.
| | 09:26 | I'll get a light in though and see how
this looks with light in the scene. I'll
| | 09:31 | put a point light in and pull down
the range a little bit and back off the
| | 09:35 | intensity; a dim badly lit corridor is what I want.
| | 09:39 | I'll take this light, hold the range
down to may be 5 or so center it in the
| | 09:43 | hall letting that color be nice and murky.
| | 09:46 | Duplicate the light and slide it over.
| | 09:49 | Now I've got rise and fall on the lighting
that should show off my normals nicely.
| | 09:53 | I'll put in a first-person controller and see how this looks.
| | 09:56 | I'll go into my Game tab making sure my
stats are ON, I'm maximizing on play and
| | 10:01 | test out my environment.
| | 10:02 | Aside from those fighting polys, it looks pretty good.
| | 10:05 | It's definitely a claustrophobic space station.
Looks like I missed a couple of
| | 10:09 | pieces in applying the material,
but I can go back and fix that.
| | 10:12 | However, the materials are working nicely.
Close-up, I'm seeing the screw heads in
| | 10:16 | the welding. As I zoom down the
corridor here, well, slowly jumping over to
| | 10:22 | clear that threshold, the resolution is
working and especially on the floor, that
| | 10:25 | grating is definitely space grating.
| | 10:28 | It's nice and worn and scratched,
and all the parts are working well.
| | 10:32 | I'll make sure I look at this material
a bit and turn up the shininess just a
| | 10:36 | touch, so that Specular map really leaps out.
| | 10:38 | What I'll also do is part of this testing
is eyedropper my specular color from
| | 10:43 | something in the scene.
| | 10:44 | So I've got a good rusty specular color,
change that scale over HSV and brighten
| | 10:49 | it up so that everything in here is
rusty in that shade of brown. Then I can do
| | 10:54 | the fixes on the FBX, but it looks
like my materials are working. My texture
| | 10:58 | sheets are working well and although
there is some repetition in things like the
| | 11:02 | scratched up stripes, its is not immediately
obvious that it's one material and
| | 11:07 | one texture on everything.
| | 11:08 | As I get those last panels in we can see that specular
color really coming into play on the roof here.
| | 11:14 | It's shining in that rusty brown, pulling
the whole look together. The shine
| | 11:18 | matches the frames here and any other parts.
| | 11:21 | It's a great way when using one texture sheet
in one material to make things really feel coherent.
| | Collapse this transcript |
|
|
5. Modeling High-Poly Texture BasesPreparing our objects for rendering| 00:00 | For making game textures, photo
reference is a terrific thing to have.
| | 00:04 | However, we can't simply take a photo
and throw it on a model, as we will see
| | 00:09 | the lighting is baked in and the texture doesn't work.
| | 00:11 | It's made for a certain place and
photographed from a certain angle.
| | 00:14 | And so when we try to flatten it out to
have a raw diffuse color to bring into
| | 00:19 | our engine in light, it doesn't always look great.
| | 00:21 | However, we have got a way around this,
and its actually within Maya.
| | 00:24 | We have been using Maya a lot for modeling,
unwrapping, texturing. But beyond
| | 00:28 | that Maya has a terrific rendering engine,
mental ray, and is used for photo real
| | 00:33 | compositing work all over the world.
| | 00:35 | We can put that to our use in making
game textures and actually render using
| | 00:39 | render passes for compositing.
| | 00:41 | I have got here a selection of high poly models;
a Z frame door, a couple of
| | 00:45 | stone blocks and some half timber wall elements.
| | 00:49 | As you can see by the mesh lines these
are very dense, and it's perfectly fine to
| | 00:53 | do that. We are not going to bring
these models forward into the game, we are
| | 00:56 | going to use them to render out textures.
| | 00:58 | I am going to keep with the idea of
making a texture sheet; two of my half
| | 01:03 | timber panels, a door, may
be some extra wood pieces.
| | 01:05 | And eventually a good chunk of stone
wall the tiles. I'll render them out,
| | 01:09 | rendering of beauty, occlusion and
normal image, composite them together in
| | 01:14 | Photoshop and put them in the texture sheet.
| | 01:16 | The workflow like this is fairly straightforward.
| | 01:19 | First we need to create some orthographic cameras
to be able to render these elements straight on.
| | 01:24 | This is different from a traditional high to low
baking workflow, where objects
| | 01:28 | are projected, say this wall projected
on to a much lower resolution model.
| | 01:32 | In this case I am going to render it
and simply use the images straight out.
| | 01:37 | I'll choose Panels>Orthographic and
under Top, I'll choose New and Front.
| | 01:42 | Here is my New front camera
and I'll name this camera Wall1.
| | 01:46 | I'll zoom out, pull over and focus
the camera on my first wall section.
| | 01:52 | This wall is a little taller than it is wide.
I could square it off if needed
| | 01:55 | or simply use it like this, assuming
that the elements we are going to
| | 01:59 | map are a little taller than they are wide so
the architecture varies, because it's off grid.
| | 02:04 | I can also take these pieces into a
sculpting application like Mudbox and mess
| | 02:08 | them up, or mess them up with a
paint deformation here in Maya.
| | 02:11 | But for now I will get the rendering established.
| | 02:13 | I will turn on my resgate and figure out how
big this is roughly by snapping a plane over it.
| | 02:18 | A lot of times I will use planes to be
able to measure things versus measuring
| | 02:22 | tools, because I can snap to uneven corners.
| | 02:25 | In laying a plane over and looking at
inputs I can see it's roughly 120 x 136.
| | 02:31 | I'll pull up my Render settings,
switch over to mental ray while I am here
| | 02:34 | and in the common tab I am going to set this
render to be probably one case square is good.
| | 02:39 | I will end up cropping out a little bit,
but I will have a little bit of space
| | 02:43 | around for flexibility in my texture sheet.
| | 02:45 | I'll jump over to the Quality tab and
this is the place to actually spend some
| | 02:48 | time on the antialiasing.
| | 02:50 | Under Sampling mode I will choose Custom,
make the Minimum sample 0 and the Max 2
| | 02:55 | and come back to the Minimum and do 1.
| | 02:57 | Now I have got some good strong
antialiasing going and if you would like you can
| | 03:01 | change the filter over from box.
| | 03:03 | I am going to leave it as box because it's
a good fast testing algorithm to start with.
| | 03:07 | I will turn on Indirect Lighting. We
can use GI if you would like, but final
| | 03:11 | gather is the bigger deal.
| | 03:12 | This affects how the light bounces in
the scene, and I will kick up secondary
| | 03:16 | diffuse bounces to two, so I get little more lift in lighting.
| | 03:20 | We are going to light this in generalized lighting,
not specific to a place, but
| | 03:24 | if the normal places we expect to be
in shadow, shadowed and some general
| | 03:29 | top-down lighting provided by a
physical sky in an arial light to give us
| | 03:34 | roughly diffused illumination we will call it.
| | 03:37 | Back here in my comment tab I will make
sure my renderable camera is wall1 and
| | 03:41 | close the Render settings.
| | 03:42 | I will select the camera and pressing
Ctrl+A to go to the Attribute Editor,
| | 03:47 | I'll scroll down to the film back section,
which is arcane for most of those
| | 03:51 | working in the digital workflow, but still
has uses in how we fit the resgate in this case.
| | 03:56 | I'll drop down under Fit Resolution gate
and choose Vertical.
| | 03:59 | Now I can see my whole resgate and I
will hold Alt in the right mouse and
| | 04:03 | dolly in, making sure I frame that wall panel
as full as possible within that 1024 square.
| | 04:09 | We can see here how I am little off,
but I should get pretty good resolution.
| | 04:13 | Now I will take this camera and lock it,
now that I have got it set,
| | 04:17 | right-clicking on Translate and Locking
and doing the same with Rotation,
| | 04:20 | Scale, Sheer and also in the Shape node on the lens,
taking that Focal Length to 35 and locking it.
| | 04:28 | With those in place and the camera ready,
I can get my lighting in. This is
| | 04:32 | where we can really use the
power of mental ray in a render.
| | 04:35 | Normally a render in mental ray can
take minutes even hours, prohibitive for a
| | 04:39 | game, but when we are rendering out
for a texture, we can spend the time to
| | 04:43 | render it once and then have that good-looking imagery.
| | 04:45 | First in the Environment Shader,
I'll click on the Texture node, go under
| | 04:49 | Mental Ray Lenses, slide the nameless
slider and choose mia_physical_sky. This
| | 04:55 | provides the general physical sky that's the part
of the daylight system without the direct shadows.
| | 05:00 | In essence contributing my ambient light.
I will scroll down here and make sure
| | 05:04 | Y is up is checked. I am going to
guess I need a little extra multiplier in
| | 05:08 | this, but I won't know 'till I get exposure on.
| | 05:10 | I'll pick my camera again, and in the Lens
Shader put in under Mental Ray lenses, the
| | 05:16 | Exposure photographic. This is
the true film style exposure.
| | 05:19 | I am going to run this fairly slow
and wide open. Depth of field is not a
| | 05:24 | concern in this rendering nor is
really the correct lighting value for
| | 05:27 | particular scene, as long as it looks right it's right.
| | 05:30 | I will run this is in an ISO 200, a shutter of 124,
and an F2. This is slow and open
| | 05:37 | letting a lot of light into the lens.
| | 05:39 | Now I will pull up my IPR, choosing
Option>Test Resolution and maybe 50%.
| | 05:46 | With IPR up and my sky in place, final
gather on, and some antialiasing going, I can
| | 05:51 | start to adjust the look.
We can see immediately it's too dark.
| | 05:54 | Here's my workflow.
| | 05:56 | I'll pick the camera and up at the top are my
nodes for physical sky and exposure.
| | 06:00 | I will let IPR run in the meantime,
while I play with things like the sky.
| | 06:04 | Here is that multiplier I mentioned earlier.
Kicking it up to six shows me
| | 06:07 | that image very nicely. Adding a
little bit of haze in, which goes between 0
| | 06:11 | and 15, contributes little extra water in the air,
bouncing the light around a little more.
| | 06:16 | I'll put a haze in of one; this darkens
the brights and brightens the darks
| | 06:20 | just a little bit. It mutes out the high contrast,
leaving everything in a soft reveal in shadow.
| | 06:26 | I'll pull out the saturation so that giant blue
contribution goes away and I have a gray render.
| | 06:31 | This is already looking pretty nice as
a texture, because if I take this and put
| | 06:35 | it onto wall we believe that these
details are casting that shading.
| | 06:39 | I will select my elements and get some materials on.
| | 06:42 | This is another place we can use materials
that are not usually found in a game.
| | 06:45 | I will select my timbers here and on to
them I will put an mia_material_xpasses,
| | 06:50 | right-clicking choosing Assign New
Material. And under mental ray materials, I
| | 06:56 | will scroll down and find mia_material_xpasses.
| | 07:00 | Its important to use the X passes here
because we need the render passes as part
| | 07:04 | of this workflow. I am going to use a
pearl finish, which gets me a soft blurry
| | 07:08 | reflection. I will bring up the gloss a
little and leave the reflection alone.
| | 07:14 | I'll make these pieces may be a wood brown.
| | 07:16 | I can come back later and put an actual
wood texture on if you would like, but
| | 07:20 | for now just a color will work.
| | 07:22 | Now we will work on the wall behind,
again assigning a new material making a
| | 07:25 | mia_x passes and for this one it
will be a matte finish. For those of you
| | 07:30 | versed in game materials this may be a
new world, its not usual that we delve
| | 07:35 | into this level of material and
certainly not this calculation time.
| | 07:39 | Our standard shader is a phong or Blinn
and in here this is a modified Blinn with
| | 07:43 | the possibility of a near roughness.
| | 07:46 | It's a photo real material that does
a terrific job in this circumstance of
| | 07:49 | looking like, well whatever we are after.
| | 07:52 | This is a matte finish, but I will put
a little bit of a sheen in with a little
| | 07:57 | reflectivity and gloss, but then check highlights only.
| | 07:59 | So it only shows up in the specular highlight.
| | 08:01 | Now in the final test, I get something
different. There is my half timbered wall
| | 08:05 | emerging. Obviously I need to spend
some time of the polygons, deforming them
| | 08:09 | slightly with either the sculpting
tool Mudbox or something else, really
| | 08:14 | pushing those polys around. Its perfectly fine
in this case to have millions of polys to render.
| | 08:19 | I will add in one last light and I'm ready to bake.
| | 08:22 | I will choose Create>Lights>Area Light.
I'll take this light, scale it up nice
| | 08:27 | and big, and pull it back over my model.
| | 08:30 | I'll angle it down so it's the general
top-down lighting we see in almost any
| | 08:36 | daylight. This will go on the
outside of the building in this case.
| | 08:39 | Pull it up here, over and
make sure it's roughly aligned.
| | 08:42 | If you like you can use the Align tool
actually to get a life centered over it.
| | 08:46 | Now with my light in place, scaled up
nice and big, I will scroll down to the
| | 08:50 | Mental Ray section, use Light Shape,
and if you would like to see a bright
| | 08:55 | white make it visible.
| | 08:56 | I am going to leave it alone for the moment.
| | 08:59 | Here in my camera in a quick render I should
see some gentle highlights on top of the model.
| | 09:04 | If the highlights aren't showing up enough,
you can turn on shadows on this light.
| | 09:08 | With Ray Trace Shadows on I will get
General down shadows I'd expect to see in
| | 09:12 | most circumstances, regardless of
where the lighting is coming from.
| | 09:16 | I can also bring up the intensity of
this light. Here is 10 for example and I
| | 09:20 | really see the surface leap out.
| | 09:22 | There is my half timber in. I'm
ready to render this using render passes
| | 09:26 | and bake out my textures, putting them
together in Photoshop and then into a
| | 09:31 | texture sheet.
| | Collapse this transcript |
| Utilizing render passes and ambient occlusion| 00:00 | I have taken my wall panel and
massaged around some of the geometry.
| | 00:04 | I use the Sculpt tool here on the plaster
that goes between the timbers.
| | 00:08 | I have moved around some of the vertices
using Soft Select and the Sculpt tool as well.
| | 00:12 | I even smoothed out this mesh a little bit,
applying up mesh smooth twice to
| | 00:17 | bring up the tessellation for sculpting.
| | 00:19 | This way when I bake out a normal map
I have got some good value going on.
| | 00:23 | For the baking then I'll go to my Render settings
and into the Render passes.
| | 00:27 | These provides scene passes or extra images we use
for compositing in a film and visual effects workflow.
| | 00:34 | Using the mia_material_x passes allows us a lot of
flexibility in terms of what we're outputting.
| | 00:39 | To start, I will create Render Passes,
pulling up to Create Render Passes window
| | 00:44 | and adding in Depth Remapped, Camera Depth,
Object Normal and, just so we can
| | 00:51 | take a look at it, Specular; we will see if that works or not.
| | 00:54 | I will Create and Close, then I will
associate these passes with the scene.
| | 00:59 | And finally create a contribution map
for the Master Render layer.
| | 01:03 | I'll take these passes and associate them with it.
| | 01:06 | Here is what each one does.
| | 01:07 | The Depth pass records depth from the camera as a grayscale.
| | 01:11 | Straight depth is infinite in the scene.
| | 01:14 | Whatever is close as white whatever is
absolute far as black and anything else is a gray.
| | 01:19 | Depth Remap then allows us to remap
those depth values between a near and far
| | 01:24 | clipping plane on a camera, set in scene units.
| | 01:27 | The normal cam will output a tangent
space normal depending on how we are
| | 01:32 | working and we get a dropdown here if we need.
| | 01:35 | Camera Space will give us tangent space for use.
| | 01:38 | Specular then, will put out a specular only pass
that shows just where the
| | 01:42 | highlight should be on this object.
| | 01:44 | I will choose Display, heads-up display and Object Details.
| | 01:48 | I will select my beams, which I have unified together
and look at the distance from camera.
| | 01:54 | This is in centimeters even though my units are in inches
we need to look at this in centimeters.
| | 01:59 | And so what I will say in this in my
Depth Remapped pass is that, that distance
| | 02:03 | needs to be around that value.
| | 02:05 | Here in those passes then, double-clicking
in Depth Remap takes me to its
| | 02:09 | attributes and I will put the near clipping plane at 350.
| | 02:12 | I will put the far out at 450, to make sure I catch all of it.
| | 02:17 | What I've got here also is the minimum and maximum
buffer value that's an RGB here expressed as a luma.
| | 02:23 | This is going to give me a height map for parallax.
| | 02:26 | So that in addition to normal I can tuck this
in the Alpha and get normal and
| | 02:30 | parallax so when I go by this wall it looks correct.
Project setup in this workflow is very important.
| | 02:36 | As you can see here I have set my
project and it's going to go into the Master
| | 02:40 | Render layers, Render Pass and then finally make those IFFs.
| | 02:45 | I'll check Z depth as well, scroll up and
name this file, which I will call wall1.
| | 02:49 | I am going to render out IFFs.
| | 02:52 | There are 16-bit files and they travel
with an alpha and Z depth.
| | 02:56 | I will give it one last test in IPR and see if this works.
| | 02:59 | This looks pretty good; it's maybe a
little gray so I might balance the lights
| | 03:04 | out a little bit to get a little more value.
| | 03:06 | But for the first test I think it will hold up nicely.
| | 03:09 | We can see in here I am getting some
shading in the dips and valleys in the
| | 03:13 | plaster and the normal map will
have good range and drama in it.
| | 03:17 | I will make sure under Options I choose
Test Resolution and Render Settings and I'll hit Render.
| | 03:22 | My Render finished and I can check out how the
Render passes looks straight from the Render view.
| | 03:26 | I will choose File>Load Render Pass and see how they look.
| | 03:30 | Some will show better than others.
| | 03:32 | Depth Remap shows up as a mask and the
reason is because we are only seeing the
| | 03:36 | color; we can't necessarily see the depth
in this particular browser.
| | 03:40 | We can look at the normal. I load the
Render Pass the normal cam and there is
| | 03:45 | this terrific normal map rendered out.
| | 03:48 | Here is the specular, and again this
looks great; this would be a good specular
| | 03:53 | map to lay in or put in the alpha to diffuse.
| | 03:55 | I am going to render out one more piece
and that's an Ambient Occlusion.
| | 03:59 | I will use an override to make this work easily.
| | 04:01 | I will press Ctrl+A to go my Channel box
and down here in the bottom right on my Render layers
| | 04:06 | I will right-click on the Master layer and choose
Overrides>Create New Material Override>Surface Shader.
| | 04:14 | Back here in the attributes, I'll name
this surface shader AO general. As a
| | 04:18 | typical workflow, I will have different
AO materials named for what they're doing.
| | 04:22 | For example, this will be used on most everything.
| | 04:26 | If I have a surface like a glass or
a glossy finish that will gather less
| | 04:30 | occlusion, it will get less darkness in the corners.
| | 04:32 | I may make a separate one and call it AO glass.
| | 04:35 | In the out color then, in the texture, I will put in
from the mental ray textures, mib_amb_occlusion.
| | 04:43 | I will bring up my Render settings and one of
the first things I'll do is name that output.
| | 04:48 | In case I accidently hit Render again
it won't overwrite my previous work.
| | 04:52 | Now I will pull up my IPR and see how this looks.
| | 04:55 | It's neat, but it's very black and here's why.
| | 04:58 | I'm still running that photographic exposure
and that's going to affect my occlusion.
| | 05:03 | For running an occlusion like this we want it to be clear.
| | 05:06 | I'll pull up the Render settings and
in the Render settings under Features
| | 05:10 | I have got switches for turning off and on things I am using.
| | 05:13 | I am going to turn off Final Gather and turn off Lens Shaders.
| | 05:17 | I don't care if the physical sky is still on or not
or the light because occlusion is only affected by geometry.
| | 05:24 | Now I can see my IPR updated nicely.
| | 05:26 | I have got occlusion or darkness gathered in the corners.
| | 05:29 | It's going to ground everything.
| | 05:31 | I will lay this over and I can even use the occlusion
as the foundation for dirt for rust if I need.
| | 05:36 | This will help bring a gravity, really popping out the work.
| | 05:39 | I think I am ready to render,
because I like the way the occlusion looks.
| | 05:43 | What I will do though is stop my IPR and
in the Render settings under the Passes,
| | 05:49 | turn off the Contribution pass.
| | 05:51 | I don't need it for this particular one.
| | 05:52 | I just need the beauty pass the Ambient Occlusion.
| | 05:55 | I'll hit Render and this should go nice and quick.
| | 05:57 | As a side note also in occlusion,
you can up the samples if you like;
| | 06:01 | 16 may be a little low and get me some dots.
| | 06:04 | I'll try 32 and I will leave the bright and dark values alone.
| | 06:08 | With the bright and dark values of black
and white I get white in clear spaces
| | 06:13 | and good grounding corner darkness
tucked in the places we would expect.
| | 06:17 | I can always push those levels around in Photoshop if I need.
| | 06:20 | My render is finished and although it
looks all white out here I actually have
| | 06:25 | an alpha channel clip nicely around.
| | 06:26 | I will open up Photoshop and pull
these layers together in one PSD.
| | 06:31 | Here in Photoshop I am going to open up
the images. I will go in to the Images
| | 06:36 | folder in the project and into the Temp
directory. Maya puts images there when
| | 06:39 | rendering singles or stills.
| | 06:41 | In that directory then, I have folders
created for each of my Render passes.
| | 06:45 | There is an automatic master beauty pass
and then the ones I chose.
| | 06:49 | I will pull open the master beauty
and there's two images that I need.
| | 06:52 | Wall 1 is the color, Wall AO is the AO.
| | 06:56 | I'll pick both and hit Open.
| | 06:57 | What I will do is take each of these and drag
them over while holding Shift into one document.
| | 07:04 | I'll tear off the AO, drag, hold Shift
while I drag and that lays right on top,
| | 07:09 | then I can close the AO pass.
| | 07:12 | I'll pull open and insert the other pieces the same way.
| | 07:15 | I've dragged in the normal spec and
occlusion into my color layered PSD.
| | 07:20 | Its still shows as an IFF because I haven't saved.
And now I need to pull in the depth.
| | 07:25 | When I go to open up the depth here
in Photoshop though I may get an error.
| | 07:29 | Photoshop doesn't like it because
Photoshop doesn't read in Z depth.
| | 07:32 | What we need to do is open this in F check,
extract the Z depth as a luma in a
| | 07:37 | TARGA or TIFF for example, and open it
that way in Photoshop to be able to grab
| | 07:41 | that depth for parallax and put it into the Alpha.
| | 07:44 | Here is my Wall 1 depth remapped.
| | 07:46 | When I double-click on it, noting
its got the camera showing it opens
| | 07:49 | automatically with FCheck.
| | 07:51 | I'm going to see maybe, maybe not what I expected.
| | 07:55 | What it shows me is that my remapped
values were too light. I'm not getting the
| | 07:59 | Z depth I expected to see.
| | 08:01 | So that may require a re-render of this one.
| | 08:03 | But I will check on the straight
depth and see how it looks first.
| | 08:06 | This is better, there in the Z buffer,
not RGB or Alpha but Z, I can see the
| | 08:11 | depth, the distance away from the
camera of my timbers and plaster.
| | 08:15 | I will choose View and Full Resolution.
This way I'm not saving a scaled-down version.
| | 08:22 | Now I will choose File and save image.
| | 08:25 | I'll save it in that same folder, call it depth
and save it out as a target for
| | 08:30 | example, repurposing the Z buffer data to RGB.
| | 08:34 | Now in Photoshop, I can open that
depth image and pull it into my layers.
| | 08:40 | There are all the pieces required to build up my textures.
| | 08:43 | I have got my Depth, my Normal,
my Spec Occlusion and Color.
| | 08:47 | I'll start by layering the occlusion
over the color. Switching the occlusion
| | 08:51 | layers Blending mode to multiply
really pops out the depth in those pieces.
| | 08:56 | If you like, you can color tone
the Occlusion, pressing Ctrl+U for
| | 08:59 | Hue/Saturation, colorizing and moving
the hue around without shifting Luma.
| | 09:04 | I am going to introduce a rich brown in here
so it's got some good depth along the sides.
| | 09:09 | Now I will take both of these gray scales
and tuck them in the Alpha's, one will
| | 09:14 | be parallax and one will be spec.
| | 09:16 | I will turn on layer 2, select all, copy, Ctrl+C
and in the Alpha channels paste it in.
| | 09:23 | We may see extra alphas going on here,
depending on how it was encoded and what we saved out.
| | 09:29 | I can just simply use them and name them as I need.
| | 09:31 | This will be my parallax map and again
I will select all, Copy and Paste in.
| | 09:37 | Its fine to have multiple alphas as we
can be weed these out later when we are
| | 09:41 | saving out single flattened images.
| | 09:42 | It's ready for cropping and placing on a text or sheet.
| | 09:46 | I can take this and assemble it, render out
the rest of the pieces with the same lighting,
| | 09:50 | tune their occlusion the same way and stack them all in.
| | 09:53 | I will also make a section of stone wall
and finally the door and doorframe.
| | 09:57 | That way I have got a whole medieval
village worth of texture pieces ready to go.
| | Collapse this transcript |
| Digital sculpting for detail| 00:00 | In a texture generation workflow
where we are using high poly models and
| | 00:04 | rendering them, we often want to use a
digital sculpting application as part of
| | 00:08 | our pipeline to further refine
and enhance what we are doing.
| | 00:11 | I'm going to use Mudbox on sculpting some
of my stone blocks I will use for a wall.
| | 00:16 | First, I will remove the override by
right-clicking on the Master layer and
| | 00:19 | choosing Overrides>Remove Material Override.
| | 00:22 | I will zoom in on one of my stone blocks.
I've roughly modeled these with
| | 00:26 | extruded faces extra divisions
along the sides for better moving and
| | 00:31 | manipulation and beveling all around,
roughly dressed or carved stone.
| | 00:35 | I'll take this over to Mudbox by choosing
File and Send to Mudbox sending as a new scene.
| | 00:41 | I am going to model each stone uniquely,
bring it back over and assemble a tiling wall.
| | 00:47 | I have brought up my stone block in Mudbox
or rather Maya has done it for me.
| | 00:51 | We can see they are connected to Maya button
and update in the bottom right of my screen.
| | 00:55 | Now I will choose Display and Wireframe,
so I can say how many polys I am
| | 01:00 | dealing with in a grid on it.
| | 01:01 | I will subdivide this model by pressing Shift+D
a few times, watching that poly counts skyrocket.
| | 01:06 | 98,000 phases is a game level worth,
but for Mudbox not a big deal, and we are
| | 01:13 | going to bring this back to Maya and render it,
so it's okay to have that many polys running around.
| | 01:18 | I'll turn off that wireframe by pressing W again,
now I am going to use my
| | 01:22 | Sculpting tools and stamping or
stenciling in some detail on the stone.
| | 01:25 | I will begin first with just the basic sculpt,
turning off the stamp image,
| | 01:30 | making sure the strength is nice and low
and pushing these contours around.
| | 01:35 | I'll just take the stone face here and bulge it out a little bit.
| | 01:38 | This led some depth and drama so its not just
stamping a pattern into a completely flat face.
| | 01:44 | I can also hold Ctrl and push it in, dishing in these sides.
| | 01:48 | It's a rectangular block and I can make it
tillable while still having uneven sides here.
| | 01:53 | I want a natural field as if this has been chiseled by hand.
| | 01:57 | So I am going to mess up these sides
and corners a little bit, taking out these
| | 02:01 | square corners, pushing them in
and even smoothing them over.
| | 02:05 | Now that this block is massaged a little bit,
I can stamp out a pattern.
| | 02:09 | Down in my stamps I have got the default stamps
installed and I can bring in a custom one if I would like.
| | 02:14 | I'll scroll over and see if I can find one that's good for stone.
| | 02:18 | I'll start out with some black and white spots
or maybe just a little bit of stone blocks in here.
| | 02:23 | These stone blocks are a grayscale with
really big values between light and dark.
| | 02:28 | I'll bring up my brush size a bit and
try stamping this on, just a little bit
| | 02:33 | of detail gets in there, just enough to make
that stone block look uneven on the face.
| | 02:37 | I will chisel it, this will give it a rough appearance.
| | 02:41 | I'm really just concerned about the
face here, not necessarily the sides as
| | 02:45 | there going to be next to other blocks,
being that I am going to render it
| | 02:48 | straight on in ortho camera, as long
as I catch the parts I am going to see
| | 02:52 | everything else can sort of sit there.
| | 02:54 | There's my stone block and it's got
a good, well, nubbly texture to it.
| | 02:58 | I'll use a smooth brush without a stamp,
taking down that strength and just
| | 03:03 | flattening out a little bit of the detail here and there.
| | 03:05 | So it's not so angry and pixilated.
| | 03:08 | There is one stone block and I can
make multiples if I need, but I will take
| | 03:12 | this back to Maya and see how it looks in a render.
| | 03:15 | Before I update with Maya, I need to
clear the history of the existing block
| | 03:18 | or else I'll get an error from Mudbox. I will go
back and do that and then come back and update.
| | 03:23 | In Maya with the block selected I will
press Shift+Alt+D to delete the history.
| | 03:27 | Now I can update this object and the
ridiculously dense mesh will come across.
| | 03:31 | In Mudbox I will press the Update button
and we will see the change here in Maya.
| | 03:36 | There's my block. When I select it, it's practically
a solid green with all the geometry.
| | 03:41 | That's okay;
I'm just after this for a render.
| | 03:44 | I will test it out in an ortho cam and see how it looks.
| | 03:47 | Just going in to my front camera
and zooming in on that block.
| | 03:51 | I am going to make sure in my features
that I turned back on my lens shader and
| | 03:55 | I may need to place that physical sky into this front camera.
| | 03:58 | I have turned on Final Gather and
I'll go grab the physical sky from the
| | 04:03 | other camera, choosing panels>Ortho>Wall 1, taking
the camera and getting the name, mia_physicalsky1.
| | 04:12 | If you know it you can also type it in.
| | 04:14 | Now back in my front camera, in the
Attributes, down in the Mental ray section,
| | 04:19 | I can paste these in.
| | 04:20 | There is the environment and I can
even type the lens shader straight across.
| | 04:25 | Now when this block is viewed nice and
full in the resgate and a render is done,
| | 04:29 | I will get a good, varied block surface for my texture.
| | 04:32 | I will get a normal map out of it and
occlusion when it's next to other objects.
| | 04:36 | I can get a spec map out with a light
overhead and it really looks like some
| | 04:40 | rich dense stone that I can use in a texture sheet.
| | 04:43 | This opens up a realm of possibilities.
| | 04:46 | Rather than having to construct and unwrap
a low poly and then bake a high on to it,
| | 04:50 | we can simply free sculpt a high poly,
knowing we are going to render it
| | 04:56 | straight on unwrap on to it as a texture sheet
frees us up from the tedium of
| | 05:00 | transferring maps back and forth.
| | 05:01 | And allows us the full flexibility
with an application like Mudbox or Z brush
| | 05:06 | in sculpting to our heart's content the
detail we would like to see in our texture work.
| | 05:10 | My render looks good, and I can finish up
the rest of the blocks and assemble my stone wall.
| | Collapse this transcript |
| Baking occlusion for rust and dirt| 00:00 | In a texture workflow aside from
using Ambient Occlusion to add gravity to
| | 00:05 | things and pick out all the little details,
we can use occlusion as a foundation
| | 00:09 | for dirt and rust on things.
| | 00:10 | I am going to take my doors here,
which I have cloned to make a pair and run
| | 00:15 | an ambient occlusion bake as well as
a color and then in Photoshop start to
| | 00:19 | erode that away to make naturally
occurring places of dust and maybe some
| | 00:24 | rust and a few other things.
| | 00:25 | What I have done then, aside from cloning
the door and mirroring the Z frame over,
| | 00:29 | is to put a ground plane underneath.
This way it kicks up occlusion on to
| | 00:33 | those doors, but in a front or ortho
render it will flatten out entirely.
| | 00:38 | I am going to make a new camera,
choosing panels>Orthographic>New>Front and then
| | 00:43 | I will focus in on those doors.
| | 00:45 | I'll turn on my resgate and make sure in
this new camera, which I'm going to name
| | 00:49 | doors, that I change that film gate.
| | 00:53 | Here under Fit resgate, I will make
sure it's vertical and I'll zoom in and be
| | 00:57 | ready to render these in a 1024 square image.
| | 01:00 | I have left a little space between so they
get some occlusion going on the edges here.
| | 01:04 | I'll zoom in nice and tight and my plan is
to render all of these pieces very
| | 01:08 | high res and then assemble them into
a text or sheet, shrinking if needed.
| | 01:12 | First, I'll start out with the beauty image,
clicking on my Render settings,
| | 01:16 | making sure my lens shaders are on and
under the Common tab naming this output file.
| | 01:21 | I will call it Doors.
| | 01:22 | I will make sure I am rendering from
the correct camera, turn on Z depth.
| | 01:27 | And while I am here I should
probably reconfigure that depth if I need.
| | 01:31 | Alternately, I can save it for later
just use the standards Z depth instead
| | 01:35 | of the depth remap. Under Passes then, I'm
going to turn on my Contribution Map again.
| | 01:40 | If you like, you can use Render layers,
adding new layers for different objects
| | 01:44 | and assigning them their own contribution maps.
| | 01:46 | For now, I am going to let this go as it is.
| | 01:49 | The last thing though is to make sure
I have the same node connections in
| | 01:53 | those cameras. Down here in mental ray then, I
need to connect my sky at my lens shaders in.
| | 01:58 | I can type it straight in, putting in mia_physicalsky 1
| | 02:02 | and mia_photographicexposure 1 as well.
| | 02:05 | Now that I have put those in I can see
its connected, connecting the messaging
| | 02:08 | in exposure to the cameras lens shader.
| | 02:11 | I'll pull up my IPR and run a quick test.
I need to get a light over these but I
| | 02:16 | will see how it looks first. I can see
that that light is causing a specular
| | 02:20 | highlight on the right side, so I may
want to change or hide the light that's
| | 02:24 | working on the panels.
| | 02:25 | And make sure I have got a unique light here on the doors.
| | 02:28 | I have also got the reflection up pretty high.
| | 02:30 | This is okay because it really gives it a glossy look.
| | 02:33 | It's the equivalent of actually painting in
a specular highlight in a diffuse map,
| | 02:36 | lets say on a face, to reinforce
the specular highlight we would see.
| | 02:41 | I am getting a good reflection here of the sky,
so I may want to mute down how reflective that paint is.
| | 02:46 | All the doors share the same material.
| | 02:49 | I'll take down this reflectivity,
maybe .5 and pull down the gloss as well.
| | 02:53 | What I also do is scroll down to the
Interpolation section. This allows us in
| | 02:58 | mental ray to blur a reflection.
Normal reflections in a Maya software Blinn
| | 03:03 | for example, are either there or not and
have a strength, but are always crystal clear.
| | 03:08 | If I interpolate a reflection and use
the reflection samples to blur that image,
| | 03:13 | I can get a soft blurry reflection if
needed, making that get fuzzy and taking
| | 03:18 | out that distinct line from the sky while still
maintaining the idea that it's reflecting something.
| | 03:23 | I'll pull these samples up to 6 and
leave it at half res, which means that that
| | 03:27 | reflection is calculated at 512 square.
| | 03:30 | The color looks good, so I will run it
and then run an occlusion image, put them
| | 03:34 | together in Photoshop and start to paint in some dirt.
| | 03:37 | I have rendered a beauty and occlusion image,
hold them up in Photoshop and
| | 03:41 | brought the occlusion layer in over the beauty.
| | 03:44 | Now I am ready to use the ambient occlusion
both as occlusion and as rust or dirt.
| | 03:49 | I'll start out by making this a normal
occlusion layer, dropping down in the
| | 03:52 | Blending mode and choosing Multiply.
| | 03:54 | It really pops out the detail, although maybe too much.
| | 03:58 | We can always back off the opacity a little bit;
| | 04:00 | it could be a little strong here.
| | 04:02 | We also want to make sure we are not
introducing a heavy black in to our scene.
| | 04:06 | So pulling this back to maybe in
the 40 to 50 range looks pretty nice.
| | 04:10 | We can tune up how the paint looks, too,
pressing Ctrl+U for Hue/Saturation for
| | 04:15 | example, and bringing back that saturation
in those red doors. We can also Hue Shift it,
| | 04:20 | maybe putting a little more red in there
and bring up the lightness a touch.
| | 04:24 | Now for the dirt, I'll take my Occlusion layer,
hold Alt and drag it to make a copy.
| | 04:29 | Turn off the original and on this new one paint in white.
| | 04:33 | I will press D for default colors,
| | 04:35 | X to flop foreground and background, B
for brush and paint in Linear Dodge,
| | 04:42 | add zooms up to white really quick.
| | 04:44 | So when I increase this brush size and
then take the Opacity way down I'll add
| | 04:48 | in little bits of white here and there,
because this is going to multiply or
| | 04:52 | color burn over, white becomes invisible.
| | 04:55 | I'll start by taking out some of the
white here on the middle of the door.
| | 05:00 | I need to make sure also that my brush is not too hard.
| | 05:03 | This is a good place for a soft brush, so I
will make sure I choose a soft one to start.
| | 05:08 | Now when I start to brush in that white,
its going to remove some of that occlusion.
| | 05:12 | What we are also seeing here is that my
occlusion may be too big to start, that
| | 05:17 | as I brush in that white its taking
out more and more of the image, but I'm
| | 05:21 | still getting that definition between
the boards and the color. You turn off the
| | 05:24 | color map if you like to see it clear
and map this over a white background.
| | 05:28 | Now I will come in and start to brush out areas
that might be clearer and cleaner on the door.
| | 05:34 | We can reduce brush size using the brackets
and keep in places where it would naturally be streaky.
| | 05:40 | Let's say that over year's water has a run down
the Z frame and into the cracks between the boards.
| | 05:45 | So this is fairly clear, but we want streaks running off there.
| | 05:49 | I'll take out the occlusion that's over
these boards that are at the bottom of
| | 05:53 | the Z frame, pulling them out and just
really brushing away all along there.
| | 05:56 | I will leave in the bottom, because
that's a great place for some dirt.
| | 06:00 | And then leave the hard line in.
I'll pull out the occlusion here across the
| | 06:04 | frame, letting that linear dodge buildup that white.
| | 06:07 | I will leave that darkness right there to say
that it's rundown, but I will make it uneven.
| | 06:12 | Again, pulling that white out of the cracks here.
| | 06:15 | So it's uneven, letting that build up,
thinking of the painting in white as the buildup of dirt.
| | 06:21 | If it makes you more comfy to paint in black
and then invert, go for it.
| | 06:25 | As long as you are getting the right look that's fine.
| | 06:27 | I'll bring up my Opacity a little bit to speed this up.
| | 06:30 | And keep brushing out the white here.
| | 06:32 | What I am thinking of in this is where
would the dirt accumulate and where would
| | 06:36 | the door be hopefully a little cleaner.
| | 06:38 | We also want make it uneven side to side.
| | 06:40 | So this gives us the possibility of having two doors
from the same texture sheet
| | 06:46 | fairly close to each other that look a little different,
or a pair of doors in an opening
| | 06:49 | that are obviously not the same door.
| | 06:52 | We are building in, by doing two doors here,
some texture flexibility,
| | 06:56 | and having the dirt vary slightly helps that immensely.
| | 06:59 | I've pulled out most of the dirt here,
leaving it in some crucial places, but letting it be uneven.
| | 07:05 | I will just light in the bottom a little bit,
although over years the mud is
| | 07:08 | probably kicked up on the door,
leaving the toe kick down here fairly dirty.
| | 07:12 | If you like you can also switch the colors,
paint in a Multiply, make the
| | 07:16 | Opacity nice and low and add some back in.
| | 07:19 | I'll smudge these over, darkening in
that bottom here, adding a little bit more
| | 07:24 | back in the cracks to simulate just general dirt,
maybe people's grubby hands
| | 07:28 | over years of pushing on the doors or something similar.
| | 07:31 | That looks pretty good.
| | 07:32 | Now I'll take this layer and flatten it
over that white I have got, so I have an
| | 07:38 | all-white layer here. I can crop to the doors later.
| | 07:40 | I'll turn on my doors and make this layer
instead of a Multiply which is going
| | 07:44 | to darken and add black a Color Burn.
| | 07:47 | As a color burn it really pops out as dirt,
although it's a little strong at a 100%.
| | 07:51 | I will pull back the Opacity and get
places in here that are dirtier, redder,
| | 07:57 | streakier with stuff in there and
places where people have rubbed it over
| | 08:01 | the years and so forth.
| | 08:02 | Then when I turn on the Occlusion, I
have got grounding darkness as well
| | 08:06 | complementing the dirt, because dirt,
occlusion, rust and well anything else
| | 08:11 | that accumulates in corners
tends to stick in the same place.
| | 08:14 | Now its nice and dark under the doors,
on the frame, in the cracks here where
| | 08:19 | things have rundown over the years.
| | 08:21 | Underneath that Z frame where there's
an accumulation, may be some moss if it's
| | 08:25 | a wet climate and places on the doors
where I have got some smudges where
| | 08:29 | people have touched it.
| | 08:30 | It's ready to use as a texture and
when combined with that normal its going
| | 08:34 | to look fantastic.
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| Tiling and masking| 00:00 | Part of any texturing workflow is thinking
about how that texture tiles or repeats.
| | 00:04 | And dealing with joinery conditions
where textures need to meet.
| | 00:09 | I've modeled some stone block, taking it to Mudbox,
and then arranging them in a tiling pattern.
| | 00:14 | This stone wall is composed of rectangles,
large squares, and small squares.
| | 00:19 | And most of the horizontal joints are continuous
with some breaks here and there.
| | 00:23 | Sometimes the blocks are turned
and occasionally they overlap.
| | 00:26 | I've left the two large squares here;
one on either side, plus, this rectangle
| | 00:30 | and its adjoining space to be able to set up a tiling pattern.
| | 00:34 | I'll take this rectangle and finish out the tiling;
| | 00:37 | pressing Ctrl+D to duplicate, selecting the stone square
it's next to, and under Modify, choosing my Align tool.
| | 00:44 | I'll zoom in and align them front to back.
| | 00:47 | Now my stones are in.
| | 00:48 | These are all multiple of 12 in their modules,
and so they all line up pretty nicely,
| | 00:52 | with the spaces between being where
either the mortar would set or in a
| | 00:56 | dry stack wall, just space or extra stone in there.
| | 01:00 | This will give me a nice look and good
relief in a normal map and I'll set up the tiling.
| | 01:05 | But first what I need to do is to turn on the
mental ray Production Shader library
| | 01:09 | in order to use a matte shadow plane
to block where this stone needs to tile.
| | 01:14 | We need to put this line of code in the MEL line
down at the bottom of the screen, and then restart Maya.
| | 01:19 | I'll select it, copy it, and paste it in.
| | 01:23 | What this says to do is to turn on,
in the optional environmental variables,
| | 01:27 | the mental ray Production Library Shaders
to expose them, make them visible in Maya
| | 01:32 | with one being true.
| | 01:34 | I'll paste that in, hit Enter, and apparently nothing happens.
| | 01:38 | I'll save my file and restart Maya,
and then I should see a new class of
| | 01:42 | materials available that I am going to use.
| | 01:44 | So I am going to call this 'end' in my save.
| | 01:47 | What I'll do to set up this blocking plane
is in a front view make a plane over
| | 01:52 | the area I want to keep as part of my tiling texture.
| | 01:55 | I'll create a PolyPlane, starting outside that
first stone block, and dragging
| | 02:00 | up to line up with the left side and the top.
| | 02:03 | We can see how slow it's moving because I'm
topping millions of polys here in my polycount.
| | 02:08 | Obviously, this would swamp a game
engine, but for rendering, not a problem.
| | 02:12 | I will pull this up and define the area
where this needs to tile.
| | 02:16 | It looks pretty good, and I can always
adjust it if needed, playing with the
| | 02:20 | width of the height and putting it in exactly.
| | 02:22 | That will work, giving me a little space
in the bottom of the sides for joining.
| | 02:26 | Now I will isolate this so we can
see it better and move a little faster.
| | 02:30 | What I'll do is press F10 for edge,
double-click on the border edge, hold Shift
| | 02:34 | and right-click, and Extrude, and
change my extrusion to the world axis.
| | 02:38 | I'll scale out on the Z axis while holding
Ctrl, which extrudes the X and Y proportionally.
| | 02:44 | That gave me a ring of faces outside.
| | 02:46 | I'll press F11 and delete the center face,
and now I've got a blocking plane.
| | 02:51 | When I exit the isolation here and
move this blocking plane in front of that stone,
| | 02:56 | I've got a clean tiling texture.
| | 02:59 | Now we get the camera in.
| | 03:01 | What we can see here, even just in a
front view, is that this is cleanly blocked
| | 03:05 | all the way around, and those
stones are clipped evenly all the way.
| | 03:09 | That's how I know it will tile side to side,
and top to bottom.
| | 03:12 | I'll make myself yet another orthographic
front camera and focus in on that plane.
| | 03:18 | I'll call this camera Stone.
| | 03:20 | And again, in the Shape node, under the Film Back,
I will set the res-gate to Vertical.
| | 03:25 | I'll turn on my res-gate which is set to 1024 square,
and zoom out until I frame in my stone.
| | 03:31 | I'll pull in a little bit from the edges,
making sure I've got all the stone showing.
| | 03:35 | Now for the material on this plane.
| | 03:37 | I'll select it, right-click, and choose Assign New Material.
| | 03:41 | Under mental ray Materials, we scroll down
to the bottom and enlarge the samples
| | 03:45 | so we can see them better.
| | 03:46 | We should have a class of MIP materials,
that's our mental ray Production Library,
| | 03:50 | which are shaders we use for compositing,
such as a Matte Shadow or Camera Map.
| | 03:55 | The Matte Shadow is the one we're going to use.
| | 03:58 | I'll select it and what we see here
is that the plane turns red.
| | 04:01 | The idea on the Matte Shadow
is that it is a blocking object.
| | 04:05 | It will catch shadows as we need and reflect,
but won't actually render in the scene itself.
| | 04:10 | What we do is we put digital characters
for example on a matte shadow plane,
| | 04:15 | and then let the matte shadow catch their shadow
to composite on to a real sidewalk scene.
| | 04:19 | What this will do for me is be clear in
the alpha, once I've got the background in,
| | 04:25 | and set to the physical sky.
| | 04:27 | It will give me a clean tiling stone section.
| | 04:29 | Now I will go into my Hypershade;
| | 04:32 | choosing Window>Rendering Editors>Hypershade.
| | 04:35 | In the Hypershade, I'll take my Matte Shadow
with my mouse-wheel and
| | 04:38 | click and drag to pull it down in the work area.
| | 04:41 | Over in the Utilities I've got my physical sky,
and I'll take that physical sky
| | 04:45 | with the mouse-wheel and drag it
onto the MIP Matte Shadow.
| | 04:49 | I'll connect it to the background.
| | 04:50 | Typically, we use a Camera Map Shader in here,
putting into the background plate
| | 04:55 | or Camera Map, or shot footage
we'd like to composite into.
| | 04:59 | In this case though, because we're lighting
with the physical sky, which shows up
| | 05:02 | in the background but is clear in the
alpha putting this into the background
| | 05:06 | shader in the Matte Shadow ensures that
we'll see clear alpha around that stone.
| | 05:11 | I'll select my camera called Stone.
| | 05:13 | And again, I'll make sure in the Shape node
under mental ray that I've got my shaders in place.
| | 05:18 | It's important when making new cameras
to use the same shaders.
| | 05:21 | This way, the rendering, the sky
contribution and the photographic exposure
| | 05:25 | we're using match from texture to texture,
so that the door, the wood, the wall,
| | 05:31 | and the stone all look like they came from the same world.
| | 05:34 | I'll get a material on my stone, picking
all the stones and assigning a new MIA.
| | 05:39 | For variety if you wanted, you could use
multiple materials, each with a
| | 05:43 | different texture, painted in Mudbox for
example or textured in Photoshop to add
| | 05:47 | even more drama to the stone.
| | 05:49 | I'd like this to be a little more uniform, maybe it
all came from the same quarry of fairly even stone.
| | 05:54 | I'll assign a new material, and choose
an MIA Material x_passes again.
| | 06:00 | Here's my MIA, and this is a
great place to use a pearl finish.
| | 06:04 | It spreads out that reflection.
| | 06:05 | I'll crank up the Roughness so the
stone spreads the light, bring up the
| | 06:09 | Glossiness to maybe 0.3, and check Highlights Only.
| | 06:13 | Then I'll scroll down to the Interpolation.
| | 06:15 | When you're using a pearl reflection, be careful of this.
| | 06:18 | That Interpolation is double, meaning it will
calculate the reflection at twice the rendering resolution.
| | 06:23 | This is going to get me a 2K
reflection on a 1K stone right now.
| | 06:27 | I'll make sure I stop this down to half, and try out a render.
| | 06:31 | I can also put an area light overhead,
and see how it looks to cast extra
| | 06:35 | light on the stone and shadow or shade
in the naturally occurring areas, the
| | 06:39 | cracks between the stone.
| | 06:40 | Here in my perspective, I'll take my
existing area light over the doors,
| | 06:44 | duplicate it, slide it over, center it on the
Matte Shadow Plane and then hide the other one.
| | 06:51 | This way, it's not adding a contribution
for the left side into the stone,
| | 06:54 | pressing Ctrl+H hides the object.
| | 06:56 | I'll also take my doors in here and hide them.
| | 06:59 | Now back in my stone camera, I'll make sure
that my render setup is ready, calling this file Stone.
| | 07:05 | My passes are all set.
| | 07:06 | It's going to give me a Normal, Diffuse,
Depth, and Spec, and render out that stone.
| | 07:13 | My stone started to render, and it
looks like I forgot a couple of things.
| | 07:17 | I'll hit Esc to get out of the rendering.
| | 07:20 | First, I'll select my Matte Shadow Plane,
and in the Shape node under Render
| | 07:23 | Stats, turn off Cast Shadows.
| | 07:25 | That way it doesn't cast darkness around the stone.
| | 07:27 | Then I'll also go back to the Features Tab
in the Render Settings and make sure
| | 07:31 | that my final gathering and lens shaders are on,
so I get the right look.
| | 07:35 | I'll also switch under Faces from Both to Front.
| | 07:38 | This way it uses the front facing normals and
doesn't render the inside of my stone as well.
| | 07:43 | For this, I am going to take my Anti-aliasing down;
| | 07:46 | a 0 to 1 will go a little bit faster,
not spending as much time on it and
| | 07:50 | letting some of the natural aliasing artifacts occurring,
look like chips in the stone.
| | 07:55 | My render finished and took
about a minute and a-half or so.
| | 07:59 | I've got some really great detail going on.
| | 08:01 | Those extra polys in the stone, all million
plus of them have really made this pop out.
| | 08:07 | I've left the stone without a backing plane,
so I can actually see right through here.
| | 08:11 | What this will let me do is unify this texture,
and plan for tileability by
| | 08:16 | putting in a color in Photoshop
if I wanted to say there is mortar.
| | 08:19 | It also leaves me a clear alpha in here for
things like maybe lichen or moss on the stone.
| | 08:24 | I'll look at the render passes as well and see how this went.
| | 08:27 | The Normal looks terrific.
| | 08:28 | That's really going to make that detail pop out.
| | 08:31 | The Depth Map will give me terrific looks
on the parallax as well.
| | 08:35 | And if I run an Occlusion, it's going to
get that gravity, that depth between all the stone.
| | 08:40 | More importantly, let's look at the Alpha Channel.
| | 08:42 | Here in the Alpha, what we can see is that,
that Matte Shadow plane has cleanly
| | 08:47 | clipped the stones that cross over that border,
meaning that this stone on the
| | 08:51 | right here and the stone on the left will match up perfectly.
| | 08:55 | Same with this one down here.
| | 08:56 | We've got a whole stone, a half stone,
and a whole stone, and that corresponds
| | 09:01 | to the half stone in the other side.
| | 09:03 | We're ready to add diffuse color and use
these elements to make up our texture
| | 09:06 | sheet of stone, wood and stucco panels,
and doors and associated wood parts,
| | 09:12 | giving us all the parts we need for a medieval village,
exquisitely textured and ready to model.
| | Collapse this transcript |
| Masking ambient occlusion| 00:00 | When rendering geometry, including an
ambient occlusion layer as well as the beauty pass,
| | 00:04 | really makes it pop-out as part of the texture.
| | 00:07 | There's a couple of things we need to
do though on a high-res stone like this
| | 00:11 | that's set up to be tileable with a matte shadow plane.
| | 00:14 | I am going to use my render layers to make a
new layer instead of assigning an override.
| | 00:19 | This way, I can separate the objects cleanly
with my matte shadow plane and my occlusion shader.
| | 00:26 | First, I'll select all of these objects,
and on the render layers here in
| | 00:30 | the Channel Box, I'll click on the Create New layer
and Assign Selected Objects button.
| | 00:35 | I'll rename this layer to AO, and make sure
that its green check is on and the Master layer is off.
| | 00:44 | Now I'll assign my Ambient Occlusion Shader
to just the stone;
| | 00:47 | right-clicking, choosing Assign Existing Material,
AO_General.
| | 00:51 | Render layers allow you to assign different materials
by layer while not overwriting the originals.
| | 00:56 | I'll leave the Matte Shadow plane as a
matte shadow, and we can see my black
| | 01:01 | surface shader with the occlusion on the stone here.
| | 01:04 | I'll go in my Render Settings, name this file
stoneAO, go into the Features, and
| | 01:10 | turn off Final Gather, and lens shaders.
| | 01:13 | This is going to go in the Render layer AO,
which as we can see here in the
| | 01:18 | Common Tab is going to go in Images>AO>stoneAO,
and it's going to have its
| | 01:22 | render passes if we put them in.
| | 01:25 | For now though, under Passes, I don't
have an associated contribution map, and
| | 01:29 | so it's not going to give me those extra parts.
| | 01:35 | Before I render it, there's one other thing to take care of.
| | 01:39 | If we look in our Perspective View,
this blocking plane is pretty close to the stone.
| | 01:46 | It means it's actually going to cast occlusion on to it.
| | 01:48 | So I am going to move this blocking plane
forward just a little bit, and then
| | 01:53 | go in and change that occlusion shader slightly.
| | 01:57 | Here in my camera, it still looks the same.
| | 01:59 | I'll pick this stone, any stone,
and get to that material, and in the
| | 02:03 | AO_General, I'll look in the out color,
and play with the Max Distance.
| | 02:07 | At 0 which is a special case in mental ray,
meaning everybody participate,
| | 02:12 | everything casts occlusion on everything
no matter how far apart, which means that,
| | 02:16 | that plane would cast occlusion on the stone.
| | 02:19 | I'll make the Max Distance 15.
| | 02:21 | This way, I get local darkness around
the stone without the plane participating.
| | 02:26 | I'll test in IPR, just doing a small section.
| | 02:29 | I'll make sure it's over on the edge, so I can see
where the plane is if it casts on the stone.
| | 02:35 | And this looks good already.
| | 02:36 | I've got good grounding darkness
between the stone, and clear white right there
| | 02:41 | on the outside instead of dark gray
from occlusion casting onto it.
| | 02:45 | I am ready to render.
| | 02:47 | I've named the file and I'll hit Render
and get my stoneAO to lay over
| | 02:52 | that stone beauty pass. This looks great.
| | 02:56 | I've got dark occlusion between the
stone spreading slightly onto the stone
| | 03:00 | surfaces but not too much onto the faces.
| | 03:02 | If any of the stones were to stick out
a little more to add extra relief,
| | 03:06 | I'd get a declusion on the adjacent stone.
| | 03:08 | I've got a clear masking though, which is
fantastic right here around the outside edge.
| | 03:13 | And if I look at the Alpha, the stone is clipped cleanly.
| | 03:16 | This is a great occlusion to lay over that beauty pass
to make that stone really pop out.
| | 03:21 | I could also run the occlusion with a higher spread
to get more occlusion on the
| | 03:25 | side of the stone, and use it as a basis for moss,
maybe it's somewhere wet.
| | 03:30 | There are lots of possibilities, but getting a clean pull
on the alpha on the outside is important.
| | 03:36 | I'll paint in then any darkness in
the crevices that show, put it over the
| | 03:40 | beauty, and my stone texture will be ready.
| | Collapse this transcript |
|
|
6. Incandescence and CutoutsWorking with values and colors for incandescence| 00:00 | In crafting textures for games in some genres
we want incandescence maps and cutouts.
| | 00:05 | Incandescence describes how a material
looks like it's emitting light.
| | 00:10 | It doesn't have to emit light necessarily
unless we want to make that choice as
| | 00:14 | part of light baking, but that's a different topic.
| | 00:17 | What we would like though, is the
ability for things to look like they are
| | 00:20 | emitting light or glowing softly.
| | 00:22 | For example, in my space textures,
I might want in my wall texture a series of
| | 00:26 | glowing strips on the wall or maybe in
the door frame here, lights that gently
| | 00:30 | illuminate each passageway.
| | 00:32 | I will build these in Photoshop and bring them
into a different channel here and see how they look.
| | 00:37 | Here in Photoshop I'll go into my
space_parts_color layer set and zoom in on
| | 00:42 | this side of that door frame.
| | 00:43 | I am going to make some new parts in here.
| | 00:46 | First, I'll put in the color for that
particular we will call it a light bar,
| | 00:50 | maybe some strips that go along
here that softly glow in the scene.
| | 00:54 | I am going to use a rounded rectangle.
| | 00:56 | I'll fill this in not quite white,
maybe a soft blue that I have already got
| | 01:02 | going on in my scene and turn off the Stroke.
| | 01:04 | I have got my Radius set and I'll pull
it down just a little bit, maybe four
| | 01:08 | pixels and click and drag in on a new layer,
my rounded rectangle that'll be my light.
| | 01:14 | It fills in and I will hit Enter to accept it.
| | 01:16 | I will get this positioned, maybe this
will run right up here, all the way up.
| | 01:21 | So I will get it centered and then
use my offset to clone it, choosing
| | 01:25 | Filter>Other>Offset.
| | 01:27 | Yes I would like to rasterize this
because I don't need the rounded shape anymore.
| | 01:31 | I'll offset this by -20 and see how it looks.
| | 01:35 | I think that'll work.
| | 01:36 | So I will clone this layer holding
Alt to drag and clone and now pressing
| | 01:40 | Ctrl+F Alt+Cloning and Ctrl+F again, making
sure that each time I clone cleanly by holding Alt.
| | 01:47 | If you miss one you can always go
back and clone it and filter again.
| | 01:52 | Once I have got a few of them I will
press Ctrl+E to merge down, Alt+Clone this
| | 01:57 | whole layer and offset four times 1, 2, 3, 4.
5 gives me a space and I will Undo and bring it back.
| | 02:05 | Now I will take this and merge it down
again and clone it to the other side,
| | 02:09 | Alt+Cloning that layer, holding Shift
while I drag and pulling it over.
| | 02:14 | That way both top and bottom on this frame
will have softly glowing lights.
| | 02:18 | I will flattened down these layers by pressing
Ctrl+E and rename this over to lit bars.
| | 02:24 | What I need to do then is describe in an alpha channel
where these look like they're emitting light.
| | 02:29 | I will hold Ctrl and select on that layer
to highlight it with a marquee.
| | 02:35 | Over in the Alpha channel then, on my Spec map
I'm going to put in white in those colors.
| | 02:41 | Here's my alpha channel for my spec.
| | 02:43 | I'll fill this with my paint bucket in white.
| | 02:45 | And make sure it fills cleanly over anything else.
| | 02:49 | What I may want to do in this case, as it
didn't quite go over the scratches here,
| | 02:52 | is delete from the alpha to fill in black
and then fill cleanly in white,
| | 02:57 | turning off contiguous in the paint bucket.
| | 02:58 | And all those pieces are filled.
| | 03:01 | This way I can use one map in multiple places,
making it look like it's
| | 03:05 | scratched and dirty as well as emitting light.
| | 03:07 | I will bring this in Maya and just
do a manual link to see how it looks.
| | 03:11 | I am going to save up my PSD and update it,
putting the alpha into the incandescence.
| | 03:16 | What I can see so far is that my light
is coming in the right place I have got
| | 03:20 | at the top and bottom of the frame
these lit lines though add a nice soft glow
| | 03:24 | and counterpoint of light emits the
darkness and gloom in my space station.
| | 03:28 | Now I need to get their incandescence in right.
| | 03:30 | What I will do is go in to my Hypershade, choosing
| | 03:33 | Window>Rendering Editors>Hypershade.
| | 03:35 | Keep in mind that these are in the alpha and Unity,
will get put into an incandescence slot.
| | 03:41 | What I'm doing here is a test in Maya
to see how it looks. You don't have to do
| | 03:46 | this step, but it's handy to be able
to see if there are really working.
| | 03:49 | I will right-click on space_parts
the Blinn and choose graph network.
| | 03:52 | I will make this a little bit
bigger so I can see what's going on.
| | 03:56 | Pulling the work area open and pressing F
to frame selected, each of these
| | 04:00 | arrows describes a connection
and there's the specular color.
| | 04:03 | What I will do then is either grab this PSD
or over here in the textures grab
| | 04:08 | and pull it in again, each of these is
actually using a layer set so what I need
| | 04:13 | to do is bring the same file in just to make sure
I am using the right piece.
| | 04:17 | I will click on 2D textures and PSD.
| | 04:21 | In this PSD file then I'll go find
my same PSD I have been using.
| | 04:25 | From here I'll pull it over right onto
that space_parts and choose Other.
| | 04:31 | What I want to do is use out Alpha for incandescence.
| | 04:34 | I will scroll down you're here in the Inputs
until I find it, there is Incandescence.
| | 04:39 | I'll open it up and select R, G and B.
This way one alpha value is describing each;
| | 04:44 | alternately I could map the color to it,
although in unity this may take some custom work.
| | 04:49 | I will close that because now these are connected
and the arrow, if I mouse over, shows what I've done.
| | 04:54 | When I switch over to my high-quality
display I should see those looking softly lit.
| | 04:59 | They are little mellow not terribly
bright at the moment, but its working.
| | 05:03 | In Unity then, these will look
like they're emitting light.
| | 05:06 | It's a choice we have been to make
them participate in light baking or not.
| | Collapse this transcript |
| Drawing cutout maps| 00:00 | Sometimes in textures we need textures
you can partially see-through,
| | 00:04 | not necessarily a transparency like glass,
but something that's perforated,
| | 00:09 | chain-link fence or perforated metal mesh for example.
| | 00:12 | I have made a light fixture off to
the side here or at least most of one.
| | 00:16 | I am going to assume that this light fixture
has a wire cage around it and solid
| | 00:20 | ends that share the same kind of rusty texture as the walls.
| | 00:24 | Inside then I will put an incandescent cylinder
drawing from a section of
| | 00:27 | cylinder that's mapped onto my existing lights inside this.
| | 00:31 | I can make these lights burnt out or maybe flicker
depending on how I want to treat it.
| | 00:36 | But I need to get my cut out going first.
| | 00:38 | I am going to make a piece of a cut out
in an open space in my texture map and
| | 00:42 | then come map it on here using the new
material on this particular object,
| | 00:47 | but reusing that texture.
| | 00:48 | Here in Photoshop, first I'll draw the diffuse wire mesh.
| | 00:51 | I'll zoom in on this area in my texture sheet
above my gasket where I have a little space.
| | 00:56 | I will go into the color layer set and make a new layer.
| | 00:59 | And now I am going to use a different kind of brush.
| | 01:02 | In this case actually not a brush but a pencil.
| | 01:05 | I will put my Pencil tool at a size of maybe three or four.
| | 01:09 | The difference here is by using a pencil
I can click and drag and get a nice
| | 01:12 | hard edge for my wire cage.
| | 01:14 | I will start out with one line, maybe
going a little bit longer in here, then I
| | 01:19 | will press V and hold Alt and drag this line down,
merge down that layer with
| | 01:23 | Ctrl+E and merge down both again.
| | 01:25 | I will repeat this. I don't mind
if there are pixels off here and there,
| | 01:29 | it adds a neat character
to this rusty and dinged up space.
| | 01:33 | That looks pretty good, maybe one more
line down here. Now I am going to put
| | 01:38 | in some going the other way.
| | 01:39 | It's a gridded mesh over the light fixture.
| | 01:41 | I will click and drag and add in lines,
holding Shift to keep them constrained to vertical.
| | 01:46 | I'm not being overly picky about
these lining up on the polygon lines.
| | 01:50 | I am simply going to take those polys and
unwrap them and let them span right across here.
| | 01:54 | If you wanted to be picky, you could
actually line up the polygon lines right
| | 01:58 | here on the vertical lines and everything would work.
| | 02:01 | I will merge down these layers, name
this wire mesh and hold Ctrl to select it.
| | 02:06 | Now I will jump over to my alpha channel.
| | 02:09 | I am going to use the same channel for spec
in a different way in a cutout material.
| | 02:15 | In this alpha I'll fill that mesh in with white,
that'll be a cutout map.
| | 02:19 | What that does is declare that mesh either there or not.
| | 02:23 | I'll save this and bring it back into Maya to see how it looks.
| | 02:27 | Back here in Maya I have updated my PSD on all my elements.
| | 02:31 | I am ready to get a new material on this light fixture cage.
| | 02:35 | I am going to use the same material for the ends
here and that brings up an important point.
| | 02:39 | Assign your materials here in Maya,
where if you need something assigned by face
| | 02:43 | or signed to objects prior to combining,
it's far easier here than in Unity.
| | 02:48 | In Unity we can select down to the object level.
| | 02:51 | So for example this'll have my rusty wall material on
the end and my new wire mesh material on the wire cage.
| | 02:58 | Both materials will share one texture sheet
using it in different ways.
| | 03:02 | I'll pick this cage and assign a new material;
| | 03:05 | I will put a Blinn material on, which I'll call wire mesh.
| | 03:09 | In this wire mesh I am going to manually
link in the two parts I need.
| | 03:13 | First, I'll click on the color texture
and put in either a file or a PSD.
| | 03:17 | I have a choice here and how I do this.
| | 03:19 | And it's really because I just need the diffuse color.
| | 03:22 | I'll use a PSD and I will go browse
to that same PSD I am already using.
| | 03:29 | There is the color and now back in the main material
it's using the transparency in the Alpha nicely.
| | 03:35 | What it says here is its using a composite layer set
and the default alpha.
| | 03:39 | I am going to go into the Color and make it
the layer set of color, so it shows up correctly.
| | 03:48 | Otherwise it composites them together
and uses whichever one is on top.
| | 03:52 | Using the default alpha is fine as long
as I get the right place on here.
| | 03:56 | I'll go into my Texture editor and
unwrap these pieces. I will do a quick
| | 04:00 | automatic unwrap. Its handy because it
will keep things the right proportion.
| | 04:04 | I will pick all of my UVs and scale
them down, drag them over onto that wire
| | 04:09 | mesh and zoom in so I can see what I'm doing.
| | 04:13 | Now with my Move Shell tool I can pull these around.
I am going to make sure
| | 04:18 | that it really just fits over that the
wire mesh is on the objects reasonably,
| | 04:22 | but occasionally spans or misses.
| | 04:24 | If you would like you can use the minimum
and maximum U and V tools to align.
| | 04:28 | I will right-click and pick UV, hit W for move
and pick the top ones and align
| | 04:33 | them to the top. As long as you
aligned top to top on both sides or bottom to
| | 04:37 | bottom you won't see a mismatch in there.
| | 04:39 | Now I have got my wire mesh
all the way around my light cage.
| | 04:43 | In high-quality I should be able to see through.
| | 04:45 | If I can't its not a big deal,
because Unity will accept it just fine for a cutout.
| | 04:49 | It looks like its working, it's still responding
to the light in here that I've got in the scene.
| | 04:53 | When I turn off high-quality at least I can see through
and here is how we can fix it if we like to see it.
| | 05:00 | It's going to work well because I have defined it in Unity.
| | 05:03 | In this case what I am going to do is
just break the transparency and put in
| | 05:07 | something new in my Hypershade
and this is just for testing.
| | 05:10 | I will pull up that material and graph it,
right-clicking and choosing Graph Network.
| | 05:14 | Right now this PSD is simply linked across to the color.
| | 05:18 | I'll make sure I drag it over again to make
a new connection and choose other
| | 05:22 | and I will choose out Alpha and map it into transparency.
| | 05:26 | I'll put this into the R, G and B values.
| | 05:32 | It looks like it's working except for one thing.
| | 05:34 | Around that wire mesh is gray, so I need
to make sure my alpha reflects it correctly.
| | 05:39 | I will go back to Photoshop and do
the quick fix and update this PSD.
| | 05:44 | Here on the color it looks fine, it's gray around it.
| | 05:47 | But in that alpha channel the alpha
started out with the default gray.
| | 05:51 | What I need to do then is just
make sure it's matted over black.
| | 05:55 | I'll use my marquee and matt in that area,
just filling it quickly in black here
| | 06:00 | and expanding that out until
the whole rectangle is well black.
| | 06:04 | Then on that layer I will make sure I
select that wire mesh one more time,
| | 06:08 | holding Ctrl to select it, and in the Alpha channel,
flop foreground and
| | 06:12 | background and fill that selection in white.
| | 06:15 | I'll resave this PSD and update it
and I should see that behaving properly.
| | 06:20 | I will reload the PSD making sure it reloads
the Alpha and I should see that wire mesh.
| | 06:26 | I also had to choose Alpha one
and now it's coming across properly.
| | 06:29 | It looks like I need to move the mapping
on one polygon around or maybe it's
| | 06:33 | the way its shining.
| | 06:34 | It does need that specular map to clip it down,
but that is a cutout and Unity
| | 06:38 | will regard it the same way.
| | 06:40 | It's going to be a wire mesh up at the
ceiling looking like a cage around that light,
| | 06:43 | then I can put a light bulb and using
Incandescence and actually put a
| | 06:48 | light in Unity to light up this hole.
| | Collapse this transcript |
| Working with alpha cutoff and clamping| 00:00 | Once we have got our pieces modeled,
textured, combined, cleaned up and exported,
| | 00:05 | its time to get our texture maps in the right place in Unity.
| | 00:07 | What I have done is to export each of
the major elements out as its own FPX to
| | 00:12 | bring in and create prefabs I can create a level out of.
| | 00:16 | I have got a straight hall or S Hall,
a T intersection, a light fixture with
| | 00:21 | the bulbs and the doors separate;
assuming at some point later on the doors for
| | 00:25 | example we would want to put a trigger on
them or an animation to make the slide open.
| | 00:30 | I've also organized the materials.
If we look in the Materials folder we have
| | 00:34 | got now three materials going; space_
standard for everything that's not self
| | 00:38 | illuminated or cut out; space_self_
illum for those things like the lights that
| | 00:43 | are self illuminated in parts;
| | 00:45 | and finally cut out, for anything in
here that's a mesh using an alpha to
| | 00:48 | define a cutout map.
| | 00:50 | I'll start in on the materials,
first working with space standard.
| | 00:53 | Right now it's a diffuse shader
and I need to change this over.
| | 00:56 | I will make it a bump specular, because
I don't have a height map in the normal
| | 01:01 | alpha yet for parallax.
| | 01:02 | In the assets I have imported my two maps
out of Photoshop, my flat and space
| | 01:06 | color and I've set it to 2048 compressed
and made sure it's marked as a texture.
| | 01:12 | Its five megs, but I'm going to load it once.
| | 01:14 | This has in the Alpha, both the pieces
for a cutout map in the wire mesh as well
| | 01:19 | as in the Alpha, the Incandescence.
| | 01:21 | The normal map I have already tagged as a
normal map, again setting its max size to 2048.
| | 01:26 | When we are working in a texture sheet
we can afford a little more size in the
| | 01:30 | texture because we are loading fewer of them.
| | 01:32 | Now look at my materials.
| | 01:34 | In the space standard then I'll click on
Select and add in my main color.
| | 01:39 | In the normal map, I'll go add in my normal.
| | 01:43 | Now in the preview I can see this
looks pretty good, I have good detail going
| | 01:47 | and my map is working nicely.
| | 01:48 | I'm going to bring up this shininess just a bit,
making it nice and shiny in there.
| | 01:53 | Eyedroppering right off that sphere
some of that specular color, then clicking
| | 01:57 | on that color choosing HSV sliders
and bringing up that value.
| | 02:01 | This way the shine matches in everything
in the scene. I will see how it looks
| | 02:05 | when it's on objects as I can always adjust it later.
| | 02:08 | For the space_self_illum I will dropdown
in the shader and change it to Self Illum>Bump Specular.
| | 02:14 | For this material we can choose to
have it admit which is what this last
| | 02:18 | category is for if we are light mapping.
| | 02:20 | First I will get at the colors in,
again clicking on select for color and
| | 02:24 | picking my same texture.
| | 02:26 | In the Alpha then I'm going to borrow
that same Alpha, clicking on Select and
| | 02:30 | taking the Incandescence across from
that mask. There is a cutout threshold in
| | 02:35 | here in the alpha if we need. Only
things that are white are self illuminating.
| | 02:39 | Finally in the normal I will go
grab my existing normal map.
| | 02:43 | If it's not working correctly we can
play with where this sits in terms of self
| | 02:48 | illumination. Alternately you for
not using a parallax map we can have a
| | 02:51 | separate Alpha in here for the
self illumination, which I might try.
| | 02:55 | Finally for the cut out I will change it
over from diffuse and look at
| | 02:59 | Transparent>Cutout>Bump Specular.
| | 03:03 | For this map we have a cutout threshold.
Transparency and gloss are defined
| | 03:07 | in the Alpha channel.
| | 03:08 | So again I'm going to pick my same map.
| | 03:10 | In the normal map then I will pick my normal
and right now we can see the cutout
| | 03:15 | is the sort of working, its definitely
cutting out things but perhaps the wrong
| | 03:19 | one if we look down in our preview.
| | 03:21 | What I will do is raise up the Alpha cutout slider.
| | 03:25 | As I pull it up or down we could
see parts of the map come and go.
| | 03:28 | I will pull this all the way up and
what it looks like I need to do though
| | 03:32 | is invert that alpha.
| | 03:34 | We can see in different places it's cutting out
nicely and with luck we can even go find that grading.
| | 03:39 | However, it looks like it's a little backwards.
| | 03:41 | I pull this up higher we lose the material entirely,
the only white parts, or
| | 03:46 | the grading and that self illumination.
| | 03:49 | I'll put this on some elements and see how it looks first.
| | 03:52 | Then I look at how to get this in
the right place in the alpha channel.
| | 03:56 | Here in the Assets I will go through
and tag my pieces with a scale factor of 1
| | 04:00 | and enable mesh colliders for now.
| | 04:02 | I've done this in all of the intersections
and I will check the light fixture,
| | 04:05 | which was the last one I imported.
| | 04:07 | These are exported as FBXs not automatically
re-measuring, so I exported them
| | 04:12 | out as meters so they come in and can have a scale of 1.
| | 04:16 | I will apply this and start to pull this into the scene.
| | 04:19 | I'll check my doors and make sure their scale works.
| | 04:22 | These might get box colliders later, so
I am not going to put them on the moment.
| | 04:26 | Now take my hall and drag it into the hierarchy
and then press F to focus and
| | 04:31 | there's that hallway with its map applied.
| | 04:33 | It looks pretty good it's nice and
shiny as I can see as I go by here or
| | 04:37 | orbit around in the view.
| | 04:38 | These lights aren't really emitting light yet
and it may take a separate piece
| | 04:41 | of geometry or separate material in here.
| | 04:43 | I'll see what I can do for those particular polys.
| | 04:46 | And these are the kind of things we need to
think through and sort out when we are optimizing this.
| | 04:51 | I will bring a T intersection in and snap it on,
holding V for snap, putting it
| | 04:56 | in the right place and then snapping them together.
| | 04:59 | Looks pretty good, I should be
able to clone this all the way down.
| | 05:02 | And make -- well a series of
hallways anyway in my game.
| | 05:05 | Now for the light fixture; I'll grab it,
throw it over in the hierarchy and
| | 05:10 | focus in on it in the scene view.
| | 05:12 | This looks like it's working nicely,
it turns out that the Alpha was bright
| | 05:16 | enough once a raised up that cut out
to get that mesh to show.
| | 05:19 | If you remember hearing the Materials,
when we look at that space cut out there's an alpha cutoff.
| | 05:24 | With that all the way low we see that
light fixture obscure in gray. Because in
| | 05:28 | the Alpha the only two things that were
absolute white were the wire mesh and
| | 05:33 | the incandescence sections on the lit
doorframes, bring that Alpha cutout all
| | 05:38 | the way up, lets me fade out almost all
of the material. Because it's one unique
| | 05:43 | material assigned only to this wire cage, it works.
| | 05:46 | My light bulbs look like they are on,
albeit somewhat dimly and I am ready
| | 05:50 | to place my objects.
| | 05:51 | I will put this light fixture in place and test it.
| | 05:54 | With the light fixture selected, I'll snap it up
and go into a top view to see
| | 05:58 | if I can get it on the ceiling I will put one
maybe in the middle of this T intersection.
| | 06:03 | Let's assume that this is fairly dimly lit.
| | 06:05 | In a front view then I will focus in
and pull it up. Alternately I can snap it
| | 06:11 | into place, holding V, and snapping
onto one of the corners, then up to the top
| | 06:16 | of the roof and finally pull it back over.
| | 06:19 | This will let me randomize their placement
just a little bit, making sure that
| | 06:23 | its not the same light fixture in
the same place all the way across.
| | 06:26 | I will get some lights in and then
see how this looks after I clone it.
| | 06:30 | I will duplicate here to maintain the
prefab connection, although I'm assuming
| | 06:33 | at some point later I would actually
put a light in as part of that.
| | 06:37 | Now get a light in and a controller.
| | 06:39 | Under Game Object, I'll create a point light.
| | 06:42 | I could use a spotter and area but
a point for a test will work nicely.
| | 06:46 | There is my point light and I'll pull it in
and put it roughly under that fixture.
| | 06:50 | I am going to take the range on this light
down a little bit, so it's a little bit dimmer in my hall.
| | 06:55 | Then I will bring up the Intensity
just a touch, so it's more localized.
| | 06:59 | Finally maybe in a top view or something close,
I will clone this light pressing
| | 07:03 | Ctrl+D and pulling it over into the next bay.
| | 07:07 | Now under Assets, I will go in the Standard Assets
and pull my Character Controller in.
| | 07:11 | Here's my first-person controller.
| | 07:13 | As we've seen before, the spac is suitably claustrophobic.
| | 07:17 | I'll pull that controller up, make sure it sits
in the hallway to start and play my game.
| | 07:22 | Before I do that though, I may want to give myself
for testing just a little extra place to run around.
| | 07:28 | I will do this a lot of times, taking
what is maybe just a few elements and
| | 07:32 | cloning them, just to make sure that
when I see in the distance things work
| | 07:36 | nicely as well as up close.
| | 07:38 | I'll pull this element over, hold V,
register the snap and snap it into place.
| | 07:43 | It looks like I need to spin this one around
and I'm in good shape, I will
| | 07:46 | rotate, holding control to snap every 15
degrees and there is the rest of the hall.
| | 07:52 | I'll take its light fixture and the light and clone it over, too.
| | 07:56 | I'll duplicate them and move them.
| | 07:58 | Now I haven't prefab and set these
to batch yet, but that's an important
| | 08:01 | consideration. As part of optimizing, in
addition to texture, we want to think
| | 08:05 | about batching in the scene, making prefabs
and telling Unity to batch in our setting.
| | 08:10 | So that when we play our game it optimizes
how many times it redraws something versus references it.
| | 08:15 | In my Game tab then I will turn on
Maximize on Play in Stats and go check this out.
| | 08:20 | There I am in my space scene.
| | 08:22 | As I go down the hallway you can just
see the light fixture and it looks like I
| | 08:26 | need to fix my transparency just a little bit.
| | 08:29 | It also looks like, as a design, that my
doorway is just a little shallow or maybe
| | 08:33 | I have to dock or lower the controller size.
| | 08:36 | Actually the Transparency works. I
need to make sure that this is a specular
| | 08:40 | map as well or something to clampdown that
shines or maybe the light just doesn't hit it.
| | 08:44 | Up closer this looks fantastic.
| | 08:46 | My metallic grading reads nicely, my walls are rusty.
My light bars on the side
| | 08:51 | here need a little work; they could
be a little bit brighter and I need to
| | 08:55 | separate out those polys.
| | 08:56 | But my materials are definitely
holding up and that cut out and self
| | 09:00 | illumination is holding up well on the light bulbs.
| | 09:02 | Now I can make more parts and
start to populate my game level.
| | Collapse this transcript |
|
|
7. Faking ReflectionsPainting cubic reflection maps| 00:00 | Well, we're dealing in textures for games,
beyond the standard diffuse,
| | 00:04 | specular, and normal, we may need other textures
that help us enhance the realism of our game.
| | 00:09 | In this sample scene in Unity,
I've assembled a couple of my modules;
| | 00:12 | a T-intersection, and two straight hallways.
| | 00:15 | I've also put lights in and light fixtures up in the ceiling.
| | 00:18 | I've cranked up the materials so
that the metal appears fairly shiny.
| | 00:22 | And finally, I've used one extra image;
this one, which looks all white but in
| | 00:27 | reality has an alpha channel where
these light bars are, to help along that one
| | 00:31 | self-illuminated material.
| | 00:33 | In the materials then, what I've done is
taken Space_self_illume, changing it to
| | 00:37 | a Self Illumebump specular, and using
that one image with its alpha channel
| | 00:42 | defining self-illumination in the separate alpha.
| | 00:46 | That way, the gloss can be in the alpha channel
or the specular component of our
| | 00:50 | main material, and then this one
extra lets me illuminate those lights.
| | 00:55 | It also gives me an opportunity here in
the alpha channel, because it's an extra
| | 00:58 | alpha, to have that alpha do other things.
| | 01:02 | So if I needed another cut out for example
or something similar or maybe
| | 01:06 | something else to help the normal map along,
I'm still keeping the number of
| | 01:09 | maps I have relatively low, and because this
one is a solid color, it compresses nicely.
| | 01:14 | When I get in and look at my game though,
it's missing something.
| | 01:17 | Yes it's shiny, yes it looks like a metal, yes
it's rusty, but I don't have any reflections.
| | 01:23 | There's nothing in here to tell me that
these are shiny surfaces except for the
| | 01:27 | way that the light is skipping across
the surface like you can see at the top
| | 01:30 | center of the screen by the light fixture.
| | 01:33 | What I need then is to make some of my
materials reflective and add in cubemaps.
| | 01:38 | I'll pick Space_standard, which is applied
to most of the things in my scene.
| | 01:42 | I'll change the Shader over from Bump
Specular to Reflective and Bump Specular.
| | 01:47 | Again, I haven't got an alpha in the
normal to be a height map for parallax,
| | 01:51 | which is why I'm doing Bump Specular for the moment.
| | 01:53 | This is a slot for reflection cubemap,
and right now since the reflection color
| | 01:57 | is white, we see everything take on a white tint.
| | 02:00 | A cubemap for us is reflection fake.
| | 02:03 | What it does is load in six images that are
supposed to be the reflections of the scene around.
| | 02:08 | So as you move around, they change apparently dynamically.
| | 02:11 | In reality, they're precalculated.
| | 02:14 | That way, we save on time because
real-time reflections are computationally intense.
| | 02:19 | We save them for things like mental ray
where we can spend the time to render
| | 02:23 | the image to make it look good.
| | 02:24 | I need to make a cubemap.
| | 02:26 | Clicking on Select here pulls up nothing in the available assets.
| | 02:29 | I'll right-click and choose Create and Cubemap.
| | 02:34 | This Cubemap then will be my reflection.
| | 02:36 | If you're feeling crafty in your scripting,
you can even localize these, much in
| | 02:40 | the way we use light probes, and have them turn on
depending on where you are in
| | 02:44 | the scene, but that's a little beyond
where we are for the moment.
| | 02:47 | Right now, one cubemap will work nicely
in most of my hallways, as everything in
| | 02:51 | here is that same rusty dingy color.
| | 02:54 | I'll name this cubemap Hallway Reflection.
I'm ready to bring in six images;
| | 02:59 | right, left, top, bottom, front, and back
to be my reflection in here.
| | 03:03 | I'll jump over to Photoshop and do some quick painting.
| | 03:06 | Here in Photoshop, I need to make six images.
| | 03:09 | I know that because of my texture
I've got the floor grating above and below and
| | 03:13 | rusty walls on the sides.
| | 03:15 | I can either borrow my existing images
or do some quick painting.
| | 03:18 | I'll actually do a little bit of both and see how it looks.
| | 03:21 | I'll press Ctrl+O to open, and in the
Assets folder for this project, I've got
| | 03:25 | my three textures I'm using.
| | 03:26 | I'll open up that color texture and start
taking some parts to try out as a cube.
| | 03:31 | Cubemaps work best if they are blurry.
Especially in a circumstance like
| | 03:34 | this where the metal is less than perfect,
anything we can do to degrade that
| | 03:38 | cubemap to help it along will look good
as we should see a partial reflection.
| | 03:42 | I'll press M for Marquee, and set
the Style here to a Fixed Size.
| | 03:46 | I need it to be a square, and I'm going
to try a square of about 1000 on a side.
| | 03:51 | I'll resize this in a minute.
| | 03:53 | I'll click on the view and see if that 1000 square works.
| | 03:56 | It looks like it needs to be a little smaller to catch the wall.
| | 03:59 | I'll make this fixed size marquee 900 square,
and I'm going to land this marquee
| | 04:04 | in the middle of the rust here on the wall.
| | 04:06 | My plan is to use rusty walls for four parts.
| | 04:10 | That way I'm getting the same tone around, and
then the floor here for the floor and ceiling.
| | 04:15 | I'll copy it, pressing Ctrl+C, make a new
document pressing Ctrl+N, and paste it in.
| | 04:21 | Now I'll jump back over to that color map
and do the same on the floor.
| | 04:25 | Selecting the flooring, maybe going a little bit bigger
in the marquee, and grabbing a section of it.
| | 04:31 | I'll try this one at a 1000 square.
| | 04:33 | It seems to work and a little extra out there is okay.
| | 04:36 | I'll copy this with Ctrl+C and paste it
into this document again.
| | 04:40 | Now I'll zoom out, press Ctrl+T, and
hold Shift while I drag to scale this down.
| | 04:45 | I'll scale it in, and hit Enter.
| | 04:48 | My thought is that this is the floor,
and so I'll take this layer, rename it to
| | 04:53 | bottom and paint in some quick darkness.
| | 04:55 | I can do it right on this layer, and make a new one.
| | 04:58 | I'll work in black, setting my Brush mode
here to Multiply, pulling down the
| | 05:01 | Opacity and using the brackets to upsize that brush.
| | 05:05 | As a quick check, this brush is very soft,
and I'm going to darken around the outside.
| | 05:10 | It looks like I got stuck in something I did last,
and it's an important point here.
| | 05:14 | I had hit B for Brush, and the hotkey
for Pencil Brush and Color Replacement tool,
| | 05:19 | and the Brush Mixer are all B.
SoI'll make sure I choose the Brush tool
| | 05:24 | and reset that blending mode.
| | 05:26 | Things like the brush are so automatic;
| | 05:28 | it's easy to forget that you were
doing something else in the meantime.
| | 05:31 | Now I'm going to brush in some darkness around here.
| | 05:33 | I don't mind if it's hard initially.
| | 05:35 | These will look kind of like shadows
when I get in there, and I'll blur it.
| | 05:39 | I'll choose Filter>Blur>Gaussian Blur, and try
maybe a 12 or 20 pixel radius. Here's even 25.
| | 05:46 | It gets me some good splotchy shadows going on,
and I'll do the same on the bottom image;
| | 05:52 | choosing Filter>Blur>Gaussian Blur and trying
maybe 5 pixels, which blurs out those dots nicely.
| | 05:59 | I'll group these, selecting both and pressing Ctrl+G
and renaming this to Bottom.
| | 06:04 | I'm going to use roughly the same image
for all of my sides here.
| | 06:07 | What I'll do though is make sure I rotate it,
pressing Ctrl+T and spinning this over.
| | 06:13 | The images are oriented upright when we bring them in.
| | 06:16 | Now we'll do that same blur technique, choosing Filter
and Gaussian Blur, fuzzing out any detail.
| | 06:21 | I'll do the same lighting.
| | 06:23 | I'll make sure that my brush is not
terribly hard, on a new layer and start to
| | 06:27 | add-in some darkness, multiplying that in,
giving the idea of shading and shadow
| | 06:32 | going on in that hall. Dark is okay.
| | 06:34 | I'll group this and merge it down, and call it Sides.
| | 06:37 | I'm going to see if I can optimize my
map a little bit here as I've got pretty
| | 06:41 | much the same things going on all the way around.
| | 06:44 | Now I'll take the bottom group
and Alt+Clone it to become one more.
| | 06:48 | I'll rename it to Top, and go into that top map.
| | 06:51 | In here, I'll invert that layer 2,
so it becomes light tinted by using Ctrl+U
| | 06:57 | for hue saturation, colorize, saturate,
bring that Lightness down and swing that
| | 07:03 | hue into the yellow range.
| | 07:04 | This will help be the lighting in the scene.
| | 07:06 | Then I'll make this maybe a soft light or something
similar, so the ceiling is decently generally lit.
| | 07:12 | I'll eyedropper that yellow or pick a similar one,
and paint in some lighting in the center.
| | 07:18 | This will help kind of reinforce that this is the ceiling
because the lights are fairly close to it.
| | 07:23 | I'll make sure I paint in something fairly bright.
| | 07:25 | Here is a soft light for example.
| | 07:27 | I'm going to brush in some yellow right up here in the middle.
| | 07:30 | If it's too bright, we can always go into hue
saturation again with Ctrl+U and
| | 07:34 | just pull the color out a little bit.
| | 07:36 | Now I've got my layer sets in for my cubemap
and I'll export them out and see how they behave.
| | 07:41 | First, I'll take the bottom;
| | 07:42 | pressing Ctrl+Shift+S for saving selected,
and into the standard Assets here, I'll put a TIFF.
| | 07:47 | I'll call this one RefBot for bottom, and make sure
I turn off layers and save as a copy.
| | 07:54 | I'll do the same with the top, saving it out,
calling it RefTop as a TIFF,
| | 07:59 | turning off layers, and saving a copy.
| | 08:02 | Now I'll try the sides.
| | 08:04 | Saving this out again as a TIFF, turning off
layers and calling it RefSides. This is a test.
| | 08:11 | If this doesn't work well, I may need
some custom work on the sides, and I can
| | 08:15 | do that after I try it, and see if
I can optimize my maps a little bit.
| | 08:20 | Often what we're seeing in the sides
is fairly similar, but the top and bottom
| | 08:23 | is where conditions really change.
| | 08:25 | Flooring is often different than the walls that surround us.
| | 08:28 | My pieces came into Unity and they're here in my Assets.
| | 08:32 | There is my bottom, my sides, and my top.
| | 08:34 | I'll start to drag these across and then if I need to
come back and deal with their properties, I can.
| | 08:39 | I'll pull the bottom into the bottom.
| | 08:41 | Here is sides going into front, back, right, left
and finally top will go into top.
| | 08:49 | We can see it looks like the same thing
all the way around, but it's definitely
| | 08:53 | got a different look in the top, and the bottom.
| | 08:55 | Now look at my materials, and in there,
in my space station where I'm ready
| | 08:59 | for a reflective bump specular material
to have its reflection cubemap,
| | 09:03 | I'll drag that hallwayref in.
| | 09:05 | And now I've got a reflection happening within that.
| | 09:08 | What we're seeing is that this
reflection color needs to dim down.
| | 09:12 | I can tell that already in the
Preview window on the bottom-right.
| | 09:15 | But I'll give it a quick play and see how it looks.
| | 09:18 | As I spin around here, I can
definitely see the reflection changing.
| | 09:22 | The floor looks nice and bright, and
I'm definitely seeing stuff look like it's
| | 09:26 | reflecting especially up here in the panels.
| | 09:29 | It's just a little too bright.
| | 09:30 | So I need to pull that back.
| | 09:32 | But I'm definitely getting what I need
in a metal, that as I move, I can really
| | 09:36 | see what looks like a changing reflection;
and the floor and the ceiling appear
| | 09:39 | to be reflecting each other.
| | 09:42 | Finally, I'll take that reflection color,
click on the eyedropper and borrow
| | 09:46 | maybe a rust, dimming that way back.
| | 09:49 | It doesn't need to be nearly that bright.
| | 09:51 | I'll play it one more time and see how it goes.
| | 09:54 | Now it looks like there is stuff going on
in the reflection in my generally dim
| | 09:59 | scene that's rusty and not as shiny.
| | 10:01 | There is things moving around in the walls;
reflections that change gently as I
| | 10:06 | move. And the most important parts
down here on this floor appear to have a
| | 10:10 | dynamic reflection, reflecting the
ceiling with its light and light fixture.
| | 10:15 | I see the same thing in here in the ceiling.
| | 10:17 | It looks like it's reflecting the walls in the floor.
| | 10:19 | I can adjust this further and actually
generate a complete reflection map for
| | 10:22 | our rendering if I need.
| | 10:23 | But this is a good quick way to get a cube in place.
| | Collapse this transcript |
| Setting up scenes and materials| 00:00 | There are a lot of different ways to
generate reflection cube maps for use in a game.
| | 00:04 | We can generate them in Unity if we need
and there are scripts available to render those out.
| | 00:09 | We can paint them in Photoshop,
approximating what we'd see in a reflection and
| | 00:13 | sampling our existing textures to construct a cube map.
| | 00:16 | We can also render them in Maya.
| | 00:18 | What this solution offers is a possibility
of using mental ray for rendering;
| | 00:22 | after all it's rendering imagery
that we'll then use in a game.
| | 00:26 | In mental ray then we can light a chunk
of this scene, getting the soft bounce
| | 00:29 | light and tonal range we expect to see
in a rendering in the reflection, so that
| | 00:34 | when we bring it into a game in our
reflection cube map, it looks correct and
| | 00:40 | has the right lush feel we expect in
our game environment, matching in what
| | 00:44 | we're doing with our materials
and our textures in other places.
| | 00:47 | I'll start out by signing some new materials.
| | 00:50 | I'll go into my Hypershade, choosing
Window>Rendering Editors>Hyper shade.
| | 00:55 | Right now I've got just Blinn materials assigned.
| | 00:58 | Those will come across just fine for Unity
and then they will get turned into
| | 01:01 | Unity specific materials such as self illume reflective.
| | 01:05 | I'm going to use my MIA_MATERIAL_X_PASSES
again for all the different parts in here.
| | 01:10 | I'll click on Mental Ray materials
and choose an MIA_MATERIAL_X_PASSES,
| | 01:14 | actually 1, 2, 3 of them.
| | 01:17 | This way I can make my cutout map, my self
illumination and my standard metallic corridor.
| | 01:24 | I'll pick the first one and rename it.
| | 01:26 | I'll call this one standard metallic.
| | 01:28 | The next one here will be standard lit
and finally this next one will be standard cut out.
| | 01:37 | In each of these materials then I can
choose a preset for how it should look.
| | 01:41 | I'll click and hold down Preset and fly it out.
| | 01:44 | I am going to make most of these fairly glossy, but a metal.
| | 01:47 | I'll start out with a PearlFinish
so I have brushed spread reflections.
| | 01:51 | I'll pull up the Roughness a little bit,
which spreads the light over the surface
| | 01:55 | and I'll also pull up the gloss.
| | 01:57 | Now it's got a little bit of shine to it.
| | 01:59 | I'll check Metal Material and now I
am ready to bring in my Diffuse Color.
| | 02:03 | I'll click on the Color Texture and in the
Create Render Node dialog, click on File.
| | 02:08 | I'll browse out to the source images
folder for this project 07_02_Maya and
| | 02:12 | there is 07_02_spaceC for our color map.
I'll click Open.
| | 02:17 | The neat thing about these materials is
that although it has an alpha, it's not
| | 02:21 | automatically used in here going transparent.
| | 02:23 | That's a different function our MIA materials.
| | 02:26 | And so it's just a straight color.
| | 02:28 | Now I'll scroll down and add the normal map in.
| | 02:31 | In the MIA materials, we put the normal map
down in the bump and there are two
| | 02:35 | spots here, an Overall and a Standard.
| | 02:37 | The Overall is where we put in things
like a round corner shader, which as a
| | 02:41 | Bump Map shades if the corners were rounded in a scene.
| | 02:44 | Our normal maps then go in a Standard Bump.
| | 02:47 | I'll click on the texture for Standard Bump,
choose File, change it to use
| | 02:51 | Tangent space normals and go to
the File node to pick my Normal.
| | 02:58 | There is the Normal Map and I can pull
these out of the way to see it better,
| | 03:02 | have a good relief going on this.
| | 03:04 | Now for that gloss, I've already got
my specular map made so just need to put
| | 03:08 | it in the right place.
| | 03:09 | I'll move my Hypershade around just a
little bit and what I can do is pick a
| | 03:13 | material, right-click on it and choose
Graph Network, which lays out the graph or
| | 03:17 | the network of all the nodes plugged into that material.
| | 03:20 | What it says right now is that the
Diffuse and Diffuse Alpha come from that color,
| | 03:23 | but not the alpha Channel actually governing the shine.
| | 03:27 | I'm going to drag with the mouse wheel from the
file across to that material and choose Other.
| | 03:33 | In here I'll pick out Alpha and put it into Reflection Gloss.
| | 03:38 | Now this material is bright by the Alpha,
so it's not terribly shiny in most places.
| | 03:43 | I am going to assign this material by face.
| | 03:46 | Here in my Hypershade again,
I can select faces and assign materials.
| | 03:51 | I'll choose Window and Rendering Editors>Hypershade
to pull that back up.
| | 03:55 | What I'll do is right-click on Space Standard
and choose Select objects with material.
| | 04:00 | Then I'll right-click on my new metallic material
and choose assign material to selection.
| | 04:04 | What this has actually done is select all the faces
that have that Blinn and reassign their material.
| | 04:09 | So now they've got that MIA on all their different parts.
| | 04:13 | I'll repeat the process through with my other
materials and then start in with the lights.
| | 04:17 | What I am going to do is to drag these
materials down and graph their networks
| | 04:21 | starting with the standard metallic.
| | 04:23 | Then I'll pull in my self illumination here.
| | 04:25 | This one is going to be pretty much
the same as the standard, except it's
| | 04:29 | bright in some places.
| | 04:30 | I am going to take the Bump 2D here
and the connection is really Standard
| | 04:34 | Bump to Out Normal.
| | 04:35 | I'll take that bump 2D node, drag it
onto standard lit and choose Standard Bump.
| | 04:41 | I'll do the same with the color, dragging the color
file onto the standard lit and choosing Diffuse.
| | 04:47 | I'll need to adjust the shine.
| | 04:48 | If we look at the original, it's
got a roughness and a reflectivity.
| | 04:51 | So the new one should have the same;
0.25 on the Roughness, 0.3 on the Reflection
| | 04:55 | and use that same alpha, dragging from the file
across to standard lit and choosing Other.
| | 05:03 | Again out Alpha connects to Reflection gloss.
| | 05:06 | Now for the self illumination part.
I need to bring in that Alpha Channel only
| | 05:10 | image to describe where this is lit exactly.
| | 05:13 | I can make a new file node straight from here.
| | 05:16 | Clicking on 2D textures and picking File.
| | 05:19 | In that File texture then in my Attributes,
I'll browse over and catch the
| | 05:23 | SI.tiff and we can see its alpha
describing cleanly where that's lit.
| | 05:27 | Now I'll take that file and with the mouse wheel
drag it right on to standard lit and choose Other.
| | 05:32 | I'll pick Out Alpha and scroll down 'till
I find a different material slot.
| | 05:37 | In a MIA_Material_X_Passes, incandescence
is governed by additional color and
| | 05:41 | here's red, green and blue.
| | 05:44 | So now this material is bright by the Out Alpha value.
| | 05:47 | Ultimately, I could drag something else in
if I need, maybe an out color to govern that.
| | 05:52 | What this gives me though, and we can
just see on the side here, are lit strips
| | 05:56 | defined by that separate alpha.
| | 05:58 | I can do the same with the cutout. Again,
grabbing the standard cutout, pulling it in,
| | 06:02 | bringing up the Roughness
if needed and adjusting the color.
| | 06:07 | I'll drag that same file onto instance set,
putting it into Diffuse and then
| | 06:12 | bringing across that alpha into the cutout map.
| | 06:15 | I'll pull this over and choose Other.
| | 06:18 | I'll take Out Alpha and put it into Cutout Opacity.
| | 06:22 | A Cutout is different than standard transparency.
| | 06:24 | What it says for us is that where this
image is black, the material exactly does
| | 06:30 | not exist in any way; where this image
is white, it is fully opaque and anything
| | 06:35 | between is a partial.
| | 06:36 | Where we really want to use this is yes or no,
transparency then is governed in
| | 06:42 | the reflection or refraction section.
| | 06:44 | I'll scroll down here and look in
the Advanced section of the Cutout.
| | 06:48 | That's where that Cutout Opacity goes
and in here if I need in the Cutout Opacity,
| | 06:52 | I can adjust; for the moment
though I am going to leave it alone as
| | 06:57 | it's on a very small part.
| | 06:59 | I'll turn on Mental Ray as my Rendering Engine
and I can put in lights and light
| | 07:03 | this up with a photographic exposure just like I did.
| | 07:05 | Under Indirect Lighting, I'll turn on Final Gather.
| | 07:07 | In Quality, I'll set my Sampling to Custom,
from zero to one and I'm ready to
| | 07:13 | get lights in my scene.
| | Collapse this transcript |
| Lighting and rendering cube maps| 00:00 | With materials assigned to the objects,
I've built out a small section of hallway.
| | 00:05 | It's really just a T-intersection with doors at every end.
| | 00:07 | It's a bounded environment.
| | 00:09 | So I don't have any environment or light leaks,
which would give me odd lines
| | 00:13 | showing up in the cubic reflection map.
| | 00:15 | I've cloned out my light fixtures and
snapped them up to the ceiling, roughly in
| | 00:18 | the center of each floor module, give or take.
| | 00:20 | I have also made for myself a working
or temporary camera off to the side.
| | 00:25 | It's just a standard free camera.
| | 00:26 | What I'd like to do with cameras is to
scroll down in the shape node to object
| | 00:30 | display and increase the locator scale of the
camera so it's drawn bigger in the viewport.
| | 00:35 | Don't scale a camera using the Scale tool.
| | 00:38 | This'll distort the rendered image.
| | 00:40 | If you need it to be bigger and Maya cameras
draw very small, increase the Locator scale;
| | 00:45 | lights also have this available.
| | 00:47 | It's the drawn size of the icon on the viewport.
| | 00:50 | I've also pulled back my front and side cameras.
| | 00:53 | They start out very close
and were clipping through my geometry.
| | 00:56 | I'll use that feature actually as an asset
in making my cube map shortly.
| | 00:59 | First I'll get some lights in them.
| | 01:01 | We could do all kinds of lighting in here;
area lights in the shapes of
| | 01:05 | cylinders for the light bulbs and so forth,
but I am going to use point lights
| | 01:09 | for a quick lighting rig.
| | 01:10 | As long as I get the rise and fall on
lighting in here, that would come from
| | 01:15 | these fixtures, I'll be in good shape.
| | 01:16 | I'll choose Create>Lights>Point Light.
| | 01:18 | I am going to set this light to have Linear Decay
and then in the Top View, clone it around.
| | 01:23 | I'll switch to a wireframe by pressing 4.
| | 01:26 | Move this light into the fixture and duplicate it,
sliding it to the next one over.
| | 01:31 | While I am at it,
| | 01:32 | I am going to duplicate that fixture and
fix where I've missed one in the middle
| | 01:36 | and then deselect the geometry.
| | 01:38 | Now I'll duplicate this light down and finish
out cloning light to the other two fixtures.
| | 01:44 | The placement on these can be approximate
and it's okay to have a little variety in the lighting.
| | 01:48 | It's going to add a nice character
to instead of it being perfectly even.
| | 01:52 | I'll use my Rendering Mask here, on the
hotbox clicking in the space to the left
| | 01:56 | of Maya and choosing Rendering Mask.
| | 01:58 | This way I can select just lights and cameras,
using control to deselect cameras
| | 02:03 | and moving those lights up right below the light fixtures.
| | 02:06 | Now in my working camera, I'll test this out.
| | 02:09 | I had already turned on Final Gather
and Mental Ray and I'll pull up IPR.
| | 02:13 | Notice for tests under Options
I have chosen Test Resolution 50%.
| | 02:18 | I'll drag a region and see how this works.
| | 02:21 | It looks like my IPR has stopped,
which sometimes that happens in a scene.
| | 02:25 | We could restart Maya.
| | 02:26 | If we need, import the scene into a clean scene
or just use a Region Render to see how this works.
| | 02:32 | I'll draw on a region and there is my IPR refreshing.
| | 02:35 | It happens occasionally, depending on the graphics
card we've got and whatever else we are doing.
| | 02:40 | I can see that this is too dark and
the Linear Decay is the cause of it.
| | 02:44 | On my hotbox, I'll pull my outliner. I'll
select my lights and jump to the Channel Box.
| | 02:49 | All of the like channels of this light
can be affected here, in this case the
| | 02:53 | Intensity. I'll crank it up to 50 and
while I'm here, turn on Raytrace Shadows
| | 02:58 | by putting in 1 and very quickly I can
start to see that image really come out.
| | 03:02 | I have got a good shadow in the corner,
good light, rise and fall in the space,
| | 03:06 | nice blooms on the ceiling.
| | 03:08 | No areas that are terribly dark or
terribly bright and I've got my lit bars in
| | 03:13 | the side of the frame here showing up well.
| | 03:15 | We can tune the lighting if we need
but really since a Cube Map is a blurry
| | 03:18 | approximation, this will work very well.
| | 03:21 | Now I'll get my camera in.
| | 03:23 | If you need, you can stop IPR with a red stop button,
make changes and then run it again.
| | 03:28 | You can also pause it using the Pause
and alter things without IPR trying to keep pace.
| | 03:33 | I will make a new camera choosing
Panels>Orthographic>New>Front.
| | 03:38 | Here's my New Front camera and
I'll pull it into the T-intersection.
| | 03:43 | I'll go into that camera and I may need
to hold Alt and the right mouse to dolly
| | 03:48 | back and forth to make sure I can see my scene.
| | 03:50 | What this is actually doing in an Ortho Camera
is scaling out that icon, that's
| | 03:55 | how we know it's dollying back and forth.
| | 03:57 | I'll pull it in and in this camera we
are going to get an interesting view.
| | 04:02 | When we turn on the Res gate, we'll be sitting in the space.
| | 04:06 | I'll pull this forward until it's really filling
that camera view and I'll make
| | 04:10 | sure in the Render setup that under my Presets,
I am using a square render.
| | 04:15 | I am going to run this cube map at 1024 square
and then reduce down.
| | 04:19 | I'll also press Ctrl+A to go to the Attribute Editor
with the camera selected
| | 04:24 | and in the Film Back section, I am
going to make sure I fit the Res gate to vertical
| | 04:28 | and I can really see what this camera
is going to click through to make that render.
| | 04:33 | Now I'll animate the camera, selecting and
renaming it to CubeCam, so I can keep track of it.
| | 04:38 | I'll pull up my Time slider.
| | 04:40 | On my hotbox in the space to the right of Maya,
I can pull up my UI components.
| | 04:44 | I'll bring back the Time slider,
bring back the Range slider and key this camera
| | 04:49 | at frame one pressing Shift+E to key rotation.
| | 04:52 | I'll jump to Frame 2, rotate it 90 degrees,
key it again, jump to Frame 3, rotate it 90 degrees again,
| | 04:59 | key it and jump to Frame 4, rotating another
90 to catch the back wall and key it.
| | 05:07 | On frame five, I'll rotate back on the
X axis to look up at the ceiling and on
| | 05:12 | Frame 6, 180 degrees down to look at the floor.
| | 05:16 | With my camera keyed, it will render
when I do a batch render all the frames.
| | 05:21 | I'll set up this render.
| | 05:22 | Render out those images and pull them
into Photoshop for blurring and scaling.
| | 05:26 | Here in the Render Settings with my projects set,
I'll give this image a file name prefix.
| | 05:32 | I'll call it Hall Cube.
| | 05:33 | I'm going to run a name number dot
extension sequence. Frame padding at one is
| | 05:39 | just fine and down here in the Frame Range,
I'll start at one and end at six.
| | 05:44 | I'll make my renderable camera CubeCam
and there's my one case where preset.
| | 05:49 | I'll double-check on my quality, making
sure that it's zero to one with a box filter,
| | 05:53 | making sure my indirect lighting
at least as Final Gather on to bounce
| | 05:57 | the light and I'm ready to batch render.
| | 06:00 | I'll press F6 for rendering, choose Render>Batch Render.
| | 06:05 | In Batch Render if you'd like to make it go faster,
you can uncheck Auto Render
| | 06:09 | Threats and put in a number of cores for each machine.
| | 06:13 | In this machine I have for cores so I am going to
put that in, so I use all of the CPU power available.
| | 06:19 | Otherwise, Maya assumes you'd like to keep working.
| | 06:22 | This way although the machine would
be busy, it will get me a faster render.
| | 06:26 | I'll hit Batch Render and close and
pull up those images and see how they look,
| | 06:29 | downsizing them, blurring them and maybe even
dimming them back for my cubic reflection map.
| | Collapse this transcript |
| Adding cube maps into the game| 00:00 | These are six images I've rendered
from Maya using orthographic camera
| | 00:04 | that rotates 90 degrees each time, batch
rendering out six images to form a cubic reflection.
| | 00:09 | They're pretty decent looking, although
they need a little bit of fixing before
| | 00:12 | we take them across into our game engine.
| | 00:14 | One of the things I'll do first is watch out
for any areas that were clipped by the camera.
| | 00:19 | We can think of the camera as a slice plane
and so it's sliced through the
| | 00:23 | geometry leaving areas like Hall Cube 6
in the bottom left corner here open.
| | 00:27 | I'll matte this with a color, eyedroppering,
maybe a deep rust and putting in a new layer.
| | 00:33 | I'll drop that layer underneath my existing one
and just fill it in with the paint bucket.
| | 00:37 | I'll make sure I do this on any other images here,
adding in new layers, pulling
| | 00:41 | it below and filling in with a color,
just so there is no large gap and
| | 00:45 | continuity and no transparency in the image.
| | 00:48 | This way anything that's not obviously
let's say a ceiling or a wall is the
| | 00:52 | general rusty color of the space I have.
| | 00:55 | Depending on the nature of your environment
you may see gaps like this caused by
| | 00:58 | that camera slicing through things.
| | 01:03 | With those pieces in, now I can actually
merge down all of these layers
| | 01:07 | using Ctrl+E. I'll merge them together and
then I am going to blur these images slightly.
| | 01:13 | Cube maps work better with a little bit of blur.
And the reason for that is that
| | 01:17 | we don't want to make out perfect things in our reflection.
| | 01:20 | Most reflections in the world are decent but not perfect.
| | 01:23 | Even mirrors in the bathroom for example
are only about 85% reflective. That's
| | 01:28 | why two mirrors that face each other
eventually turn into green, because we're
| | 01:31 | not reflecting all of the light back and forth.
| | 01:34 | Because this is a cube map for reflections in a metal,
we need even less quality in our reflection.
| | 01:39 | What I'll do is under Filters here,
choose Filter>Blur and Gaussian Blur.
| | 01:45 | I'll blur this by maybe 2 pixels or so
and click OK, and now this image is slightly blurry.
| | 01:51 | I'll repeat this on my other images pressing Ctrl+F to blur.
| | 01:55 | This is just going to make any fine details a little bit fuzzier.
| | 01:58 | So when I put in for a reflection, it will be a little less perfect.
| | 02:03 | I'm ready to save these out.
It's fairly obvious the top and the bottom and
| | 02:07 | the others are the sides. We can mark them
as we need depending on how we'd like to light.
| | 02:13 | If you know which side is which and
there is a particular landmark in one view
| | 02:17 | we should see, you can put it in.
| | 02:19 | For this particular environment, as
long as the sides are all rusty walls and
| | 02:23 | doors with caution striping and the top
and the bottom are in the right place,
| | 02:27 | we'll be in good shape.
| | 02:28 | I'll pick this bottom image first
and save it out as a full res tiff; 1024
| | 02:33 | pixels on a side. I am going to
let Unity handle the compression.
| | 02:36 | I'll pressed Shift+Ctrl+S to save this
and I'll save this one out as HalRefTop.
| | 02:44 | In here I'll make sure I save as a TIFF without layers.
I'll save the bottom out in the same way.
| | 02:49 | This will be HalRefBot and finally I'll put the sides in.
| | 02:55 | In Unity we pick which images go in the front,
back, left and right here.
| | 02:59 | I'm putting in the name so I can keep track of which is which.
| | 03:02 | Notice that you have an extra opportunity
here to discard the layers and save
| | 03:06 | a copy if you'd like. This is handy as
it's very easy to miss that initial checkbox.
| | 03:11 | With all six of my images saved out, I'll copy them
to my Assets folder in Unity and let them import.
| | 03:17 | I've opened up my 07_04 project in Unity
and because I've copied those images
| | 03:21 | into the Assets folder, Unity has imported them automatically.
| | 03:25 | I'll do a little bit of organization here
as my Assets folder is starting to get a little bit jumbled.
| | 03:29 | I am going to right-click and Create a Folder.
| | 03:33 | I'll call this new folder Reflections.
| | 03:35 | I'll take my HalRef images and put them in the right place.
| | 03:38 | Use back, front, left, bottom, right and top.
| | 03:45 | Now it's a little clearer. I've got my old
reflection images still here and
| | 03:48 | they are being used in the scene. I'm going to
just pull up that cube map and swap those out.
| | 03:53 | In the Materials folder I've got my Hallway
ref cube map and what I can do here
| | 03:57 | is click on select and each of these,
scroll down and use the appropriate image.
| | 04:02 | Here is right and left.
| | 04:06 | There is top going in, and finally bottom.
I'll add in front and finally back.
| | 04:20 | Now I've got a varied reflection
all the way around on my cube map.
| | 04:24 | As we can see here in this preview sphere,
I've got top and bottom, left, right,
| | 04:28 | front and back and they are
going to change around a bit.
| | 04:31 | As I rotate this around we can see
the different parts in the reflection.
| | 04:34 | So as I move around this in the
scene it will change dynamically.
| | 04:37 | You can plan in more variation if you need.
| | 04:40 | I've got three doors showing because
of the way I built the hall in Maya.
| | 04:43 | I could extend out more hallways and
do more Ls and Ts to not have as many
| | 04:47 | doorway conditions showing.
| | 04:48 | But I think this will work as in my space station
I'd like to see a lot of doors and airlocks.
| | 04:54 | This material is updating automatically
into my space standard material.
| | 04:57 | I will bring up the amount of reflection just a little bit.
| | 05:00 | In this case I'll click on my reflection color
and using my HSV sliders bring up
| | 05:05 | the color and down the saturation slightly,
so it's a little bit brighter.
| | 05:09 | This way I'll get more contribution from that reflection.
| | 05:12 | I'll test out my game and see if this works,
hitting Play and moving in the space.
| | 05:16 | And there we can see in the walls, things
going on in the reflection. It's working well.
| | 05:22 | As I move around those reflections appear to travel.
| | 05:25 | As I walk forward and jump over,
we can see the reflections moving.
| | 05:29 | There are some places where my cube
maps could use a little more blur, but
| | 05:33 | definitely the idea of being in that space
and seeing the reflection is coming across.
| | 05:37 | And as I turn around, they appear to change dynamically.
| | 05:39 | One of things we can do to avoid things like
that corner in the right side of
| | 05:43 | my screen is to actually mute these reflections
over in Photoshop with a radial gradient.
| | 05:48 | Reducing corners like that down to
basically rust colored fuzz, leaving only in
| | 05:54 | the center of the reflection, things
like that caution striping on the door.
| | 05:57 | I'll try a trick in Unity first before I do that.
| | 06:00 | Back here in my Reflections folder,
my images are set to come in at 1024.
| | 06:05 | What I'm going to do is actually take down
their max size, making it 256 and hitting Apply.
| | 06:11 | Unity does a terrific job of compressing for us
and by doing this, reducing the
| | 06:16 | amount of reflection we see.
| | 06:18 | I may be able to not doctor them.
| | 06:21 | We can also see in each of these,
as I take it down, I am reducing the size.
| | 06:25 | This is now almost 43 K, which is comparatively small.
| | 06:29 | I'll try to play it again and see how it goes.
| | 06:32 | It's gotten a little more blur in it.
I'm still seeing a corner here and there
| | 06:35 | and so it may be worth some retouching.
| | 06:37 | But having that reflection move dynamically is nice.
| | 06:40 | I can see the reflection in the floor
and it looks like it's shining nicely,
| | 06:43 | reflecting stuff that's around me.
| | 06:46 | Assuming I finish out, well the great
blue void out here, I should see pretty
| | 06:50 | good reflections in my game.
| | 06:52 | I may want to take that color back down
or pull down the shininess and
| | 06:55 | obviously any light baking and other things
are going to impact how this looks and how it shows up.
| | 07:00 | We can make our cube maps then
from scenes in Maya and light them as we need,
| | 07:04 | and then draft to those images to
get the reflections in the right shape.
| | 07:08 | It's a tremendous point of realism in
a game to see what looks like dynamic
| | 07:11 | reflection. And as long as we construct
them correctly, they'll add a tremendous
| | 07:15 | amount of, well, metalness to things.
| | Collapse this transcript |
|
|
8. SkyboxesEditing the skybox layout and properties| 00:00 | In a game sometimes we're playing in
an environment where we can see outside;
| | 00:05 | where it's not bounded such as our
space station, and instead we're running
| | 00:09 | around somewhere much larger and open.
| | 00:11 | For example, I whipped together some
quick terrain here, using the Terrain
| | 00:14 | Editor in Unity and a couple of the built-in textures.
| | 00:17 | I've planted a few stone walls on it,
maybe ruins out in the desert, and added
| | 00:22 | in some scene fog, which gives me atmospheric perspective.
| | 00:25 | When I jump in and play in the game window,
we can see my ruins in the distance.
| | 00:30 | My hill is all the way around with the
slight blue tint and a linear fog adding
| | 00:34 | to the dust and haze, and perspective and distance.
| | 00:38 | Zooming in on the wall allows me to see
good detail in the texture there, which
| | 00:42 | I baked out from Maya, and rendered out
normal occlusion and color, and applied
| | 00:46 | on these well simple arch walls.
| | 00:48 | The problem with the scene though is
that above my mountains is well blue.
| | 00:53 | There's nothing really going on there
except for that default blue color, and
| | 00:57 | that's where a skybox comes in.
| | 00:59 | A skybox for us is an infinitely large cube
outside the scene. And in that
| | 01:05 | cube much like a reflection map, we use six
different images to define the color of the sky.
| | 01:10 | If these are done properly, it looks
like the sky is wrapping around us, and
| | 01:14 | changing depending on where we look.
| | 01:16 | We can even incorporate in sun and clouds in our sky.
| | 01:20 | It's not for lighting it's for the look in the sky,
so that it matches the environment
| | 01:24 | and gives us the mood in where we are
that we want our players to feel.
| | 01:29 | To make a Skybox then, I'm going to
first make a new material, right-clicking,
| | 01:33 | and choosing Create>Material.
| | 01:36 | My new material, I'll call Sky
and change that material type from a Diffuse
| | 01:41 | Shader down to my RenderFX and Skybox.
| | 01:45 | The Skybox is a lot like the reflection,
which if you're shooting a reflection
| | 01:50 | cube in Unity or in Maya, we want is to
be a rough match, where the sky images
| | 01:55 | and the reflection of the sky in the objects are close.
| | 01:59 | I need six images then Front, Back, Left, Right,
Top, and Bottom, and I can tint them with a color.
| | 02:06 | I'll put the sky into the Render Settings first,
choosing Edit and Render Settings.
| | 02:11 | Here in the Render Settings, there is
a slot for a Skybox Material.
| | 02:15 | Alternately you could map it per camera
if you are switching around cameras, but
| | 02:19 | that's beyond the scope of this movie.
| | 02:20 | I'll click on the Material button and go choose my Sky.
| | 02:24 | You can see there's different skyboxes
already included with Unity.
| | 02:27 | There is my Sky Material
and I see a little bit of outside the scene.
| | 02:32 | I also have an ambient light to play with,
and the ambient light, the sky, and
| | 02:36 | the fog all come together to produce a
rich outdoor scene. No one thing is the
| | 02:40 | sole contributor to the final look.
| | 02:42 | Right now with my Sky all white, I am
going to get a white sky outside.
| | 02:46 | We can tint it if we need using the Tint Color.
To start I am going to put a blue in there.
| | 02:52 | When I play this I'll see not much yet,
because I don't have any imagery in my sky,
| | 02:56 | but it's setup and ready to layout the sky and start painting.
| | 03:00 | I hop over to Photoshop and get a layout ready for the sky.
| | 03:04 | When you're painting a sky, go big.
| | 03:06 | Now you can assemble your sky from photos
or we can paint it to get a
| | 03:10 | precise look in mind. Often, being that games
have a very stylized look, the sky is painted.
| | 03:15 | I'll start out with a new document, and I
am going to paint oversized and then shrink.
| | 03:19 | I'll make it a multiple of 1024, and
I'll start out this document at 4096 x 3072.
| | 03:27 | This is a large image and I am going to use parts of it.
| | 03:30 | To line this out where my sky will line up,
I'll press M for Marquee and change
| | 03:35 | the Style from Normal to Fixed Size.
| | 03:37 | I'll start this marquee out at 1024 x 1024.
| | 03:41 | I'll land this first marquee in the bottom
right corner or bottom left.
| | 03:45 | Press Ctrl+R for Rulers, and start dragging
guides down to snap to the marquee.
| | 03:49 | I'll land the next one in and drag in more guides,
making myself a handy grid.
| | 03:55 | If you'd like you can also alter the grid spacing
and turn your grid that way.
| | 04:00 | There are my lines.
| | 04:01 | The parts I really care about painting
are actually left, front, right, and
| | 04:07 | back, with top and bottom.
| | 04:09 | So often what I'll do, is put in a color
or a text on this so I can tell where it is.
| | 04:14 | I'll leave the background alone.
| | 04:16 | Make a new layer by pressing Ctrl+Shift+N
and land this marquee and again.
| | 04:21 | I'll right-click and choose Stroke Selection.
| | 04:24 | I'll stroke the marquee with maybe
a six pixel stroke on the center.
| | 04:29 | On second thought I'll make it go
inside so they line up together.
| | 04:32 | Now with that marquee stroked in a very
light gray square, I can take this piece
| | 04:36 | and line in up right inside my guides.
| | 04:39 | Additionally in my template, I'll press T for Text,
and put in which one each square is; this will be the top.
| | 04:46 | It looks like I'm still using a stencil I had used
in a previous texture construction.
| | 04:51 | This will be my top, and I'll take
both of these layers, picking one holding
| | 04:55 | Ctrl and grabbing the next, and
Alt+Clone them down to match in.
| | 04:59 | I'll change this text to be front, and repeat the process
all the way along to make myself a template.
| | 05:05 | Then I can get in and paint my sky, and
if needed take top and rotate it to make
| | 05:10 | sure that top and sides match.
| | 05:12 | Once we got this in place we can
actually start in with our painting.
| | 05:16 | You can make any kind of template you
want to paint, whether it's vertical or
| | 05:20 | horizontal. And you can also make the
template whatever size you would like.
| | 05:23 | Personally, I prefer to make my templates
large so I can paint oversized.
| | 05:27 | I would rather paint big, and either reduce
down here in Photoshop, or let Unity
| | 05:31 | handle the reduction, because it
is a very good job of resizing.
| | 05:34 | That way, if I also need level of detail for a sky
or for cubic reflection map for example,
| | 05:38 | because it's the same idea, I've that option easily
and have more resolution accessible.
| | Collapse this transcript |
| Painting clouds for a skybox| 00:00 | When we're making a skybox for use in
a game, the first thing we need to think
| | 00:03 | of is the sky and then add in things
that we expect to see in the sky, like
| | 00:08 | clouds and maybe a glow from the sun.
| | 00:10 | We don't actually have to add in
the sun unless you'd like to see it.
| | 00:14 | It's a good chance this will be taken
care of by, say a directional light with a
| | 00:18 | halo independently of what the skybox
is doing, and this allows us to paint our
| | 00:22 | skybox more neutrally.
| | 00:23 | I'll start out by getting a gradient in.
| | 00:25 | I finished out my template, grouped
those layers in a layer set called layout
| | 00:29 | and I am going to give myself
a new layer for some gradients.
| | 00:32 | I've grabbed some royalty-free cloud images here.
And the things we can see that
| | 00:36 | we need in our sky are clouds of varying hues
and picking up the sky color in
| | 00:42 | the bottom gradients for the sky.
| | 00:45 | And if we look in another cloud image here,
lighting apparent on the top of the clouds.
| | 00:49 | There is also different kinds of clouds,
depending on what our weather is doing in the game.
| | 00:54 | I'll start out with the gradients in the scene.
| | 00:56 | I'm going to borrow this bright blue here
and dim it back just a little bit,
| | 01:01 | pulling back the saturation and maybe
in the Hue pulling out some of the green.
| | 01:05 | That's going to be my top color in my sky.
| | 01:08 | Then I'll pick my background color
and it's already got a blue, but I am
| | 01:13 | going to grab that existing cloud blue again,
pull out saturation and bring up brightness.
| | 01:19 | Now back over in my sky map I am going to
land a gradient across the middle stripe.
| | 01:24 | Pressing G for gradient,
which actually took me to the paint bucket,
| | 01:28 | because it's the same tool. I'll choose in the Gradient,
just a foreground to background linear.
| | 01:33 | What I'll do then is on my new layer
start just inside the boundary of right,
| | 01:37 | click and drag while holding Shift+Down
and let it go just inside the bottom boundary.
| | 01:43 | This gives me a gradient across the middle here
with a solid color in the top and the bottom.
| | 01:47 | When I pull this layer under my layout
so we can see it clearly, I've got a
| | 01:51 | solid in bottom and a solid in top,
so I've already started out with a good
| | 01:54 | match here between all of the parts of my skybox.
| | 01:57 | Now I'll lay in a radial gradient
to get some variety across the sky.
| | 02:02 | This is an optional step if you'd
like to have a fixed lighting direction.
| | 02:05 | If the light in your game is going to change,
you may do this with a custom halo
| | 02:09 | around your sun and let the sky be neutral.
| | 02:11 | I'll use my same colors, may be going a
little bit brighter and little less saturated.
| | 02:16 | This way the colors in the sky match evenly.
| | 02:18 | I'll take these, desaturate and brighten them up,
switch my gradient over to radial and make a new layer.
| | 02:24 | I am going to land this gradient right on front,
clicking and dragging and letting it go out across right.
| | 02:30 | Now there is this gradient, but it looks like it
went too light, so I need to flip it around.
| | 02:36 | I'll undo, hit X to flop those colors and try it again.
| | 02:40 | Alternately you can use the Reverse checkbox
in the gradient if you like. There is my sun.
| | 02:44 | Now I can take this and play with a
Blending mode to get it over the clouds.
| | 02:48 | Here it is as a Soft Light for example or as this Screen,
it gets very bright as a Screen very quick.
| | 02:55 | I'll also take this and move it down.
| | 02:56 | Because it's on a separate layer, it's easy to move
and make sure it's in the right place.
| | 03:01 | I'll pull it down a bit and make sure
it stays adhered to the sides.
| | 03:05 | Now it's mostly in front and if I need
to paint out a little irregularity on top
| | 03:09 | I can, but I have the idea of a sun direction in there.
| | 03:12 | I'll pull back the Screen Opacity
and there is my sky color emerging.
| | 03:16 | We may see some balancing in here
between colors and other pieces to get that
| | 03:20 | sky in the right direction. Now for the clouds.
| | 03:24 | I've downloaded some cloud images here
from a royalty-free site and I'm going to
| | 03:27 | borrow some of their cloud elements to make a brush.
| | 03:30 | I'll use my Lasso pressing L. Either a
freehand or Polygonal Lasso will work nicely.
| | 03:35 | I'll lasso out these clouds in the middle.
| | 03:38 | Going all the way down to the bottom is fine
because I want those clouds we see at the horizon.
| | 03:42 | I'll pick them up and hit Enter to finish out the selection.
| | 03:47 | Temporarily, I'm going to copy and paste these
into a new drawing with Ctrl+C,
| | 03:51 | Ctrl+N for new and Ctrl+V for paste.
| | 03:55 | Now I'll Magic Wand that blue, using W for my
Magic Wand or flying out to Quick Selection.
| | 04:00 | You can use Magic Wand, grab that blue
making sure that Contiguous is off and
| | 04:05 | the Tolerance is low, or you can use the quick selection
and again, we've got a tolerance in there.
| | 04:10 | I'll click and drag and hold Shift and
let it start to grab around the clouds.
| | 04:14 | I am going to take out that blue after
I feather it. So I'll make sure I hit
| | 04:18 | Shift+F6 and feather out that selection.
| | 04:21 | I'll do this again and keep taking out sections of my cloud.
| | 04:25 | I may have some cleanup work to do,
but I should be able to fairly quickly get
| | 04:29 | rid of most of the blue in here.
| | 04:31 | Here is my Magic Wand instead and
this will let me get other parts out.
| | 04:36 | If you forget to feather this selection,
you can also contract it.
| | 04:39 | What I'll do then is choose Select>Modify>Contract
and start to pull pieces out.
| | 04:46 | There is a pretty good cloud here, a
little bit of an eraser using a standard
| | 04:50 | brush will get me in good shape
getting rid of that odd shape up at the top,
| | 04:54 | looks like I was using a very large brush
in one of my other paintings and
| | 04:58 | that's what we are seeing here.
| | 04:59 | Now I'll take out any extra around here.
| | 05:01 | Hold Ctrl to select that layer and feather
that selection choosing Select>Modify>Feather.
| | 05:07 | I'll feather it by may be three or four pixels,
invert the selection with Ctrl+Shift+I
| | 05:12 | and delete, cleaning up the halo on those clouds.
| | 05:16 | Now I've got a clean cloud brush
and I can adjust Levels if needed.
| | 05:20 | Although I think I'll try this brush as it is.
| | 05:23 | I'll hold Ctrl, select that layer again,
and choose Edit and Define Brush Preset.
| | 05:29 | I'll call this one Clouds01 and I've got a brush ready to go.
| | 05:33 | Now I am going to make a new layer
in my cloud matte and try brushing in
| | 05:37 | a derivative blue, eyedroppering the sky,
swinging the brightness up and the saturation down.
| | 05:43 | Rather than brushing a stark white
I want it to be a reasonable match.
| | 05:47 | I'll also take this brush, making sure I hit B for brush
and paint at a normal but at a lower Opacity.
| | 05:54 | I'll right-click and make sure I am using
the correct brush, down here in the
| | 05:58 | bottom right in my brush presets.
| | 06:00 | I'll start to brush in my clouds, using
the brackets to upsize the brush if needed,
| | 06:04 | staying away from those edges
and adding in cloud patterns.
| | 06:08 | It's getting the idea across
and they are fairly stylized.
| | 06:11 | I am going to blur them a little bit
and keep adding in over them.
| | 06:15 | I want to watch out for intersections
like I just created here, so it's okay to
| | 06:19 | undo a step or two and land them in here again.
| | 06:21 | What I also need to watch out for is tileability
from side to side.
| | 06:25 | The clouds in the middle here are just fine,
but on the left side if I swing off
| | 06:30 | the document, I should make sure
I have the same on the right.
| | 06:33 | In this case what I am going to do is grab layer 4
and hold Alt to clone and drag it.
| | 06:38 | I'll drag it over and let this layer snap cleanly
right onto the side of the document.
| | 06:42 | Then I'll grab it again, pull it back while holding Shift
and snap it cleanly onto the other side.
| | 06:47 | Now that I've got that piece in place side to side,
I'll take this original layer 4 and slide it over.
| | 06:53 | I've got the start of my clouds here and I'll
make sure that these layers tile side to side.
| | 06:58 | That's the big deal with clouds;
| | 06:59 | it snapped nicely on the center of that
cloud element and so should match.
| | 07:03 | I can take these pieces and start to adjust
their hue and brush in other clouds.
| | 07:08 | I'll make myself another layer here and
almost white out that horizon with a brush.
| | 07:13 | In this case I'll start to add in a big soft brush
and paint in the same near white.
| | 07:18 | I'll pull this brush down, brush in maybe
a normal at a low Opacity and paint under.
| | 07:25 | I want to be careful that I'm not painting
into the bottom too much, or that I
| | 07:29 | paint the bottom all of this color.
Because on a separate layer, I've got some flexibility,
| | 07:32 | so I'll paint in some white under here,
camouflaging that horizon and just clouds out there.
| | 07:39 | Then I can select and delete in the bottom if I need.
| | 07:42 | What I'll do is make sure that actually
my bottom matches in, so manually I am
| | 07:47 | going to paint this color in and see how it looks.
| | 07:49 | I'll take my cloud elements and match
them together with Ctrl+E and then use my
| | 07:54 | levels to adjust a little bit.
| | 07:56 | I'll take the Level on my clouds up,
bringing the keys back and forth until they
| | 08:00 | are bright and white but still retain some of the sky blue.
| | 08:03 | I can also play with the output, bringing
them up and down until they're really
| | 08:07 | nice and bright. Using the
brightness contrast is acceptable as well.
| | 08:10 | What I'll start with though, because
I like the way it's looking in kind of
| | 08:14 | abstracted clouds, is a little bit of blur.
I see a place up at the top
| | 08:17 | I should do some either erasing
or make sure it's a clean match.
| | 08:20 | I'll take this layer and blur it,
choosing Filter>Blur>Gaussian Blur and
| | 08:25 | blurring by here is 12 pixels easily.
| | 08:28 | I'll let them be nice and fuzzy, so
I've got clouds out there on the horizon,
| | 08:32 | out of focus in our scene.
| | 08:34 | I am going to strategically use my
eraser to leave a clean sky in the top.
| | 08:38 | I'll pick a soft brush, pull the size down
and gently erase out those clouds
| | 08:43 | where they touch the pop here. This
should give me a reasonable match.
| | 08:47 | I'll make sure the top has the right color,
eyedroppering the blue and using either a
| | 08:52 | marquee or a paint brush to paint that in.
| | 08:54 | I think I'll just use my paint brush.
| | 08:56 | With that blue eyedropper, I'll hit B for brush,
paint in a normal at full
| | 09:01 | strength and just fill in the rest of the top.
| | 09:03 | There is a rough skybox.
| | 09:04 | We can do a lot more with it, adding
more detail and drama in the clouds and
| | 09:09 | specific things we'd like to see. Maybe
there are cliffs in the background and so forth.
| | 09:13 | But I can take these images and cut them out,
bring them into Unity and lay them
| | 09:18 | into skybox material and have abstracted, fluffy clouds
in this case outside my scene in the desert.
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| Creating stars and light for a night skybox| 00:00 | When we were painting a sky, sometimes
we don't want just a clear blue sky or a
| | 00:04 | sky with white clouds in it, we may
want a night scene with black clouds that
| | 00:09 | have a little bit of rim light on them.
| | 00:11 | Alternately, we may want heavy cloud cover
or a murky overhead or something similar.
| | 00:16 | I'll take my existing cloud layers and
group them and then make some copies and
| | 00:20 | make a night sky for my scene.
| | 00:22 | First, I'll pick my layers, picking one
holding Shift and picking the last and
| | 00:27 | pressing Ctrl+G to Group.
| | 00:28 | I'll name this layer set Day sky.
| | 00:31 | Then I'll take this group and duplicate it
by holding Alt and dragging.
| | 00:35 | I'll rename the copy Night sky.
| | 00:38 | Since my game is taking place out in
the desert, there aren't many artificial
| | 00:41 | lights lighting up the clouds.
| | 00:43 | So clouds in my sky are going to appear
more as black masses that blackout the
| | 00:47 | stars than anything.
| | 00:48 | I'll turn off Day sky for now and open up Night sky,
and then start adjusting my gradients.
| | 00:54 | I'll take the initial gradient here and
using Hue/Saturation pressing Ctrl+U darken it.
| | 01:00 | I'll pull this way down, yank the
saturation out and introduce the tiniest bit
| | 01:05 | of purple getting me a deep rich indigo in the sky.
| | 01:09 | Now I'll take the overlay, which is
screening here and darken it as well.
| | 01:14 | I'll pull this out yielding again,
that dark, rich, deep blue night color.
| | 01:18 | We don't want to go screaming blue at the night.
| | 01:21 | It's better for it to be deep indigo,
almost black, and depending on your
| | 01:25 | lighting conditions may have other light in it,
but just a little blue helps enhance it.
| | 01:30 | Remember when you're making night
it's not a blue tone on everything.
| | 01:34 | There are subtle tones in places and
artificial lights often look much warmer.
| | 01:39 | So a little bit of coolness in natural places
like the sky and often the hills
| | 01:44 | in the distance really reinforces the nightness of it.
| | 01:48 | Now I'll take my clouds here and they are
under layer and darken them in.
| | 01:52 | First I'll work in the under layer, which is that white painting.
| | 01:55 | I'll pull down its lightness all the way and colorize.
| | 01:59 | That way it colorizes to let's say a blue.
| | 02:02 | I'll saturate it, but take it almost to black.
| | 02:05 | Down at the horizon then, I get a little bit of lift
in there and a little extra color, finally the clouds.
| | 02:11 | Again, Hue/Saturation lets me darken them.
| | 02:14 | I'll pull them all the way out, but as they start
to get darker they get gray and mushy.
| | 02:19 | What I'd rather do is instead colorize them, check Colorize.
| | 02:23 | Saturate them so I can see where the hue is
and there it is in a blue purple.
| | 02:28 | I'll pull this over into that same blue range
and then pull Lightness all the
| | 02:33 | way down, and finally take out the saturation.
| | 02:36 | What I'll start to get here are black masses
on the horizon of clouds that are in darkness.
| | 02:42 | There is a night sky with clouds and no stars.
| | 02:45 | I may want to take my gradient out a little bit.
| | 02:47 | Right now that splotch on the sun is a
little too much right here on the clouds.
| | 02:52 | I'll just turn off this layer and I do lose
my clouds entirely, so I need a little bit.
| | 02:57 | I'll try a different blending mode.
| | 02:59 | It's important to play with your different
blending modes and see how they work.
| | 03:02 | Here is the Multiply, it really leaves
the horizon with a little bit of light on it
| | 03:06 | and turns the rest of the sky dark,
and so I can adjust my under color accordingly.
| | 03:11 | There is not one right way and these
things will require some adjustments,
| | 03:15 | so don't be afraid to try some different things.
| | 03:17 | This is a great reason to keep things in layers,
so that as we're adjusting we
| | 03:21 | have some flexibility to move around.
| | 03:24 | Now I'll adjust that over paint.
| | 03:26 | Again, pulling out its Saturation, pulling
down its Lightness and checking on my clouds.
| | 03:32 | I've got a deep indigo going.
| | 03:34 | When you're working in dark things,
if you have light elements in your template
| | 03:38 | they are going to draw your eye to it,
so I'm going to make sure to turn off my
| | 03:43 | layout and look at my Night sky.
| | 03:44 | It's got stuff going on,
on the horizon with the clouds.
| | 03:47 | They fade into a deep indigo clear sky
above and I'm ready for stars.
| | 03:52 | I'm going to make some stars from some film grain.
| | 03:55 | I'll make a new layer above my clouds and
fill this in with a 50% gray pressing Shift+F5.
| | 04:01 | I'll choose Filter>Filter Gallery and in
this filter add-in, under texture, Grain.
| | 04:07 | In my Grain Type I'll try Enlarged
and bring up the Contrast and Intensity.
| | 04:13 | This is a generator for a pattern.
| | 04:15 | What I need here are dots.
| | 04:17 | I'll pull up the Contrast so I
can select it cleanly and click OK.
| | 04:21 | I'll zoom in on my grain and I've got all
kinds of grain, splotches of color.
| | 04:25 | I'll use my Magic Wand with a very,
very low Tolerance, maybe 2 or 3.
| | 04:31 | I'll leave Contiguous off and Anti-alias
on and pick a color that I really don't
| | 04:35 | see much of, such as this purple.
| | 04:37 | It gets me some isolated dots in my image.
| | 04:40 | Now if I turn off this grain, make a new layer
and fill those tiny selections in with a star color,
| | 04:47 | let's say a very, very bright desaturated
yellow, I'll have dots of light in the sky.
| | 04:52 | I can either try to click with
the paintbrush or choose Edit>Fill.
| | 04:57 | I'll fill them with the foreground color and click OK.
| | 05:01 | There is the start of stars in my sky.
| | 05:03 | Once I mask them out of with
the clouds I'll be in great shape.
| | 05:06 | I can take this layer then, and pull it
under my cloud layers and erase where I
| | 05:10 | don't need stars, let's say in
the bottom or just leave them alone.
| | 05:14 | But now, I've got little dots of light going on here.
| | 05:17 | I'll press Z to zoom in and there are my stars.
| | 05:20 | I can do this a couple more times to add more in.
| | 05:23 | Again, I'll use that overlay grain layer,
zooming in on it, magic wanding a
| | 05:27 | different color this time, maybe
this bright blue and turning it off.
| | 05:32 | I'll make a new layer for a second set of stars.
| | 05:35 | Pull it underneath those clouds and fill it with
that same yellow, choosing Edit>Fill.
| | 05:42 | There are some stars in the sky for my Skybox.
| | 05:45 | I'm ready to take this across cutting out the sections
in 1024 square pieces and bring it into Unity.
| | 05:50 | It may require some iteration.
| | 05:52 | You may bring this in and say, Gee!
| | 05:54 | We do need more stars or the clouds
don't look right and need a repainting.
| | 05:58 | Keeping a layered workflow here in the PSD
makes it easy to update a particular part,
| | 06:02 | take that element, bring it over and try it out again.
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| Implementing skyboxes in Unity| 00:00 | With my skies drawn I'm ready
to bring them across into Unity.
| | 00:03 | Right now in to Photoshop in my skymatte
drawing, I have all of my squares and a
| | 00:08 | few extra laid out in a layer set called Night sky.
| | 00:11 | I've also got my Day sky in Day sky.
| | 00:14 | I'm going to use the technique of
Alt+Cloning the group, dragging it in
| | 00:18 | the layers palette and then pressing Ctrl+E
to flatten the clone down into one image.
| | 00:23 | I'll use my fixed size marquee set to a
size of 1024 x 1024 and copy and paste out
| | 00:29 | the pieces, picking for example, the left sky,
looking at the layout quickly and
| | 00:34 | making sure I'm in the right place.
| | 00:36 | I'll take my left sky press Ctrl+C to copy,
Ctrl+N for a new document and paste it in
| | 00:42 | by pressing Ctrl+V. I'll flatten
down the layers by pressing Ctrl+E and
| | 00:47 | save this out as a named TIFF.
| | 00:49 | I'm going to add these into Assets folder
and I'll make a new folder in here,
| | 00:53 | which Unity will read automatically and I'll call it Skies.
| | 00:56 | In here, I'll call this NightSkyLeft and it
will be a TIFF with no Alpha and no layers.
| | 01:02 | I'll repeat this through clicking in
the next square, pressing Ctrl+C to copy
| | 01:08 | and pasting into that same document.
| | 01:10 | Flattening down the layers and saving out a TIFF.
| | 01:13 | This will be NightSkyFront.
| | 01:15 | I'll finish up with the top and the bottom,
copying and pasting again.
| | 01:18 | I'm making sure each time when I paste in
that I hit Ctrl+E to merge down and
| | 01:23 | I'll check in here to make sure there's nothing
on the edge that would be an odd artifact in the sky.
| | 01:28 | My stars look like they are
pulled back from the edge a bit.
| | 01:32 | Here's my bottom image and the bottom
isn't as important in a game like this as
| | 01:36 | we're going to be standing on the terrain.
| | 01:38 | If you are making a game that maybe is in space,
you might need a better bottom image.
| | 01:42 | That means also we can reduce the bottom image
way down when we bring it
| | 01:45 | in Unity if we'd like to save on memory.
| | 01:47 | I'll save this one out and then
jump into Unity and see how these look.
| | 01:52 | Here in Unity, we can see that in the Assets,
Unity is imported my Skies folder,
| | 01:56 | and in Skies are my six images.
| | 01:58 | What I'll do then is my Skies bring those images in.
| | 02:02 | I'll click on Select and browse down here to find
my NightSkies making sure I'm picking the right one.
| | 02:08 | Here is NightSkyFront, NightSkyBack,
NightSkyLeft, NightSkyRight and finally
| | 02:21 | NightSkyTop and bottom.
| | 02:24 | With those picked we think we should be
done with the sky, but there's one more
| | 02:28 | thing we need to do.
| | 02:29 | I'll go into the Skies folder and select the first of my images.
| | 02:33 | Right now these come in as textures.
| | 02:35 | So I could actually use one as a texture
on an object if I wanted.
| | 02:38 | However, in a sky this is going to give me
an artifact at the corner where it willl
| | 02:42 | get darker instead of being the
continuous tone we expect from the sky.
| | 02:46 | What I'll do is drop down under
Texture Type and choose Advanced.
| | 02:50 | In the Advanced section we have
specific control over how this works;
| | 02:54 | generating cube maps, dealing with Mip mapping
or sizing of the maps depending on distance.
| | 03:00 | I'll scroll down and change the Wrap mode
over to Clamp and hit Apply.
| | 03:05 | I'm going to let these run big at 1024
and I'll make sure in all of them I turn it to
| | 03:09 | Advanced and Clamp so they show up correctly.
| | 03:16 | Now my pieces are applied correctly;
| | 03:18 | these are designated for sky maps.
| | 03:21 | It looks like my tint color is a little
bit too bright, as I can see my sky test
| | 03:25 | aside from being flat shaded, is very
light gray and I know I made a night sky.
| | 03:30 | I'll click on this Tint Color and pull
that value down until I get the value I want.
| | 03:34 | Rather than going just black, I'm going
to tint it with a little bit of medium gray,
| | 03:39 | so I add some blue in the Night sky
to reinforce my night look.
| | 03:43 | I'll test this by clicking Play and here
in my Night sky is my Skybox, and I can
| | 03:47 | see around I've got some banding from the way it was built.
| | 03:50 | Those are my clouds off in the distance.
| | 03:52 | However, it is a seamless sky.
| | 03:54 | If you're getting artifacts or places
where it's mismatching, try flipping front
| | 03:58 | and back or left and right and see if
you get a better match in the corner.
| | 04:02 | It's easy to get those a little bit off
and just flipping them around will help.
| | 04:06 | Also when you're painting, watch out
for the depth you are painting with.
| | 04:09 | In this case, we're seeing, because of
the way I altered the colors, some banding
| | 04:13 | off in the Night sky.
| | 04:14 | As I travel forward though, the Wrap
mode is Clamp, lets the sky be bright and
| | 04:19 | luminous instead of shading depending
on the scene, and I get the feeling of a
| | 04:22 | night sky around my scene.
| | 04:24 | I can bring in a day sky just as well
and it looks like I could use a little
| | 04:28 | work on the matching on these,
but the colors read nicely.
| | 04:31 | If you'd like you can tint the skybox
and tint the sun or in this case, the
| | 04:36 | directional light that's the moon to match,
and get a coherent look all the way
| | 04:39 | through in your game.
| | 04:40 | You can also tint the fog to be a dark fog,
taking in the idea of less light out in distance.
| | 04:46 | I'll do this under Render Settings,
choosing Edit and Render Settings and
| | 04:51 | there's my scene fog color.
| | 04:53 | In this case, rather than a sandy haze,
which I was using in the daylight to haze
| | 04:57 | out my mountain, I'll eyedropper
straight from my sky and that will make this
| | 05:02 | fog color a little bit brighter and a little grayer.
| | 05:05 | So I'm fogging the scene with a deep gray.
| | 05:07 | With that linear fog it mutes down the
sand color in my mountains having that
| | 05:11 | deep gray giving me the idea I'm out at night.
| | 05:14 | Lastly, I'll adjust that directional light
as it's still set for daylight.
| | 05:18 | I'll pick the directional light in the hierarchy
and change over the color and intensity.
| | 05:22 | For moonlight, rather than choosing blue
I'm going to choose an icy white.
| | 05:27 | I'll swing the color over, swinging
into blue towards purple, leaving in the
| | 05:33 | color in the high whites but adding
just a little bit of saturation in.
| | 05:37 | Then I'll take the value down, clicking
and dragging on the Intensity, and pulling
| | 05:41 | this into the 0.2 range.
| | 05:43 | When I play it again, I have the inky
darkness I expect to see in a night scene
| | 05:47 | and I'll make any interior or artificial lights,
which I'll probably tint in yellow, really stand out.
| | 05:53 | My Skybox looks like the night sky
surrounding the wide desert with
| | 05:59 | stone ruins off in the distance.
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ConclusionNext steps| 00:00 | Thanks for joining me for Texturing for Games
in Maya, Mudbox, and Photoshop.
| | 00:04 | I would like to recommend a couple of courses
if you'd like to further your knowledge.
| | 00:09 | Game Prop Creation in Maya, one of my courses,
will take you into modeling assets for games,
| | 00:14 | looking at low poly workflow and application of textures.
| | 00:18 | If you would like to go more on the
game authoring side, level design, and
| | 00:22 | working in a game editor, Sue Blackman's
course, Unity 3.5 Essential Training,
| | 00:26 | is a great start, taking you all the way
through implementing games
| | 00:31 | and also the interactivity that makes it fun to play.
| | 00:34 | I hope you've had as much fun doing
the texturing for games as I have,
| | 00:38 | and I hope you've learned a lot along the way.
| | 00:40 | So get out there, pull up Maya, Mudbox and Photoshop
and start making terrific textures for your games.
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