Join Judd Roy for an in-depth discussion in this video Apply high-poly details to the rocket, part of Game Art: Asset Texture Pipeline.
- [Voiceover] Now that I have my rocket silouette created and the majority of the high poly modeling completed, which was all done in the pieces layer using the tricks that I covered earlier in the course as you can see here. Let me start off demonstrating how I created this mini thruster within the HP detail layer. I'm gonna unhide the HP detail layer, make that layer active, and close the explorer. Now, I'll zoom in by pressing Z. As you can see this is the finished product. A high poly mini thruster.
Let me show you how I went about it. When I turn on view edge faces. So, here's the thruster base. Basically, I started with a cylinder and then extruded edges to create what we have here. To show how I did that I'm gonna detach a lot of the middle polys to demonstrate. So, I'll select this from, I'm gonna hit grow. Grow my selection. And now I'm going to right click and go to detach. I'll name that Object 179 for now.
Also, you can hit detach on the edit geometry panel over here. So, let me move the middle out of the way. And selecting this middle piece I'll show you how I went about it. Selected the border, and then utilizing shift and drag I'm able to create different geometry and adjust it how I want it. Using this technique, I was able to get a high poly version of what we see over here. Of course it's a litte bit different. Once you get in you can go down as well.
So, I'm gonna undo all that, bring back our middle, reattach them. And so, now I'm gonna go over how I created the little mini meshes within this thruster. I'll start with this little square here. I'm gonna zoom in by pressing Z, and then zoom out a little bit so we can see. Now, obviously, I've already got them placed around here. So, I'm gonna select this and delete them so I can go over this process, and it'll be new to you. Gonna select them and delete. Now, with this guy, I modeled this groove into him, and then I placed a double turbo smooth on top to see how he looked.
I was happy with that. So, I'm gonna take the double turbo smooth off, and make an instance and drag him straight on over where I want to put him. I'm gonna make sure that it's an instance so that whatever's done to the one on the left, affects them all. Now, I have it placed somewhere close to where I want it. I'm gonna adjust the pivot point so that when I rotate it, it will go around in a complete circle. So, the first thing I want to do is set the pivot point so that it is the same as the base here. I have a hot key set for this, but to do so you come over here to the hierarchy tab, turn on affect pivot only.
Now, I'm gonna align the pivot point to our base thruster. Make sure that's in the X, Y, and Z position and hit okay. I'm gonna turn off affect pivot point. And I'm gonna rotate him about 15 degrees to the left. Now, I'm going to copy this guy all the way around this base thruster using instances. So, holding shift I'm gonna drag about 45 degrees. Make sure it's at the instance and hit the number of copies up to about seven.
Now I have them exactly where I want them. If there's anything that needs to change on these guys, I can just adjust this one right here. So when I placed the double turbo smooth on top, you'll see them all be affected. Using that technique I do the same for every other piece that comprises this little mini thruster. Such as this fin. So, using this method, I did that to each individual piece of the mini thruster to get the final look that we see right here. Now's the time to take in account the multiple reads of our prop.
The large read, the medium read, and the close read. So, I'm gonna zoom out so we can see it. You want to make sure that from each distance there's just enough detail to be able to tell what we're looking at and not get too distracted. The large read should give some slight interest to the viewer while not overburdening the eye with too much detail. So, if I hide these thruster pieces that we just worked on, I can zoom out a little bit, and you can see that it's not noisy to the eye. The closer you get to the object, the more detail you should see. So, at a medium read, we get to see these ribs, we get to see these rivets and bolts, and other types of details.
And the closer you get, you should see more. Such as these mini thrusters, the tubes, and bolts. Some of these things such as seams, dents, or scratches can also be created within substance painter. I'll review that process later on. Now that we finished off the high poly model with the necessary detail, we can move onto the low poly modeling process.
Senior environmental artist Judd Roy reviews the pipeline path for creating a 3D model of any game asset: characters, weapons, props, vehicles, etc. It starts in 3ds Max: high-poly and low-poly modeling, UV unwrapping, and a bit of lightmapping. Within Substance Painter, you'll bake maps from the high-poly asset and texture paint it. The finished textures are imported from Painter into Epic Games' Unreal Engine 4. In Unreal, you'll import the mesh object, create physically based rendering materials, and position them within a proper folder structure.
- Collecting references
- High-poly modeling
- Low-poly modeling
- Applying a lightmap to a mesh
- Exporting models
- Setting up the Unreal project structure
- Baking parameters in Substance Painter
- Adding adjusted maps
- Painting in Substance Painter
- Exporting Painter files
- Applying textures in Unreal