08 High-Poly Prepping the Body

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Current Gen 3D Game Prop Production

미시간주립대학교

Art for Games 전문 분야에서 4의 강좌 3

In this course you will learn to create a photo-real game prop using modern game art production techniques. You will gather reference, generate a base model, create a high polygon model, bake details onto a low poly model, and then texture and present a final portfolio piece. This course is aimed at students who have some knowledge in 3d and game art and would like to learn more advanced techniques employed in the creation of modern game assets. We will be using Maya, Zbrush, Marmoset, and Substance Painter extensively throughout the course. When you are finished you will have your own model based of of a real-world prop suitable for use in modern game engines.

강의 계획서 보기

수업에서

Week 3: High-Poly Model

In this module you will take the low poly block in and generate a high polygon mesh that is accurate to the real world model as possible. We will be using a combination of sub division modeling and . The sky is the limit with poly counts, this model will never be UV unwrapped, it will just be used to generate texture maps for the game-ready version.

06 High-Poly Battery & Switch14:13

07 High-Poly Body Cap12:13

08 High-Poly Prepping the Body12:12

09 High-Poly Body10:20

10 High-Poly Floaters17:50

강사:

Andrew Dennis
Professor of Practice

스크립트

In this video, we're going to

prepare the body of our model inside of

Maya so that we can make

a high polygon version of it inside of ZBrush.

So let's take this empty hole here and cap it off.

Now, I'm going to actually remove this part.

I'm going to take this little top piece that I

created with all the buttons on it and I'm going to

separate it because it's going to be much easier for

me to add extra edges to all of this,

if they're not altogether in one piece.

I'll just boolean and back together

just like I did with the block in.

Like with the caps, I want to keep

everything in quads as much as I possibly

can especially on any of

these curved or surfaces or anything like that,

it's going to give me

a lot better control over everything.

Now I'm selecting the edges that run across it

and connect components with edge loop.

So I'm going to delete this top face as well because I

know a planar face really easy to add back in.

That way, when I do my connect with edge flow,

it's much easier for me to just keep

adding more edges to that whole loop.

So I'm going to also get rid of

the flat surface is the planar surface is back here.

Just like with the cap,

paying attention to where the curvature

is and adding more connections with edge flow.

I'm trying to keep it all consistent.

So I'm performing this whole operation

twice in all of these.

I'm just holding Shift and double-clicking

on each end of those edges to create a selection,

going to do the same thing to these buttons.

I realized that these buttons need

a little bit more elevation to

them looking back at my reference view.

I need to make them feel more like they're coming

out and they line up with the surface.

So I'm selecting these edges

and I'm going to edge perimeter.

It's an easier way of getting all the edges on

here so that I can connect them all up.

So I'm going to delete this face.

Then I select the faces that are on edges

that make it difficult to select

and then just control left clicking,

lets me change that selection to edge perimeter.

So I'm going to do this a second time to edges to

edge perimeter and then it's easy

enough for me to choose the extra edge loops.

Then I can double everything up.

Let's do the same thing on this button.

Just get rid of the flat face.

Select "Face rings" two edges, edge perimeter.

Make sure I have all the edges I need.

Then I can fill that hole

and the one for the other button too.

To help me split this, I'm just

detaching the components there.

Where the buttons are just to

help me separate everything because I'm going to

want the buttons separated from

the rest of this actual unit.

Then I can't just do a whole filled

everything because of course it's too many surfaces.

So I bridge in a couple locations

and then that gives me enough room

to fill everything back in.

Then I'm going to use the connect tool to connect up

just one or two extra edges on this.

I do bridge, add an extra division in there,

so I have enough verts to connect

everything up on both sides.

Now, I can focus on rounding out just the body and

I can ignore all the stuff that

goes on with those buttons on the top.

Doing a quick smooth preview

there just to make sure everything's fused together.

There's a couple of spots where I can see I need

to vert snap and merge verts to center.

So even though I've got some ugly pinching,

I could tell it to all one solid surface,

which is exactly what I'm looking for.

Some connect with a couple components up

in this corner where

this little round bit is and

manually shift around some of the verts.

This time I'm turning off enter with

edge flow because I'm going to just

want to just connect straight across.

Looking at this shape overall,

I want ZBrush to control

where these little 90 degree angles.

They're a little sharper than

the smoothness of the bevel I have here.

So I'm just going to delete these,

move everything, flatten it out using my scale tool.

That'll make it easier for me to line

it up so that when I put it in ZBrush,

it's going to give me the edge that I'm looking for.

Although through this process you'll see

me do things pretty straight ahead,

just note that on a lot of these this might have been

my second or third time testing out different edges,

experimenting with things seeing what looks good going

back and forth between Maya and ZBrush.

I simply wanted to spare you the hours

of neat troubleshooting certain curves and edges.

So here just taking these edges,

connecting the components together,

edge flow and then I can get smoother set of edges

connecting the components and then I'm

manual editing him because

entering with edge flow

didn't quite give me the results I was hoping for.

As I learned with the cap on this,

I need quite a few edges running along the sides to

give me enough definition

to make this work inside of ZBrush.

So same story.

Just some manually pushing of shapes

around and taking a lot of look at my reference off to

the side just to make sure

everything feels like the correct curvature.

This is where some traditional 2D

sketching skills can really be helpful as it

helps you be able to more

visually read out Kurds and things like that.

Helps you understand what's happening with the surface

just by looking at reference images.

So I'm doing a poly average vertices

there just to help me take

those edges when I've added them

together and smooth out those transitions a little bit.

I'm resetting my tool here because it was performing a

little strange for me for this Insert Edge Loop.

Which I have done with edge flow

which works similar to the Connect tool.

Then just manually move inverts around to

give me a nice curve.

Usually Maya is better at producing curves than I am by

hand but sometimes it's not

sure about the curve I'm looking for.

It works better if I do it by hand.

Although, like I said, if I have the chance at all,

I would rather Maya do it

because it's computer and computers are

generally better at putting verts along a curve.

So using my Insert Edge Loop tool.

Then I'm making a couple adjustments here

because it clearly didn't

understand exactly what I was going for.

So I'm going to change it myself manually,

make sure it knows what I'm trying to do.

Then I come back to Insert Edge Loop

and now it will go where I want it to more or less.

So when you put a little bit more of

a curve into that and then using

my Bevel tool to help give that

that subtle curve that I'm looking for.

Really before we take this into ZBrush,

I'm using a trick here where I'm spinning the edges and

that is "Control" and "Alt"

and the left and right arrow keys,

let me change which verts those edges are connected onto.

It can be something I do

manually but it's just a quick workflow.

So what I'm really looking for is I

want it to look almost like the high poly,

except for the 90-degree angles and that's what

we're letting ZBrush really handle for us.

So fill up the holes on either side.

Let's make sure everything seems to line up properly.

I'm going to fill these innermost holes and I'm going to

actually extract these buttons

and make them a separate object.

I'm deleting the history just

taking a look at all these shapes

seeing how everything lines up for me.

Inside it, in this corner especially,

I need a few extra edges.

So I'm doing a chamfer and I'm

leaving the verts there not destroying them.

Just gives me a few more edges to work with.

So rotating around looking at different angles,

seeing what it looks like it

does and doesn't line up properly.

I'm going to scale that whole phase

together to make sure it's nice and flat.

In the next video, I'm going to continue this process,

finish up clean up on the body and put it into

ZBrush so that we can get

the actual high poly for the whole body here.

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