08 Mid-Poly Strap Mount

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Current Gen 3D Game Prop Production

密歇根州立大学

課程 3（共 4 門，Art for Games 專項課程）

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.

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從本節課中

Week 2: Mid-Poly Block-In Model

In this module you will work to create the form of your model. This mid-poly block-in will not be textured, nor smoothed into a high resolution model. The goal is to create a mesh that is accurate to your reference that can become the starting point for your high and low poly models. This is often the most challenging part of the process.

01 Mid-Poly Objective Lens14:37

02 Mid-Poly Eye Piece Swivel8:32

03 Mid-Poly Eye-Piece Viewer7:29

04 Mid-Poly Body15:52

05 Mid-Poly Battery4:15

06 Finish Mid-Poly Body15:23

07 Mid-Poly Swivel Mount8:39

08 Mid-Poly Strap Mount8:38

教學方

Andrew Dennis
Professor of Practice

腳本

In this video, I'll be finishing up

our mid poly blocking by modelling

out the little bars and the models that

make up the strap mount for this model.

The last thing I actually need to model are these bars,

and because I'm never going

to see them from the tops and bottoms,

I'm going to get away here with

just some simple eight-sided cylinders.

They're relatively small in the model,

and if I sought the edges,

it's really hard to see

the geometry that's actually there.

Now, I know from my reference that

these don't exactly line up for each other.

But these two sides of the bars

should be pretty equal in distance,

and I can see that it doesn't line up.

So I'm just going to detach

these faces from the top here of the objective lens,

lower my whole piece,

and then I'm going to reattach it.

I'm making good use here of a lot of full snapping,

and then just bridging things back together.

Target well then all the pieces back in,

and then I can just mirror it in the y and x axes using

the object's axis position

until I get everything mirrored back over,

and it should be a little bit

better and line up a little bit

more with the bar that I created for

it the view port side.

So once I've done that, I can start spreading

those bars back and forth on either side,

and doing my best to line it up from

the top view to make sure it's

in the center of the little mounting pieces

that come out here.

I'm going to combine all these objects together.

The next thing I need to build is

this little wire that wraps around everything.

Here, I felt like those bars were a little

too thin and I wanted to thicken them up a little bit,

give myself a better size

to work with before readjusting them.

To make this wire piece,

I've created a duplicate of the bar,

and I've made it a little bit thicker.

Now, I just want a half of it.

I need to make this symmetrical top to bottom.

So it's easy for me to just work on one-half at a time.

I'm giving it a bevel with a couple extra segments

because what I'm trying to get

is the edges to make the shape.

I'm really ignoring the phases here,

and I'm only paying attention to the lines

the edges are drawing because I'm going

to turn that into

a nerves curve that I can then extruded shape along.

So taking my edge selection,

I want to make selections of edges treating this

as if it's the wire or like

I'm wrapping the wire around it.

Then, I come up to modify, convert,

and I'm looking for polygon edges to curve.

Over in my channels,

I want to set this to one degree because I

don't want it interpolating or smoothing it.

If I take my object and I delete the history,

I want to get rid of the object.

I see I just have a simple nerves curve

that is the relative shape of a wire.

This is going to be the basis for us to

make the actual wire piece.

We can see it's going to wrap right around it.

Although the nerves itself

doesn't really do us any good at this stage.

It's what I'm going to do is create a polygon disc.

I want to change settings to give

it the right number of sides.

In this case, I want

six sides and I don't want any subdivisions.

Just like I can hold x to snap to the grid,

and I can hold v to snap to avert,

I can hold C to snap to a curve,

and that lets me make sure it's

right on the end of this curve.

So let's take my disk and hitting D on my keyboard,

I'm going to change its pivot to

line up with the curve itself.

This means that I can rotate it

and holding J to snap my rotation.

I can get it to point down,

the direction of the curve here.

Just make sure that my scale seems correct,

and I'm going to select both of these together.

Let's rotate it a little bit to fit it,

and we want to get the top running

along the actual curve here,

for the pipe we're going to be making free transform.

Now, I'm going to select my phase,

and shift select my curve and go to extrude face.

By upping divisions, you can see that it's

now going to automatically follow this curve.

So pick the number of divisions that seems right.

I have a relatively low,

I could have added more points to this curve.

I could have made it more complicated.

But this is a pretty small feature.

So I wanted to make the overall wire here pretty simple.

So I'm trying to really just get

one segment per turn in this overall model.

Now, I can just come from

my top view and make edge ring selections,

and just rotate it along the y-axis

to make sure that

the thickness seems to line up properly.

In this case, I'm making

a pretty sharp turn and it's hard

to still maintain the thickness

that I'm going to need here,

because I don't really have enough edges to control this.

We see here that when it gets

back to the shallower level,

it's easier to control and

it's easier to create the right thickness,

but we get this weird bend down in this corner.

So I'm going to select this edge ring

and I'm going to go ahead and bevel that.

Just gives me an extra division to work with,

and then I can delete

the second edge that's on the inside

because it helps smooth everything out for me,

makes the transition a little softer

and just eyeballing it until it doesn't

look too noticeable or like I've

made to severe of a change anywhere.

Now, I'm going to line the pivot

to this top of the object,

I'm going to delete this face,

and then we can simply mirrored along the Y-axis.

Now take my object,

and I'm going to take the object and set

its pivot to right at the center where this thing

needs to rotate around

will make it much easier for me to make

adjustments to it as opposed to

rotating of the true center of the object.

So now I can position it,

based on what it needs to wrap around.

Let's merge up some of the vertex where I was having

some issues and then scale down at the top.

I can get rid of that extra edge,

and we can see now that it

rotates cleanly around the center bar.

I'm duplicating and bringing one

over for the other side as well.

Because I see I actually need these on the back sides,

not on the front I just checked my reference and

realized I was putting them on the wrong

part of the actual model.

We're looking pretty good which just have

one or two more final steps to apply here.

For one, we need to take this top shape and

actually connect it by

bullying it to the rest of the body,

and then I'm just going to connect up

a couple of the edges to control the shape better.

Let's go through and make

sure as we're going, we're cleaning up,

we're naming things, and we're getting rid of some

of these empty transform groups.

Often, this requires deleting the history or maybe even

unparenting something from a temporary group

that has been placed into.

Because we're going to be duplicating

this entire group of models later,

it's a smart idea to rename them

all now with clear names,

and the better more technical you can get with the names,

the better but it's most

important that you name something that you're

going to remember what you're actually looking

at because it would be really hard to

work on a model especially a model

like this can often have

dozens or even hundreds of pieces

and at they're all named poly sphere one,

or cube two, or just temp Part three.

It's going to be really difficult

to tell what you're actually looking at.

I placed them all in the group here called block in.

Then, that's the group I'm going to be duplicating

later to generate my low and my high poly from.

So with that, our mid poly model

are blocking is all complete,

and we're ready to start moving on to creating

the high polygon version of this model.

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