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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 5: PBR Texturing

In this module you will take your low-poly model and add back the missing detail from the high-poly by baking texture maps. You will also use Substance Painter to add color, material, and micro-details not present in the high poly. This is where the model will start to become photo-real. The goal here is to take a well crafted model and use texture maps to bring it to life.

Creating Initial Textures in Substance Painter10:28

Adding Height-Map Details17:48

Creating a Texture Stencil7:49

Using Texture Stencil9:18

Additional Details9:25

Texturing Surface Noise, Dirt, & Wear20:37

Indicator Light12:59

教學方

Andrew Dennis
Professor of Practice

腳本

In this video we'll continue adding small fine details that will

really bring this model to life.

[MUSIC]

Because I want to make sure these features read correctly,

I'm actually going to change up my gray plastic right now.

It's going to tell me a lot about how this should look,

making sure that that little elevation, the degree rotation looks right.

I'm not really going to know until I put these little speckly,

sparkly kind of effect in the plastic, it has this sort of metallic speckles in it.

So in gray plastic, I'm going to create another lighter-colored fill layer,

and I want the color roughness and metalness values in there.

I add a black mask, the next thing I'm going to do is right-click the mask and

add a fill to it.

And to this, I can add a little white noise by clicking on the gray scale.

This will fill my mass with this exact white noise pattern,

and then I can adjust the white noise to get just the parts reflecting that I want.

So we can see it blurs in a couple areas so if we change it to try planner, it’ll

apply it evenly as opposed to blurring it and trying to do it along the texture map.

I want to up the metallic value of these speckles to give it that little metallic

reflectiveness.

I want to change up the roughness, I want to make this part shinier, And

then I’m going to click on that little gray scale white noise layer,

and here I can start playing with some of the attributes of the noise itself.

So, by adjusting the balance I can decide how tight this effect is.

And the contrast will see how much difference there is between the black and

white values.

Now I can take that speckles and pull back its strength a little bit,

it was just too strong at 100%.

And its going to give me a nice subtle effect, and

it gives me little bit of that speckling throughout the whole thing.

Great, this looks a lot better and I can see that it does read pretty well.

And it's going to give the kind of subtlety that gives this little modeled,

speckled, plastic look that I'm trying to go for.

It looks good here but it's not quite large enough,

it's pretty small on the speckle so I come back to the white noise.

And I can adjust the scale to choose how large these little flakes are going to

be in the material.

Looking at my CE here, it's not quite lined up where I want it to be.

I could just erase it and remake it, but

instead I'm going to move it using a filter transform node.

This is a really handy thing that let's me make offset adjustments on top

of my surface, so that I can position it after I've already laid it down.

So just making a couple of little number adjustments, putting it back into place.

Now I want to make the serial number plate that goes right behind this battery pack,

it's going to involve a couple of parts,

pretty similar to the badge I had here before.

So I'm going to speed through it and I'll make any notes that I think are relevant

to something you haven't seen before yet.

So we can see before I want to create a new fill layer, I'm going to color it red.

And I'm going to give it a black mask that I can reveal by using a white

square to draw at its area.

I'm going to turn off everything but just that color here, so

I can see the shape that I'm creating,

before I start adding anything like height, that's going to confuse my eye.

So I want to draw it pretty evenly, and as soon as I get a space I like,

I can add a blur.

And levels, which will help me round out the corners,

based on how much I blur it and how strong my levels are.

Now I go to adjust height and I can create a nice little emboss for everything.

I duplicate this layer and now further adjust my levels,

And then blur so I can get an inset.

I can make sure I blur it enough and I adjust the levels enough so

it looks like I've embossed it and then I have this part coming back on top.

And I do this rather than just trying to create a line that I cut in because I want

this to have a separate color,

because it's supposed to look like a different material.

Come back to my stencil.

And I can stencil in with the same white paint layer, a little made in Japan logo.

And now get myself a serial number, That I’ll start as a color and

then when that’s where I want it to, I can do it as a height emboss.

And like I like to do with all of these height embosses, I give it a blur and

levels so I can control how far it goes in.

Taking the battery label next, moving to the top of everything so

it doesn't get affected by the layers under it.

And I'm going to go back and create that transform node, like I did with the CE,

just to make sure I adjust and get this centered up exactly where I want it to be.

I'm going to be making a sticker for both this battery and

for the top of like the instructions on top of this binoculars.

So I'm going to create a whole new folder that I'm going to call stickers to help

me organize everything.

Now I take my warning label, I paint it on and I'm free to change the colors.

As you can see, when you've done the preparation work,

a small detail like that comes together really quickly.

And we can see as I'm starting to add these little labels and

these little details, I'm really bringing out the realism of this object.

Now I'm making an operations sticker for the very top.

And I want to paint out like I did before,

I want to make sure I’m in camera alignment so top down, and

I want to paint out like I’ve been doing with the other rounded corners.

I’m going to paint it out and then I’m going to blur it.

So get the right region of the sticker here, Make

sure it fits in as long as it needs to be, And

then it's a matter of applying a blur with the levels.

As you can tell, I'm pretty fond of that trick,

it's just a really good way of controlling my edges.

Now I'm going to choose a material that's shinier, and

I'm going to make it shinier than it probably should be,

because I just want it to contrast with the plastic on here.

And by giving it a little bit of height too on the value, I can give it

that look of a sticker sitting on top of the actual binoculars here.

And applying the operations is just like we've been doing with the printing and

other things, just make sure it lines up and then paint over everything.

Now I looked at this dial and when I was making it earlier,

I kind of thought this was an inset on the dial.

But now that I'm looking more closely, I realize it's also a sticker,

much like the one on top.

So I'm just going to use this circular parabaloid here,

this circular alpha shape with the strong hardness.

And then I'm adjusting the size, and

I'm just going to knock the sticker right in there, and

add it to the operation sticker, and then add its printing on the top.

because I presume it was made by the same manufacturer and

the same technique probably in the same factory.

Great, so it's going to give me that little difference in reflection on

the surface, and it's still going to have the same height values and everything.

All right so, looking around my model here it looks like I have all

of the key features, all of the stencil features that I want to add.

In our next video, I'm going to take you through how we can add,

take this really clean looking surface and add some roughness to everything.

To give it a level of realism a sort of worked over feel, feeling like it was

pulled out of somebody's closet rather than fresh out of the packaging.

[MUSIC]

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