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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're going to generate a normal map, and then use that normal map

inside of Substance Painter to add an indicator light to our model.

[MUSIC]

I have one last detail in here, and that's that little indicator light.

Instead of doing it with the way I've done some of these other high details,

I'm going to bring this in as a normal map detail.

So I'm actually going to model something in, I'm going to bake it as a separate

normal map, and then I'm going to bring just that normal map in and

stamp it on top of my object right inside of Substance Painter.

So I'm going to open a new scene, and we're going to make the basis for

this light.

Using some simple modeling, I can take this cube, and

I want to give it just enough divisions to work with.

Using my Connect Tool, I can give this enough segments.

In this case, 20 looks pretty good for me.

I select every other one, and I'm going to raise them up and

then just get rid of this guy in the end to give me this ridge, and

then I can just extrude everything down to create a square version of it.

sort of think about the way we made all of those little floaters that we baked in,

except for this one,

we could have baked in to the details just like we did the other ones.

But I want to show you how we can actually do this inside of Substance Painter

directly.

So beveling and extruding the edges, and then, again,

just like that floater, I want to build all of my caps and my insets, so

I'm building this exactly like I would a floater.

Bevel these edges up.

And then selecting these edges and we're going to bevel all of these,

give it a nice chamfer, and then let's get this entire edge loop here,

and I can go two edge loop with a little chamfer.

Now, we can control just the way this warps.

This is good, this is what we're looking for.

Let's bring back the rest of the model And

now, I need to make a piece of geometry to bake it onto, and I'm just going to chose

a simple flat plane, and I'm going to project this from top down.

Let's center it in the stage, because we're going to be projecting this detail,

basically, onto that as our low poly.

Now, we did all our baking in Marmoset before.

We could bring this and do all the baking again in Marmoset, but this time, I'm

going to bake it inside of Maya LT using their Turtle baker that's built right in.

You could use xNormal, you could use Substance Painter,

you could use any number of baking operations.

I'm using this one because it's built right in here to Maya.

So under Texture Baking.

With the Shading menu set selected, go to Texture Baking, and

then go to the Turtle Baking options.

And under Turtle Baking Settings, we want to change the type from Preview to

Bake, and we're going to go all the way to the end of this Baking tab.

Let's take our low poly, and we're going to put this in Target Surfaces, and

then we're going to take our high poly and put it on the source.

Basically, we're taking the source and we're baking it to the target.

Under Baking we want to think about, under Baking,

We open up Common Settings, and we want to change it to the top camera because that's

the angle we're looking at everything from.

And I'm going to change this, I'm going to leave this at 512 by 512, and

I'm going to change the directory to just be a folder that's easy for me to find.

I'm just going to throw it into my Coursera.

You put it just somewhere you can find it later.

I'm going to name this lightnrm, for light normal.

And choose a folder somewhere that I can easily find.

Now, we click Texture Baking, and we go to Bake, and

we'll get a window that shows us what this initial bake is going to look like.

But we want to to click this little Bake Turtle icon,

it's set at the preview current frame.

Let's open up the Texture Baking Settings again, and

in our Bake options, make sure you change it from Full Shading to just Normal Map.

In Transfer Settings, we're going to change it to Target Surface so

it will change the size to the size of our target object to basically

fill the frame with it.

And then we can click the Texture Bake symbol again,

and it will bake our texture for us.

And under mismatch mode, use Target Surface,

and let's click that little Bake symbol again.

And we get our normal map.

Since we've given it a location and a name, it should be there for us already.

Now, back in Painter, it's simply a matter of dragging and dropping that target in.

We want to define it as a texture, and

we want to just use it for this current project.

We import it, and there is our little normal map.

I'm going to turn off my dust layers again, and

I'm adding a new folder for my light.

And I'm going to add a new layer, an empty layer.

I'm going to turn off my other features, in terms of material,

with the exception of my normal, is what I'm going to leave on.

And let's look at just the normal values in our layers.

I can select this little normal and throw it into my normal material, and we can see

now, I can paint onto the surface using my brush, Just the normal that I've created.

So let's size it and space it.

We can see it stamps right in with the detail that we created.

Let's drag that new little piece we just made into the light layer.

And it looks like even though I baked in some of the details of the beveling, it's

just too small and there's too few pixels to really show it on the model here.

I can see it very subtly, but we're going to try to rebuild it, and

we'll use the same techniques we used for our other height map features.

So I'm going to name this layer NRM, which has the normal details on it.

One of the reasons I want to use a normal here rather than the height map technique

is it's going to look better with the light that we're going to put behind it.

Let's go back to base color, and I'm going to add a new fill.

And I'm going to use a technique you're probably pretty familiar with already,

which is taking a square mask and blurring it, and

then using levels to tighten it up to get me the round edges I'm looking for.

So I'm going to add a black mask to the whole area,

And apply that little white section mask that I painted out.

Let's put this fill layer under it, and this is going to be the basis

of our plastic material that we're trying to show here.

So I'm going to rename this as light.

And just like before, I'm going to do that blur, And then apply levels to it.

Now, I'm going to duplicate this layer.

And I'm going to turn everything off but height, so I can create my emboss.

And now, I’m going to come into Texture Settings, hit this plus, and

I'm adding emissive.

This is going to give me a new channel to work with that I didn't have access

to before.

You see, now, I have color, height, roughness,

material, metalness, normal, and now, emissiveness.

Emmisiveness is the color of light shining out from something.

So I'm going to take my under layer there, and

make sure I'm controlling things like the roughness and the height so

that I don't get the speckling from the plastic shining through it.

So I'm looking here at my instructions just to see what I'm doing, and

I want to decide, what color should this light be, and I've decided green.

It means on, so I'm going to set this to a nice green color.

So I'm going to name this the lightPlastic, and

then this will be the light actual, like the little inset, the little emboss that

goes with everything So I'm going to name this lightGlow,

and this will be the color of glow actually coming out from everything.

So I'm just going to leave emissive on, it's the only thing I'm going to leave on,

and I'm going to play with some of these colors, add a filter.

I want to take this light glow and I'm going to remove the levels, and

I want to just focus on the blur here.

If I make this blur nice and intense, it's going to seem like the light is casting

out from it and around the current materials around it.

And this isn't on a color, this is on a missive, so it ignores all shading.

And if we clip that same mask into the top group so

that our light has the same mask that our bottom layer does,

we can now use levels to control the blur.

So it feels like a more circular shape on the very inside of everything, and

it feels like there's a small tiny bulb behind this white plastic that's

going to represent our light that's made with our normal.

I'm going to try a couple different things in terms of colors, but

I want this really neony kind of yellow, a yellowy-green.

And we can see it's in the levels is where we're going to control how bright this

light is, and how much it shines to the edges.

We could see here on the light plastic,

if I change the color to something much whiter, it'll look a lot faker.

I actually need to stay that color pretty dark, and

I can change the roughness to decide how rough or smooth the plastic was.

So I'm going to change the light plastic to be sort of a mid-tone gray in color.

This will give me that sort diffuse plasticky kind of look that's affecting

how much the light can shine through it,

just by giving it a little bit of opaqueness.

I don't want it to be too bright.

It's gotta be pretty subtle, because it is a pretty dim light,

when all is said and done.

All right, so I like my light feature, I like how it looks,

I like the rest of my textures.

It's time to export all of these textures as individual maps,

bring then into Marmoset, and set up our final render for this project.

[MUSIC]

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