The BRAWL² Tournament Challenge has been announced!
It starts May 12, and ends Oct 17. Let's see what you got!
https://polycount.com/discussion/237047/the-brawl²-tournament
It starts May 12, and ends Oct 17. Let's see what you got!
https://polycount.com/discussion/237047/the-brawl²-tournament
Best Of
Re: F - 2215 | Thunder Raven
Rav3 said:(The only thing I’d like to know is how to embed this video here.)
We have some tips here:
Eric Chadwick
1 ·
Update: Judging is underway
Our Judges are currently examining entries, the expected results will be available:
(when they are ready.)
Ha, ha, just kidding. Expect them to be posted, late November, Early December.
Also:
Until then remember we are sill enthusiastic to see those of you whom wish to continue their projects.
Though when doing so just simply put an indicator that you are updating the thread at the top perhaps in emboldened lettering.
Stating you are posting after the challenge has ended, on your new posts will help our judges out, while you update your threads, if you chose to do so.
Thanks again everyone.
iam717
1 ·
Re: Losing Your Artistic Voice to Convenient Asset Packs
it comes down to time saving imo. Why model the same tables, chairs etc, loosing production time that could be better used for other assets\optimization, when theres a pack that fits the art direction and is well made ? Why model the same rocks\cliffs you see everywhere from scratch ? If you have time\budget then go for it ! if you have tight constraints and you need to maintain quality look, then i guess its okay. It depends alot on productions.
At the end of the day, when youre working for a project, you arent beeing hired for your artistic vision 100% , sure it matters when making assets, but youre making someone else reality come to life.
At the end of the day, when youre working for a project, you arent beeing hired for your artistic vision 100% , sure it matters when making assets, but youre making someone else reality come to life.
Joao Sapiro
1 ·
Re: Sketchbook: Frank Polygon
Subdivision sketch: it's all the same.
This is a slightly less serious continuation of the previous posts about subdivision modeling and attaching shapes to curves. Only with more pictures and less text.
-Keep things relatively simple and solve major topology flow issues before adding edge sharpening support loops.
-Let the shapes define the loop paths. Match the segments of the intersecting shapes and use the existing geometry as support whenever possible.
-Avoid unwanted deformation or disruption of the segments that make up curved surfaces.
Below is an example of what that process could look like using non-destructive primitive shapes and booleans. Start by lining up the primitive shapes and adjust the segment count in each until the segment spacing is roughly aligned. Run a boolean subtraction operation then bevel the edges around the shape intersection and snap merge the verities to clean up the loop path. Merge down the inner and outer loops to their respective shapes and use the space between the support loops to make up any difference between the existing surfaces.
(Streamline the modeling process by using modifiers whenever possible: boolean, bevel / chamfer, weld, mirror, etc.)
Here's what that looks like unsubdivided, subdivision smoothing applied, shading preview.
But what if has a cylindrical boss? Just flip the hole inside out.
But what if the hole is on an angle? Just rotate the intersecting cylinder.
But what if it's a countersunk boss on an angle? Just add a bit of a taper and let the support loops bunch up where the shapes cross over.
But what if it's a shorter countersunk boss on an angle? Just ignore the non-planar quads, they'll smooth just fine.
But what if the hole is offset from the center line? Just match the segments.
But what if it's an offset countersunk boss? Just let support loops bunch up where they ride over the non-planar quads.
But what if it's an offset hole that's skewed? Just rotate the intersecting shape and make sure the segments match.
But what if it's a partially recessed offset boss that's skewed? Let the shapes define the flow. It's all the same...
On a more serious note: there's a lot of prior art out there and one of the best places to look for examples of how other artists have already solved similar modeling and topology problems is to check out the how do you model this thread in the technical talk section. It's a really valuable resource where a lot of experienced modelers have
shared examples and insights.
Definitely worth searching or maybe even skimming through. Although manually searching it page by page is a bit daunting, polycount does have a search function and it's also possible to limit search engine image results to a specific portion of a site so that can be an easier way to visually search for topology examples of similar shapes.
Definitely worth searching or maybe even skimming through. Although manually searching it page by page is a bit daunting, polycount does have a search function and it's also possible to limit search engine image results to a specific portion of a site so that can be an easier way to visually search for topology examples of similar shapes.
FrankPolygon
1 ·
Re: Show your hand painted stuff, pls!
Handpainting practice.
First time trying 3DCoatTextura and totally in love!
domfiglhuber
1 ·
Re: Building modular buildings and houses questions
In this context I'd absolutely encourage investigating ways to reduce tiling with small textures as Eric suggests. learning these techniques pays off in all sorts of ways (i recommend mocking it up in photoshop/designer, then figuring out the maths later btw).
but
That particular example.. not sure I'd recommend it today...
Using a rotator like that is computationally expensive (for a 90 degree rotation you can just swap axes instead and that's basically free but arbitrary rotation is not).
- It should be a good trade-off if you're memory bound
At the time UDK was current machines had relatively little vram (<1gb), games were running at relatively low resolutions (<=720p) and we were using much less complex shading models (static lighting, blinnphong etc.) - generally speaking, you ran out of memory long before you ran out of processing power and it made sense to trade off in that direction.
In a more modern scenario we have a lot more base memory combined with sophisticated streaming tech and much more complex shading models at much, much higher resolution. With this in mind, it makes sense to lean more towards solving your problem with vram than it does to solve it by adding per-pixel complexity.
Obviously you don't know unless you profile and in this context it probably makes absolutely no measurable difference (rendering the last 3 paragraphs redundant) but this is the internet and tradition dictates that hairs must be split.
but
That particular example.. not sure I'd recommend it today...
Using a rotator like that is computationally expensive (for a 90 degree rotation you can just swap axes instead and that's basically free but arbitrary rotation is not).
- It should be a good trade-off if you're memory bound
At the time UDK was current machines had relatively little vram (<1gb), games were running at relatively low resolutions (<=720p) and we were using much less complex shading models (static lighting, blinnphong etc.) - generally speaking, you ran out of memory long before you ran out of processing power and it made sense to trade off in that direction.
In a more modern scenario we have a lot more base memory combined with sophisticated streaming tech and much more complex shading models at much, much higher resolution. With this in mind, it makes sense to lean more towards solving your problem with vram than it does to solve it by adding per-pixel complexity.
Obviously you don't know unless you profile and in this context it probably makes absolutely no measurable difference (rendering the last 3 paragraphs redundant) but this is the internet and tradition dictates that hairs must be split.
poopipe
2 ·
Re: Losing Your Artistic Voice to Convenient Asset Packs
To me it's more than losing your artistic voice : it's a tradeoff on your knowledge
Alone or as a team, this shortcut rarely goes somewhere sustainable in the long run, one pays to get assets faster in the beginning, but also learns close to nothing and doesn't develops the project's creative core, which will fuel artist's creativity with time and unite them into the same vision, because each one helped building it. Plus you're still stuck with a gap between what you want and what you can achieve (and that can become frustrating, what if suddently you need an asset that doesn't exist ? But can't start to ideate on how to make it...)
I'm only "okay" with that, personally, if the production budget is very tight and makes this decision vital for continuing the dev
Alone or as a team, this shortcut rarely goes somewhere sustainable in the long run, one pays to get assets faster in the beginning, but also learns close to nothing and doesn't develops the project's creative core, which will fuel artist's creativity with time and unite them into the same vision, because each one helped building it. Plus you're still stuck with a gap between what you want and what you can achieve (and that can become frustrating, what if suddently you need an asset that doesn't exist ? But can't start to ideate on how to make it...)
I'm only "okay" with that, personally, if the production budget is very tight and makes this decision vital for continuing the dev
Vexod14
1 ·
Re: Losing Your Artistic Voice to Convenient Asset Packs
I dont like it. Theres an inherent cynicism that comes with a project made entirely of asset packs and tutorials that cheapens the art of game development.
Stock assets are however an incredible tool when used as such, they can give you a starting off point or fill in a gap in your skillset when needed, but it should be done sparingly
The project im working on now uses some stock flat maps and weapons that have been modified/reworked to fit in with the rest of my work, anything more than that and i dont really feel like it would be MY game
Stock assets are however an incredible tool when used as such, they can give you a starting off point or fill in a gap in your skillset when needed, but it should be done sparingly
The project im working on now uses some stock flat maps and weapons that have been modified/reworked to fit in with the rest of my work, anything more than that and i dont really feel like it would be MY game
MikeF
1 ·
Re: Sketchbook: Frank Polygon
Subdivision sketch: softer, harder softgoods.
This is an animated overview of a subdivision modeling process for softgoods.
Complex hard surface modeling projects often have smaller softgood components that are typically made from stiffer sewn textiles or formed technical textiles. While there are specialized applications for simulating sewn textiles, sometimes it's just easier or quicker to model something that's good enough for a visual block out or sculpting base. Especially when the final high poly doesn't need to be all that detailed or when the softgood components are particularly stiff, overstuffed, or molded into a permanent shape.
In this example the seat cushion goes from overstuffed to compressed to simulate use and wear. The workflow in this example was kept purely subdivision as a demonstration. Most of the time, once the basic forms are more or less complete, it makes more sense to switch over to cloth sim brushes or manually sculpting the folds in the fabric.
Here's a few more examples of subdivision modeling for softgoods:
https://polycount.com/discussion/comment/2771257/#Comment_2771257
https://polycount.com/discussion/comment/2783158/#Comment_2783158
https://polycount.com/discussion/comment/2800275#Comment_2800275
FrankPolygon
3 ·
Re: Building modular buildings and houses questions
It's all context-dependent, something you learn best by doing. My advice is to try forcing yourself to stick to a lower resolution, and fix the problems you see. You will learn how to minimize repetitive features in a texture that is tiled. You will also learn how to leverage vertex blending and other techniques like decals and prop placement, to minimize artifacts from repetitive features.
Edit: this is a great example of reducing tiled artifacts, by using a blending technique. One of the many things to try, depending on the constraints and situation. https://docs.unrealengine.com/udk/Three/TerrainAdvancedTextures.html#Multi-UV Mixing: Reducing tiling through scalar mixing
Edit: this is a great example of reducing tiled artifacts, by using a blending technique. One of the many things to try, depending on the constraints and situation. https://docs.unrealengine.com/udk/Three/TerrainAdvancedTextures.html#Multi-UV Mixing: Reducing tiling through scalar mixing
Eric Chadwick
1 ·