@jewski-bot yup, import from a modelling app, I decided to add an option to increase uv tiling and take it from there. @kwagner oohh awesome, I think I'll consider doing those if ever the textures won't add up even if I added the ability to modify the amount of u and v tiling.
I had so much fun tinkering with the blueprints. So I made myself a rope spline with knots on the end and lanterns. It was very educational and fun. It also means it's very easy to add ropes and lanterns in the scene wohoo xD
@Zyhael I made rope splines as well but I can't figure out how to make knots on the ends. Did you find a tutorial? Are you lanterns part of the spline or did you just add those afterwards? I couldn't get them to hang straight down in my spline so I had to add after the fact...
I won't have time to do the whole environment scene but i completed the robot.ini. UVW and material creation on SD! Low poly is 5.5k but i think i'm gonna turbosmooth then optimise the head even if its a couple of hundread faces more. Legs are chained and fully functional, if i have time i will rig this as well
@kwagner I too had difficulties setting it up but I was able to do it still. What I did was for the rope spline, I used the number of points subtract 2 and use that to get the location and tangent of the splines to make the geometry, but there's lot's of tutorials for that.
The lantern is a part of the blueprint, I had a variable that made me input how many lanterns I want, I set the slider from 0-10 (coz that sounded a reasonable amount of lanterns) I used the get spline length and divided it by the amount of lanterns + 2 (since I don't want the ends). I took the location at distance along spline and used it to align my lantern to the spline. I then added a set world rotation node and piped in the rotation at distance along spline and used break rotator to remove the pitch(since I didn't want it to tilt up or down since it should be a dead hang of sorts) and plugged it into the set world rotation node.
For the knots, I used the same thing as the lanterns except I only needed the first distance which is 0 and the final distance, which is the spline length. I also used the break rotators to align them properly and accordingly, (it was a 90 degree turn on the pitch for the start and -90 for the end)
There's this blueprint in the content examples that I followed and adjusted, if you want to know more or if my typing was confusing. Hahaha. It's a 2.8gb download though. But the screenshots says it all.
I won't have time to do the whole environment scene but i completed the robot.ini. UVW and material creation on SD! Low poly is 5.5k but i think i'm gonna turbosmooth then optimise the head even if its a couple of hundread faces more. Legs are chained and fully functional, if i have time i will rig this as well
Looking great already ! I like the style you are going for. Especially the shapes around the main camera looks cool. ^^ I see some very little pinching at the feet of your robot, where the round shape goes into the feet. You could relax that part before baking. About the rigging. I thought about that aswell, if I had the time I'd like to rig it and maybe make a small animation. I never did both tho, but I'd like to learn it.
Anyway I am excited to see your robot textured, keep the good work up!
Just finished designing the rear legs of the robot. I tried to keep those parts cylindrical like in the concept, while giving them a bit more personality.
Now, I'm going to find a separate design for the front leg and flesh out the pieces under the bot.
Just finished designing the rear legs of the robot. I tried to keep those parts cylindrical like in the concept, while giving them a bit more personality.
Now, I'm going to find a separate design for the front leg and flesh out the pieces under the bot.
I really like your suspension system on the legs! Might if i copy that? xD I was going for functionality that's why i chose the spherical joints! What else is underneath your robot
@Larry It's still a bit bare underneath, but I figured adding some more tubes here and there would be a good way to fill that part though it might never be seen at all on the renders
Started on textures, though just the one, been tinkering with parallax occlusion mapping, but maybe I'll just use it for the floor and have everything else on bump offset, or maybe I have it the other way around?
@Larry It's still a bit bare underneath, but I figured adding some more tubes here and there would be a good way to fill that part though it might never be seen at all on the renders
All of these are great but I believe they bump up your tricount and use space in maps and lower your overall resolution as youwell cannot see them. Remember this is a challenge to make game ready asset. You can add half a sphere as a base underneath and bake some floating pannels on it if u want to fill it, or some sort of ventrilation system. This will also solve your problem to fill up space without much geometry
@Larry It's still a bit bare underneath, but I figured adding some more tubes here and there would be a good way to fill that part though it might never be seen at all on the renders
All of these are great but I believe they bump up your tricount and use space in maps and lower your overall resolution as youwell cannot see them. Remember this is a challenge to make game ready asset. You can add half a sphere as a base underneath and bake some floating pannels on it if u want to fill it, or some sort of ventrilation system. This will also solve your problem to fill up space without much geometry
This is a good idea indeed ! I just made some tests with a turbosmoothed cube (less tris than a regular sphere) cut in half and some high poly cylinders baked in front of it just so I could get used to that technique for later on
Though it raises a question : I had to increase the front distance (EDIT : I meant the rear distance, whoopsie) quite a bit in substance painter to get the baking done correctly. Wouldn't that distance cause some baking issues for the rest of the robot though ?
@Larry It's still a bit bare underneath, but I figured adding some more tubes here and there would be a good way to fill that part though it might never be seen at all on the renders
All of these are great but I believe they bump up your tricount and use space in maps and lower your overall resolution as youwell cannot see them. Remember this is a challenge to make game ready asset. You can add half a sphere as a base underneath and bake some floating pannels on it if u want to fill it, or some sort of ventrilation system. This will also solve your problem to fill up space without much geometry
This is a good idea indeed ! I just made some tests with a turbosmoothed cube (less tris than a regular sphere) cut in half and some high poly cylinders baked in front of it just so I could get used to that technique for later on
Though it raises a question : I had to increase the front distance quite a bit in substance painter to get the baking done correctly. Wouldn't that distance cause some baking issues for the rest of the robot though ?
I'm sorry i am also learning about baking through trial and error as well. You can add all your model parts in 1 uvw map, scaled accordingly (important pieces get higher resolution. And blend that normal map with a material you create in substance painter. Don't tile your model's normal map, just tile and blend the material maps. If executed correctly, i believe you can achieve your material+your baked/sculpted detail in your model. I am actually trying to do this and look correct
I think I'm gonna try that : 1) Make a general uv map of everything 2) Export every part except the underside semi-sphere and bake that, then export the maps (Normals / AO I think) 3) Export the semi-sphere and bake it separately, then export the maps 4) Transfer via photoshop the mapping informations from the maps of the semi-sphere onto the maps of the main thing where they belong 5) Export the complete robot on SP2 and assign the modified maps to it.
@Zyhael Thank you very much for showing me your method on the 24 sided cylinder!
Whoever told me to "bend that Beast" thank you! i don't see the post anymore but it defiantly sent me in the right direction (i like the bend tool)!
@Mahelix Low poly bot is looking good! are you looking to add normals to that?
I tried using xnormal, worked somewhat, just where i had some rivets around the camera. trying to normal map a nice, round circle into a 8-sided cylinder cannot be done me thinks. That being said, guys, i am having problems when i smooth preview my meshes (when you hit the "3" button, i am using Maya 2017) all i get is a crumpled mess in the middle. is there a link to show me what is going on with this??
@Zlivingston Np Bend is your friend though sometimes you gotta know if you should bend first or bend after xD That bot is looking so good
Make sure your 8-sided cylinder has the size as close as possible to your high poly, also make sure to smooth the edge normals (it's on the shift right click menu while on an edge) You can also do it on your high poly to make it look smooth, it helps in baking too, but I guess you already know that.. ahaha xD Also if the 8-sided doesn't work, I guess a 16-sided would, it really depends on how you want the silhouette to look (them angles really show the hardiness of an 8 sided cylinder ahaha)
Also that crumpled mess, I remember having one of those xD Make sure you didn't accidentally key anything or weighted anything., I usually do rigging > hammer skin weights for that but maybe it's something else. Try going to vertex mode and merge vertices, try using mesh > clean up to see what the problem is, try going to face mode and duplicating it then try the smooth on the duplicated one.
I'm having trouble with my parallax occlusion maps in unreal, anyone know why this is happening? It only happens when I'm close to the model but sometimes I see it when I'm a bit far making me wonder if I am doing something wrong, a bit concerned since I plan to use it on the ground xD
I think I'm gonna try that : 1) Make a general uv map of everything 2) Export every part except the underside semi-sphere and bake that, then export the maps (Normals / AO I think) 3) Export the semi-sphere and bake it separately, then export the maps 4) Transfer via photoshop the mapping informations from the maps of the semi-sphere onto the maps of the main thing where they belong 5) Export the complete robot on SP2 and assign the modified maps to it.
I have been trying to bake everything together but looks horrible. The mesh is exploded. Do you also make a cage for every item? Can i duplicate/scale the meshes and make cages but still bake all the parts together?
@Larry My general workflow on maya is to explode everything then use a cage for each part. I keep the scale the same (except for the cage which obviously needs to encase their respective piece).
Tim Bergholz from ChamferZone also uses a "per mesh name" baking process with Substance Painter in his tutorials, which then doesn't require you to explode your model (I don't know if cages can still be used in that case, though).
I am currently trying to make the highpoly version of the bot, but some parts are a bit though to get smoothed right. The front part of the legs, for instance :
The lowpoly version, a cylinder with rectangular holes :
And now the high-poly version so far; the chamfering process in 3DS Max is quite different from Maya's bevels, which leaves me with some pinching :
And also bumpiness :
I'll try to figure that out later, and focus on the other parts until I find a solution
@Larry My general workflow on maya is to explode everything then use a cage for each part. I keep the scale the same (except for the cage which obviously needs to encase their respective piece).
Tim Bergholz from ChamferZone also uses a "per mesh name" baking process with Substance Painter in his tutorials, which then doesn't require you to explode your model (I don't know if cages can still be used in that case, though).
I am currently trying to make the highpoly version of the bot, but some parts are a bit though to get smoothed right. The front part of the legs, for instance :
The lowpoly version, a cylinder with rectangular holes :
And now the high-poly version so far; the chamfering process in 3DS Max is quite different from Maya's bevels, which leaves me with some pinching :
And also bumpiness :
I'll try to figure that out later, and focus on the other parts until I find a solution
And how do you hide the uv seams? I baked some damage on it but the lighting changes in the seam and i dont know how to fix it ! I know every other part of the workflow except from this. I know in hard edges you need to split it but what about pieces like the head? This is how i unwraped it. In UE4 the seams are totally visible
I'm taking a stab at the little robot too. I don't do a lot of hard surface modeling and I've been wanting to try out the new modeling tools in Houdini. I've got some pieces to model and some to revisit, I've learned a ton about hard surface modeling getting the model to this point. In case your curios, it is for the most part procedural, even the not so procedural parts are non-destructive.
@jewski-bot Yeah most everything is high poly atm, I'm just looking to get some normal maps made before I start painting meshes.
I tightened up the spacing of the over all room and changed the field of view distortion to match the concept better. The idea currently is to finish HPs and LPs in about a week, the last stretch of the month will be for texturing and lighting the scene. Oh boy, oh boy, lets see how this goes!
@Larry I'm not here yet so my method of unwrapping might be different once I get to that part, but I would say to do a cylindrical unwrap for most of the body, and leave the very top part of the head as a separate circle, like this (sorry for the crappy drawing) :
I must admit that unwrapping a cylindrical object in a proper way is quite tricky since you'll have to cut through it at some point. I've always been taught to put the seams in a place where they would hardly be seen.
Also another good tip I learned from Tim Bergholz (yeah I know I cite him a lot lol) is to have the border of your uv islands as straight as possible in order to have pixels perfectly aligned with the borders, which will make the seams look cleaner. You might wanna check out his grenade tutorial https://www.youtube.com/watch?v=Y83FLL6TqF0
@Larry Try rendering your bot to see if it's in the final render, if you simply rely on your viewport display it won't show correctly and you will indeed see seams because it's being colored in texture space (so I have believed due to searching the wide web about normal seams) If you don't see it in the final render, it won't be there. Also, if you're doing it in Max (which I believe you are), there are some other things to do with normal maps something like setting the gamma to 1.0 (though I know not what, I've just read there's some extra steps or something, unlike in maya where you just plug it in and set it to normal map) xD
@Larry Try rendering your bot to see if it's in the final render, if you simply rely on your viewport display it won't show correctly and you will indeed see seams because it's being colored in texture space (so I have believed due to searching the wide web about normal seams) If you don't see it in the final render, it won't be there. Also, if you're doing it in Max (which I believe you are), there are some other things to do with normal maps something like setting the gamma to 1.0 (though I know not what, I've just read there's some extra steps or something, unlike in maya where you just plug it in and set it to normal map) xD
Yes i was also searching for this in the internet and found that it's the gamma correction, i just turned it off completely. I am proud to announce that this is the first time i sculpt bake and make something "correctly", from the beggining of 2017 where i just started!I am so relieved! I've been learning things non-stop since then in all my free time! I know that some jagged black lines are due to low resolution from my mesh but who cares now, it works already xD Off to substance designer now!
Better late than never, started with the block out. I probably won't make the deadline but I will try to finish the scene since I've never made something as big as this before.
I haven't posted an update in a bit so here's where I'm at. Found a wood style I'm liking. Kinda fits the concept more than the "hand painted" look I was trying to do did. Also made a tree for the first time!
I haven't posted an update in a bit so here's where I'm at. Found a wood style I'm liking. Kinda fits the concept more than the "hand painted" look I was trying to do did. Also made a tree for the first time!
That is looking awesome, great lighting. What is your lighting setup?
@FinnIsengardt I haven't done too much with the lighting. I've got the directional light at all the defaults except I turned the temperature on and set it to 3760ish. And then I added an exponential height fog at a .02 density. I did go into the world settings and change the Static Lighting Level Scale to .1 and Lighting Smoothness to 6. But that's all I've done so far. Kind of leaving all the lighting and post till the end because they're my weaker points.
Working on the signs. Anyone know if this is chinese or japanese? or does anyone understand what they are? I feel like im gonna screw up somewhere with the characters.... Also, does anyone know what the rest of the covered sign would be?
@Bunnirobotcat I'm pretty sure it's chinese, but I haven't been able to translate anything other than the one symbol on the lantern. I've just been trying to find innocent but relevent things to put in there instead, and then googling to heck out of it to make sure I'm not putting in something potentially wrong or offensive. It is definitely hard. The sign above my store thing is literally just "good food"
@kwagner haha thats a smart way to go. So far I think Im pretty close grabbing from the pixels but I would hate to finish it and it actual says something obscene or offensive like so many tattoos XD
update: so far from those i know that speak japanese they can translate some of it. But like the right side red writting sign translates to 'parking' so its probably just random signs anyway
The signs are Chinese but Japanese folks can read it because kanji is sorta like the chinese writing (because they adopted it, because you know, japan, korea and china been trading and fighting each other in the very very long past I believe). I'm not sure what the word is written on the lantern tho, I plan to put a different one xD Also if you check the store sign, the word on the lantern is also there, beside it might be water or tree (leaning on water).
The last and fully visible character I have no idea, I know it's food accompanied by something else.. hahaha XD maybe food house, but the house character looks like a house, so maybe it's food shop or something. However, it might as well be dumplings. LOL
It's definetly dumpling. hahaha
so the lantern sign (someone tell me what it is) and water dumplings XD
Working on the signs. Anyone know if this is chinese or japanese? or does anyone understand what they are? I feel like im gonna screw up somewhere with the characters.... Also, does anyone know what the rest of the covered sign would be?
Keep in mind that asian languages tend to have an opposite way of talking, what I mean by that is e.g. instead of saying 'this is beautiful' they say 'beautiful it is' or 'stupid you are' etc. So be careful on your word order when translating
Working on the signs. Anyone know if this is chinese or japanese? or does anyone understand what they are? I feel like im gonna screw up somewhere with the characters.... Also, does anyone know what the rest of the covered sign would be?
@Zyhael is right about the chinese and kanji dumplings,水餃. The words before them are blocked, but I think the closer one is tea, 茶. I can tell this art is made by non-chinese/ japanese speaker, so don't get too work up for matching the words. The second one is 道路管, which doesn't make sense lol, I guess it's suppose be Road Department or Road Pipe/Tube. And 駐車厳 doesn't really make sense too, but I think what he meant is No parking/ strict parking. The artist was using Japanese cuz the way he wrote 厳, which is japanese, but the word is pretty much the same in chinese, 嚴 and have the same meaning, both chinese and japanese couldn't really tell the difference (i didn't). The word on the further lantern is 北, and closer one is 京, which together, 北京, is Beijing.
The other words are juz unable to tell, so juz make anything up. I hope this helps, and I hope your computer can read these words i typed too lol. I speak both Chinese and Japanese too, and it really don't bother me that some of them are wrong., but I could help translate if you really want to get them right and have real meaning.
Hey everyone! I'm also late to the party, but wanted to give this a shot since I liked the concept art so much! First challenge I've ever tried too so looking forward to learning from everyone in the thread!
Been modelling everything in 3ds max so far, and tried out zbrush for the first time to sculpt the statues. It was great fun, but quite difficult to get to grips with! I retopo'd the statues in max again after bring in the high poly mesh from zbrush, but they are lacking a lot of the detail I was trying to get, so I'm going to spend more time on them. After another couple of days in max modelling up the final assets I'm gonna bring them into UE4 and start texturing and testing out different lighting set ups.
Everyone else's stuff is looking amazing! Great inspiration
Modelling in maya and texturing in Substance painter. Comment please good or bad anyways!
Looking good! You could maybe add more edges vertically on the main shape to smooth out the polys, and maybe add a couple of horizontal edges and scale them in slightly to round out the sides a bit more? Same would apply to the feet I think, but this is just my opinion!
I would also add some variation to the red material, adding a rough looking specular/roughness map. That would help it look like metal I think. Other than that I love it!
I am working on the retopo and baking right now. I used Substance Painter for baking for the first time and after adjusting the low polys to match the high as close as possible the results are pretty clean. Baking with a cage in 3ds max is a little more forgiving I think but I'd rather force myself to retopo accurately. I decided to use 2 texture sets. 1 for the head and the front camera and 2 for the bottom parts. Have to figure out how to combine the uv's and I probably have to rebake everything as one model with the name suffixes. Here is the bake for the front camera. (mesh is around 1k polygons)
I have a problem with my bakes and I need some help on that... I have seams between my material ID's in Substance Painter. I tried baking the ID map froma low and a high poly model both get me those seems. I tried bluring the id map a little but the colors mixed and therefore arent recognizable anymore for SP. Other ideas would be seperating the ID's as their own UV shells. Would that work`? Or is there something else I am missing...
I have a problem with my bakes and I need some help on that... I have seams between my material ID's in Substance Painter. I tried baking the ID map froma low and a high poly model both get me those seems. I tried bluring the id map a little but the colors mixed and therefore arent recognizable anymore for SP. Other ideas would be seperating the ID's as their own UV shells. Would that work`? Or is there something else I am missing... The Seams: The seam on the ID map My bake Settings:
Been struggling to get the style of painting on my model. But I think I just about have it. I need to adjust some matID bakes and then I prob will count this done.
Looking at the UV's right now I will try to break the edges that give me seams... I will try that right now. ^^
UV
Edit:
I was able to kind of fix it with adding blur and level filter to the color selection in SP. Found that in the polycounts. It seems to be a problem with the contrast between the metal and the black material. I was not able to fix it 100% but it will probably not visible in the final game model.
Been struggling to get the style of painting on
my model. But I think I just about have it. I need to adjust some matID
bakes and then I prob will count this done.
That's an interesting style zerogun, now the robot looks a little bit selfmade, like some old man built it in his small cabin. Really like it!
Here are the renders I made so far with Marmoset :
I'm pretty satisfied with the general modeling so far, though in the near future I think I could add some extra sides to the cameras and the face "hole" since the baking was a bit messy up close at those parts.
@Mahelix Love the shape of this little guy! Looks really curious haha. Great job!
This is where I'm at in UE4. Got most of the bigger objects in, now I need to put in the smaller details and make their materials. I'm leaving the plants and trees til the end, as I'm still not sure how I'm going to make these yet. I was thinking maybe speedtree? Any suggestions would be welcome!
Replies
Low poly is 5.5k but i think i'm gonna turbosmooth then optimise the head even if its a couple of hundread faces more. Legs are chained and fully functional, if i have time i will rig this as well
The lantern is a part of the blueprint, I had a variable that made me input how many lanterns I want, I set the slider from 0-10 (coz that sounded a reasonable amount of lanterns) I used the get spline length and divided it by the amount of lanterns + 2 (since I don't want the ends). I took the location at distance along spline and used it to align my lantern to the spline. I then added a set world rotation node and piped in the rotation at distance along spline and used break rotator to remove the pitch(since I didn't want it to tilt up or down since it should be a dead hang of sorts) and plugged it into the set world rotation node.
For the knots, I used the same thing as the lanterns except I only needed the first distance which is 0 and the final distance, which is the spline length. I also used the break rotators to align them properly and accordingly, (it was a 90 degree turn on the pitch for the start and -90 for the end)
There's this blueprint in the content examples that I followed and adjusted, if you want to know more or if my typing was confusing. Hahaha. It's a 2.8gb download though. But the screenshots says it all.
I see some very little pinching at the feet of your robot, where the round shape goes into the feet. You could relax that part before baking.
About the rigging. I thought about that aswell, if I had the time I'd like to rig it and maybe make a small animation. I never did both tho, but I'd like to learn it.
Anyway I am excited to see your robot textured, keep the good work up!
Now, I'm going to find a separate design for the front leg and flesh out the pieces under the bot.
@Larry I like that style !
Though it raises a question : I had to increase the front distance (EDIT : I meant the rear distance, whoopsie) quite a bit in substance painter to get the baking done correctly. Wouldn't that distance cause some baking issues for the rest of the robot though ?
1) Make a general uv map of everything
2) Export every part except the underside semi-sphere and bake that, then export the maps (Normals / AO I think)
3) Export the semi-sphere and bake it separately, then export the maps
4) Transfer via photoshop the mapping informations from the maps of the semi-sphere onto the maps of the main thing where they belong
5) Export the complete robot on SP2 and assign the modified maps to it.
Whoever told me to "bend that Beast" thank you! i don't see the post anymore but it defiantly sent me in the right direction (i like the bend tool)!
@Mahelix Low poly bot is looking good! are you looking to add normals to that?
I tried using xnormal, worked somewhat, just where i had some rivets around the camera. trying to normal map a nice, round circle into a 8-sided cylinder cannot be done me thinks.
That being said, guys, i am having problems when i smooth preview my meshes (when you hit the "3" button, i am using Maya 2017) all i get is a crumpled mess in the middle. is there a link to show me what is going on with this??
here is what my high poly prop looks like>>>>>
Make sure your 8-sided cylinder has the size as close as possible to your high poly, also make sure to smooth the edge normals (it's on the shift right click menu while on an edge) You can also do it on your high poly to make it look smooth, it helps in baking too, but I guess you already know that.. ahaha xD Also if the 8-sided doesn't work, I guess a 16-sided would, it really depends on how you want the silhouette to look (them angles really show the hardiness of an 8 sided cylinder ahaha)
Also that crumpled mess, I remember having one of those xD Make sure you didn't accidentally key anything or weighted anything., I usually do rigging > hammer skin weights for that but maybe it's something else. Try going to vertex mode and merge vertices, try using mesh > clean up to see what the problem is, try going to face mode and duplicating it then try the smooth on the duplicated one.
I'm having trouble with my parallax occlusion maps in unreal, anyone know why this is happening? It only happens when I'm close to the model but sometimes I see it when I'm a bit far making me wonder if I am doing something wrong, a bit concerned since I plan to use it on the ground xD
Can i duplicate/scale the meshes and make cages but still bake all the parts together?
Tim Bergholz from ChamferZone also uses a "per mesh name" baking process with Substance Painter in his tutorials, which then doesn't require you to explode your model (I don't know if cages can still be used in that case, though).
I am currently trying to make the highpoly version of the bot, but some parts are a bit though to get smoothed right. The front part of the legs, for instance :
The lowpoly version, a cylinder with rectangular holes :
And now the high-poly version so far; the chamfering process in 3DS Max is quite different from Maya's bevels, which leaves me with some pinching :
And also bumpiness :
I'll try to figure that out later, and focus on the other parts until I find a solution
I tightened up the spacing of the over all room and changed the field of view distortion to match the concept better. The idea currently is to finish HPs and LPs in about a week, the last stretch of the month will be for texturing and lighting the scene. Oh boy, oh boy, lets see how this goes!
I must admit that unwrapping a cylindrical object in a proper way is quite tricky since you'll have to cut through it at some point. I've always been taught to put the seams in a place where they would hardly be seen.
Also another good tip I learned from Tim Bergholz (yeah I know I cite him a lot lol) is to have the border of your uv islands as straight as possible in order to have pixels perfectly aligned with the borders, which will make the seams look cleaner. You might wanna check out his grenade tutorial https://www.youtube.com/watch?v=Y83FLL6TqF0
So i did what you said but still getting these weird normal seams.
If you don't see it in the final render, it won't be there. Also, if you're doing it in Max (which I believe you are), there are some other things to do with normal maps something like setting the gamma to 1.0 (though I know not what, I've just read there's some extra steps or something, unlike in maya where you just plug it in and set it to normal map) xD
I am proud to announce that this is the first time i sculpt bake and make something "correctly", from the beggining of 2017 where i just started!I am so relieved! I've been learning things non-stop since then in all my free time! I know that some jagged black lines are due to low resolution from my mesh but who cares now, it works already xD
Off to substance designer now!
I haven't posted an update in a bit so here's where I'm at. Found a wood style I'm liking. Kinda fits the concept more than the "hand painted" look I was trying to do did. Also made a tree for the first time!
very nice! Im digging the wood grain and stone floor a lot.
Also, does anyone know what the rest of the covered sign would be?
haha thats a smart way to go. So far I think Im pretty close grabbing from the pixels but I would hate to finish it and it actual says something obscene or offensive like so many tattoos XD
update: so far from those i know that speak japanese they can translate some of it. But like the right side red writting sign translates to 'parking' so its probably just random signs anyway
The last and fully visible character I have no idea, I know it's food accompanied by something else.. hahaha XD maybe food house, but the house character looks like a house, so maybe it's food shop or something. However, it might as well be dumplings. LOL
It's definetly dumpling. hahaha
so the lantern sign (someone tell me what it is) and water dumplings XD
The other words are juz unable to tell, so juz make anything up. I hope this helps, and I hope your computer can read these words i typed too lol. I speak both Chinese and Japanese too, and it really don't bother me that some of them are wrong., but I could help translate if you really want to get them right and have real meaning.
Been modelling everything in 3ds max so far, and tried out zbrush for the first time to sculpt the statues. It was great fun, but quite difficult to get to grips with! I retopo'd the statues in max again after bring in the high poly mesh from zbrush, but they are lacking a lot of the detail I was trying to get, so I'm going to spend more time on them. After another couple of days in max modelling up the final assets I'm gonna bring them into UE4 and start texturing and testing out different lighting set ups.
Everyone else's stuff is looking amazing! Great inspiration
I would also add some variation to the red material, adding a rough looking specular/roughness map. That would help it look like metal I think. Other than that I love it!
I decided to use 2 texture sets. 1 for the head and the front camera and 2 for the bottom parts. Have to figure out how to combine the uv's and I probably have to rebake everything as one model with the name suffixes.
Here is the bake for the front camera. (mesh is around 1k polygons)
I have seams between my material ID's in Substance Painter. I tried baking the ID map froma low and a high poly model both get me those seems. I tried bluring the id map a little but the colors mixed and therefore arent recognizable anymore for SP.
Other ideas would be seperating the ID's as their own UV shells. Would that work`?
Or is there something else I am missing...
Edit:
I was able to kind of fix it with adding blur and level filter to the color selection in SP.
Found that in the polycounts.
It seems to be a problem with the contrast between the metal and the black material.
I was not able to fix it 100% but it will probably not visible in the final game model.
That's an interesting style zerogun, now the robot looks a little bit selfmade, like some old man built it in his small cabin. Really like it!
Here are the renders I made so far with Marmoset :
I'm pretty satisfied with the general modeling so far, though in the near future I think I could add some extra sides to the cameras and the face "hole" since the baking was a bit messy up close at those parts.
This is where I'm at in UE4. Got most of the bigger objects in, now I need to put in the smaller details and make their materials. I'm leaving the plants and trees til the end, as I'm still not sure how I'm going to make these yet. I was thinking maybe speedtree? Any suggestions would be welcome!