AdamBrome - thats a great start. did you have to model all the chain links though?
could n't you do one , then bake it to a poly plane or polyplanes then copy and paste that instead. just a thought, I am no environmental guy:)
I generally do them as single quads per chain link but only if the amount of links is small. For this scene it's a large amount, which would cost a huge amount in overdraw since each plane would have an opacity and opted to go for more triangles and no opacity.
Since the player in this little project of mine can get right up close to -everything- you can see in screenshots I believe the chains should be more than a single quad so that the 3D shape of each link can be seen from all angles.
Haven't gotten a chance to spend much more time on this, but B1ll gave me an excellent paintover and I wanted to try and make some of the fixes he suggested. Also still trying to develop the character -- and i discovered the clay tubes brush, i'm in love with zbrush now.
Suprore, that sculpt's coming along nicely. The forms are looking good. Clay brush ftw
Moved this over from the lowpoly thread, since it's now at about 800tris for the character.
Salem, from Army of Two, PSP-ish spec:
804 tris for the character (including pads, accessories, etc). 168 tris for the SCAR, 62 for the GL attachment, 76 for the pistol (plus magazine). Not really optimised yet, and limbs (but not torso) are modeled underneath the pads and whatnot.
Heard something interesting this week about getting a contact within the industry so I'm spending this weekend putting together a quick sample of work, which I'd hoped to do after graduation... oh well.
Some texture I made ages ago for zelda. No photo sourcing, purely hand drawn.
(anyone know how to tone down the normal shading in UE3? I had a proper normal map done from zBrush, but the shading was too black so I ended up having to do an nvidia filter one which doesnt really show off too much skill. I played with material editor a little bit but to no avail. Help!)
Everything in the background is a copy of the foreground, just rotated. I find doing this helps visualize what the end project will look like, even if I end up not using this setup exactly.
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East , thats coming along nice. Did you use displacements for the seams?
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Thanks, Ruz. Which seams to you refer to? I normally make seams as uncomplicated as possible with a simple alpha, and the layer tool with Freehand and (sometimes) Roll activated combined with LazyMouse just to give the gesture of a seam.
SupRore, you're making great progress on the head there, his features are definitely coming to life. Clay Tubes are good to use to build up volume. Oftentimes you get the best results by adopting traditional sculpting techniques
hey new to the site just found last week. like the things i see. here's my wip. please tell me what you think. gonna stat texturing it soon. also thinking about try to make another version thats around 1000 tris.
Everything in the background is a copy of the foreground, just rotated. I find doing this helps visualize what the end project will look like, even if I end up not using this setup exactly.
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Dude that's great work!! Good luck texturing that monster - impressed.
We are still working on our machinima series. Ironing out the technical stuff still but we are putting together an excellent storyline and some really good episodes. Hopefully we will do the community right. I have posted some 3D renders of some various models in action. All of these will be sucked back into UE3 for the movie. cheers!
maestro: The animation is pretty smooth and nice, but the vehicles look like RC cars. They bounce way too much, and even the one scene that hints the hellbender has mass (where it banks a lot when coming around a curve) is then shot to hell by how springy it is.
edit: ahh so it is stock mocap. well good of you to make use of what you have available.
Adam, that scene is badass. I have a question about the 2 buildings at the end of the pier. (the 2 buildings in the second picture on your first post).
How much floating geometry (if any) are on those buildings? And when constructing buildings like this is there any benefit to making everything one object? Or using floating geo?
I'm trying to come up with a workflow for large structure architecture, and things like dormers and window trims I find I can wrap my head around them when they are floating seperate pieces as opposed to always having to cut out triangles and then turn them into rounds. (ie how to get a decent proper looking curve from just a cut)
Vailias - i should watch some videos of monster trucks then. I thought the corner scene was good. But I see what you mean now how soft it is after the corner. Thanks for your comment, I'll work on adjusting it.
Saidin311: Thanks I am not quite sure which building you're asking about, but what I do know is there is no simple answer for this.
In todays game geometric data (triangles) haven't as much impact on a system as other major contributors, like texture memory.
However, I can say that if details are going to be cut in to a scene geometrically, those details will remain a part of the same object whenever they extrude IN to the mass (subtractive) and that I will try and have separate 'floating' pieces whenever the detail extrudes out (additive) from the piece.
This isn't any sort of golden rule, but its something I tend to go by. (For character art its a whole different ball game.) Sometimes its required that you do not extrude the details in and just have them be apart of the texture (for example, window on a brick wall) but for this instance we'll not be doing that.
Cool model Jesse, I'm not too sure if the asymetry is throwing me off or whether it adds to the coolness. I'm curious how you modeled those spirals. Did you just twist an extruded cylinder?
Imslightlybored -> I would give a better presentation of the final result, it's hard to tell how effective your normal maps/specular maps are. Put them on an object in a scene with some lighting to show off how well they can pop. Is the top left biggest image just the diffuse or all maps combined? you should label the maps.
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Imslightlybored -> I would give a better presentation of the final result, it's hard to tell how effective your normal maps/specular maps are. Put them on an object in a scene with some lighting to show off how well they can pop. Is the top left biggest image just the diffuse or all maps combined? you should label the maps.
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Cheers! I've been thinking similar since I did them, and your right of course. I'll go back and think on the presentation.
nice doodle StefanH
cheers Slaught- like the structures going on in your face. if anything thats where i struggle a bit sometimes,ie the blocking out stage and placing polys in the important places
Replies
I AM THE BOX MASTER.
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So thats whats up with your avatar. =p
Alex
could n't you do one , then bake it to a poly plane or polyplanes then copy and paste that instead. just a thought, I am no environmental guy:)
Since the player in this little project of mine can get right up close to -everything- you can see in screenshots I believe the chains should be more than a single quad so that the 3D shape of each link can be seen from all angles.
Fence is a bit different than chains, IMO.
3ds max 9, 4888 polys, 2 diffuse, normal, spec for body. 5 maps for skin: epidermal, subdermal, diffuse, normal, spec. its a lot but it works
I didn't expect to see you on here.
heres what I'm just about finished with, moving on to something else but I need to fix the normal mapping problems on his loin cloth still.
planning on doing the entire armor in mudbox
brows are a bit lol at the moment.
Moved this over from the lowpoly thread, since it's now at about 800tris for the character.
Salem, from Army of Two, PSP-ish spec:
804 tris for the character (including pads, accessories, etc). 168 tris for the SCAR, 62 for the GL attachment, 76 for the pistol (plus magazine). Not really optimised yet, and limbs (but not torso) are modeled underneath the pads and whatnot.
That's hot, darth. Love the colors, form - everything. Top notch.
Some texture I made ages ago for zelda. No photo sourcing, purely hand drawn.
(anyone know how to tone down the normal shading in UE3? I had a proper normal map done from zBrush, but the shading was too black so I ended up having to do an nvidia filter one which doesnt really show off too much skill. I played with material editor a little bit but to no avail. Help!)
Everything in the background is a copy of the foreground, just rotated. I find doing this helps visualize what the end project will look like, even if I end up not using this setup exactly.
East , thats coming along nice. Did you use displacements for the seams?
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Thanks, Ruz. Which seams to you refer to? I normally make seams as uncomplicated as possible with a simple alpha, and the layer tool with Freehand and (sometimes) Roll activated combined with LazyMouse just to give the gesture of a seam.
SupRore, you're making great progress on the head there, his features are definitely coming to life. Clay Tubes are good to use to build up volume. Oftentimes you get the best results by adopting traditional sculpting techniques
hope Swizzle likes. been meaning to finsh it awhile ago.
[/ QUOTE ]Woah, shit! I just saw this. Badass, man!
More updates...
Everything in the background is a copy of the foreground, just rotated. I find doing this helps visualize what the end project will look like, even if I end up not using this setup exactly.
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Dude that's great work!! Good luck texturing that monster - impressed.
http://uk.youtube.com/watch?v=070W2fJA4as
edit: ahh so it is stock mocap. well good of you to make use of what you have available.
How much floating geometry (if any) are on those buildings? And when constructing buildings like this is there any benefit to making everything one object? Or using floating geo?
I'm trying to come up with a workflow for large structure architecture, and things like dormers and window trims I find I can wrap my head around them when they are floating seperate pieces as opposed to always having to cut out triangles and then turn them into rounds. (ie how to get a decent proper looking curve from just a cut)
I guess thats multiple questions!
In todays game geometric data (triangles) haven't as much impact on a system as other major contributors, like texture memory.
However, I can say that if details are going to be cut in to a scene geometrically, those details will remain a part of the same object whenever they extrude IN to the mass (subtractive) and that I will try and have separate 'floating' pieces whenever the detail extrudes out (additive) from the piece.
This isn't any sort of golden rule, but its something I tend to go by. (For character art its a whole different ball game.) Sometimes its required that you do not extrude the details in and just have them be apart of the texture (for example, window on a brick wall) but for this instance we'll not be doing that.
Keep in mind most of these are animated, so will look different ingame. Plus this shots with bloom turned off:
is the asymetry intentional or did you just forget some of the little bars on the sides of the doors?
Nice either way.
my new base head. bit more detail built in this time and the loops are cleaner
I am thinking that I like them so they will probably stay and I will add them in to the rest.
Imslightlybored -> I would give a better presentation of the final result, it's hard to tell how effective your normal maps/specular maps are. Put them on an object in a scene with some lighting to show off how well they can pop. Is the top left biggest image just the diffuse or all maps combined? you should label the maps.
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Cheers! I've been thinking similar since I did them, and your right of course. I'll go back and think on the presentation.
Cheers again
looking cool LoTekK
Awesome...I was thinking about doing the wright-brothers plane but I can´t find good reference
@Ruz
It´s so clean...Saved for reference!
180 tris
Imagine crazy anime hair going everywhere later on.
cheers Slaught- like the structures going on in your face. if anything thats where i struggle a bit sometimes,ie the blocking out stage and placing polys in the important places