03 Mid-Poly Eye-Piece Viewer

Loading...

Current Gen 3D Game Prop Production

Университет штата Мичиган

Курс 3 из 4 — Art for Games Специализация

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.

Просмотреть программу курса

Из урока

Week 2: Mid-Poly Block-In Model

In this module you will work to create the form of your model. This mid-poly block-in will not be textured, nor smoothed into a high resolution model. The goal is to create a mesh that is accurate to your reference that can become the starting point for your high and low poly models. This is often the most challenging part of the process.

01 Mid-Poly Objective Lens14:37

02 Mid-Poly Eye Piece Swivel8:32

03 Mid-Poly Eye-Piece Viewer7:29

04 Mid-Poly Body15:52

05 Mid-Poly Battery4:15

06 Finish Mid-Poly Body15:23

07 Mid-Poly Swivel Mount8:39

08 Mid-Poly Strap Mount8:38

Преподаватели

Andrew Dennis
Professor of Practice

Текст видео

As we continue to refine our block end,

we're going to move on to the eye viewer piece.

[MUSIC]

I think it's going to work okay for this project.

Scratch that last piece.

So the next piece we need to do then are these eyecups.

Which by comparison are much easier.

I'm going to take this piece here, Do an extrude.

Offsetting just a little bit before extruding that out.

Do a little vert snap along the top so it fits in.

Get that little transition piece in that, we want to simulate.

If I want to make it any smaller, I just have to, Scale it along this axis.

I can always repeat that last transform by middle mouse dragging which helps me get

things just lined up a little bit better.

With all that said, I think that will be right about there, should be pretty good.

Nice.

So here, we have this feature where it kind of,

we want to get the sense that it's rubber.

So it kind of comes out and it's going to bow in,

there's going to be a little bit of lip there.

The lip we won't worry about, but

this bowing we can do pretty simply by just creating a cut there,

taking this face and getting it just a tiny little change in its shape.

It's going to help that read a lot better.

These faces, do an extrude, offset to get the thickness of the rubber.

And then pull into about, hold Shift to extrude back.

We want to put that right about where we can see that transition start to happen.

As you can see, where we get that curve in is right about where there's nothing

that these eyecups, the rubber here is no longer wrapped around something.

That's why it's pulling in a little bit more.

So that's about correct in the spot.

Just checking some of these images to get a sense of exactly what I'm looking for.

This is just the block end so, keeping it more simple.

I'm not going to worry about the softness in here or that little ridge.

I just kind of want this piece going down and then into the lens.

So do an extruding.

We pull that down just a little bit, just a hair.

Let me come in more because I want to get the lens size just about right,

Pull that back, And

then do that same lens trick that I did on the back.

This time, I'm going to take this whole thing and

I'm going to click Poke Face So I can pull this out.

Select all these.

Let's go to edges.

Great, this edge.

And do a bevel.

I'm going to separate a lot of these pieces later,

especially as I'm getting into my low or my high poly.

But in this mid poly, I'm just trying to get

the shapes to look as roughly like that first to read kind of thing.

We're not getting into the small details for instance, little things like these

grip ridges, or like little lips here ridges or these kind of things.

Those are all details I'm going to want to get out at a higher poly level of detail

or I might even just do in texturing.

Depending on where I see the project going.

So as soon as I have an eye stock that I like, I want to put it into position.

And even though, I know I'm lining things up in here,

I know these are twisted out a little bit.

So I want to line it up more or

less with this object which I know I need to cut out later.

Okay?

Duplicate it, and I can move it to the other side here.

Something I haven't been doing so far on these as I've been working on them is I

haven't really been naming them, which I really should.

So, let's go ahead and

start naming out some of these pieces that shall be part of my block end.

So I'm going to move and drag this back into my block end.

This piece, I'm going to delete its history.

So, I'm looking at my diagram here, we actually have some names for all of this.

So, using the real names helps maybe I need to search something later or

they've done the work of coming up the names things for me.

So, I don't have to do it.

So this can be objective lens.

These can be the eyepieces here, let's pull everything out of this object.

Sometimes you'll see inside of your outliner, it has this red-arrowed symbol.

This is called a transform node, and

the group that we made earlier is also a transform node.

In this case, this piece cylinder transform node,

it's storing everything we made from that original poly-cylinder and

I don't want all of this stored inside of it.

So I'm going to click all of it and hit Shift+P.

I can drag that back into the block end.

And now I'm safe to delete this group that they're no longer part of.

So looking at this, I'm looking at a left and right.

So I'm going to say,

rEyePiece.

This is going to be our rEyePiece transition.

I'm not sure what to call that but

I'm calling that a transition assembly kind of a thing.

I do the same thing, Eyepiece transition and

then, left eyepiece.

And we'll call this body,

although that's going to change a lot as we're working through this.

And this will be battery.

Okay, so we got our front assembly here.

We have our eyepieces.

In the next video, I'm going to move onto modeling out the body,

which is going to provide the basis for both this main body assembly,

as well as this little end cap here.

[MUSIC]

Ознакомьтесь с нашим каталогом

Присоединяйтесь бесплатно и получайте персонализированные рекомендации, обновления и предложения.

Coursera делает лучшее в мире образование доступным каждому, предлагая онлайн-курсы от ведущих университетов и организаций.

© Coursera Inc., 2019 Все права защищены.

Загрузить из App Store

Загрузить в Google Play