Adding Height-Map Details

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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.

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Из урока

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

Преподаватели

Andrew Dennis
Professor of Practice

Текст видео

In this video, we'll use substance painter to

add a small height details to our model.

So now that I have the basis for everything working here,

I need to put in some of these grip details that

we can see on the bottom of

the battery pack and on the grips.

I'm going to turn off all the layers

and just start working from

the very bottom of everything.

I'm going to create a new layer

without any fell on it for now,

and I'm going to name just as height detail.

So if we turn off everything but

height and we set the height value up,

we see that painting on the surface will

actually draw out a bump tight.

If we change an Alpha for instance here,

maybe we can push it into the form,

it'll look like it's cutting in.

This is going to let us really work with

a couple of details and

using a couple different stencils.

For instance, this stripe

stencil which I'm going

to shift to make perpendicular rotate my view,

I can paint on some of these little grooves.

So let's look at everything here

in the orthographic perspective,

instead of the perspective view.

So everything is nice and straight lined up.

Set my height and everything.

In the parameters for my stencil,

I'm going to set the number of stripes higher.

Anywhere that's white will come through,

anywhere that's black won't.

So I want to make sure I line that

up where I feel like these.

These little seems, these little grip pieces should go.

These are features I could have modeled in.

I just wanted to show you that this is

another way of approaching some of these details.

Now, I can add a black mask

and all of our details disappear.

But if I use a rectangle with black,

now I can control

the edges of where these groups

are going to appear and where they're not.

So painting black will let me erase away,

and painting white, will let me bring them back.

This is much easier than trying to

control where my stencil goes initially.

I can go back and forth with it.

So now, I'm popping into this 2D, 3D view,

because I can look at it from just this perspective.

We can see that it doesn't look like

my brush size works quite correct.

That's because our sized space

isn't set to the actual texture.

We said sized spaces texture,

it'll show us the size it actually should be.

By "Shift" and "Control" dragging,

we can get nice straight lines.

Gets nice and precise control over everything here.

I'm going to choose now one of

these round, circular brushes.

This little doughnut guide will work pretty well

to just erase away the corners of everything.

We can see now in our 3D view,

looks like it was baked in originally.

After playing with the grips a little bit on the science,

I felt like it wasn't quite

giving me the effect I was looking for.

I thought it was a good opportunity to

show you a different way of approaching this.

So I'm going to go ahead and remove all

these from this little black mask.

Make sure I get all those parts.

This time, I want to build

it using a slightly different technique.

I'm going to call this one, rename it battery details.

So I know it's the detail for the battery pack.

I'm going to make another one for just the grips.

So I'm going to create a new fill layer,

and I'm going to add a black masks to that fill layer.

Then turn everything off, but we'll use,

we can paint now in height

information anywhere we see it.

We can control that height more precisely

by raising and lowering our height values here.

So just like before, I'm going to paint over

with broadly the area that I want for the script.

I'm going to choose this doughnut-shaped circle tool

to help me control some of

the corners and edges of everything.

If I "Shift Control" and "Shift

Click," I can draw straight lines between things.

So paint in this corner, and "Shift Click".

Do the same thing from here to here.

She's painting the areas that I want this whole thing to

happen where I want these grips to be.

I'm trying my best to remove the jagged edges.

Although I'll be showing you

a cool way of cleaning that up in a second.

Let's do the same thing on the other side.

What I'm trying to do right now is I'm going to

apply that whole stripe perfect,

generatively to this whole thing,

but I want to control

exactly where the grips themselves should be happening.

So now, I can add a filter and by doing a blur,

I can smooth that out and get rid of some of

those jagged edges that

I was dealing with before, and now,

I can use a level's node to control how

tight that overall effect is.

It gives me a lot of control over the edges.

This is similar to what I was doing with

the masking inside a ZBrush.

So I'm going to name this grip details.

I'm going to turn this into a folder now.

So I'm going to take the same black mask.

I'm going to copy the one mask into the other mask.

Now, I can take that

grip details without any amassed information and now,

and drag it into that folder.

So now, everything is in that masked folder,

and I can control it from there.

This gives me the ability now to paint on top of

it and add another layer with more height information.

But it's going to be constrained to just the area that I

already have denoted by the mask and grip details.

So let's bring that strike back.

Just like we were doing before,

but since we've already taken

the time to pick out where we're controlling this,

all I really have to worry about is how many stripes?

Now, it's nice and controlled

by that little mask that we created.

So let's take this layer and

I'm going to name it grips stripes.

I'm going to add a filter,

and let's add a blur filter.

Turn off everything but

the roughness trip everything but the height,

and then I'm going to add a sharpened on top of it.

So I can slide up this blur intensity,

and then adjust my sharpen intensity.

So it's just a simple blur filter.

I can get a little bit more precise control

over exactly how those stripes are going to look.

Let's do a little organization.

By putting everything under my material colors,

I'm going to be able to just focus here on the height.

So I'm going to add a new fill layer,

and this one I'm going to name battery label

and it's going to be the little label that

sits over those grips.

Give it a black mask.

So let's change our brush here

to one of the square brushes.

Reset its rotation.

Let's paint over top of where we want this to happen and

change it from linear judge to

normal inside of this height layer.

Then let's do a filter.

I'm going to do another blur

and control that to help me control some of the edges.

I like to use this because it lets me round

out corners without having to paint them by hand.

So just by doing a blur and then bringing it back a

little bit I get some nice rounded edges on everything.

Let's up that height a little bit more. There we go.

It looks nice. Now, let's

bring back all the color on our different layers.

We can see that those normal details,

those height details we come through.

I'm just changing my background color here really quick.

Just makes it easier to see on such a dark object here.

Everything is so black it was

making it hard to see everything.

So just changing that up really quick.

I'm going to add another layer.

Nice simple this circular oval

will work pretty nicely because I want

to paint in the seams that run

along the side of this whole object.

I'm going to do this from my 3D view,

and use a lot of that control and shift

dragging and the control shift dragging to

get a nice straight line through everything.

I'm going to start through by looking through

the center of these objective lenses.

This is getting give me a nice little

landmark to work through.

So if I drag across

the whole thing even though I'm getting

some regions I don't want relate now

it gives me plenty to line up with.

Let's draw another one from the sides.

Now by adding a black mask,

I can say it only happens on the black plastic so

it won't happen anywhere else.

So I'm just clicking

this object by clicking

that little by UV will only do

it on the UV shell that I choose.

So now I can set my height to

zero to paint this back away.

Now I can patch in

the little parts that didn't quite line up in my seems.

Sometimes it's nice to rotate

the light in a corner like that.

So it's easier to see what you're looking at exactly.

Once again removing anything that I don't need.

So now I can add a filter and just like before,

applying the filter it's just my height.

I can do a nice little blur,

and then put a levels over top of that.

Now, I'm going to add a histogram shift.

So now I'll clean this up.

I'm going to add a new filter

just on the height and

your new filter and maybe do a quick blur.

It can adjust the blur intensity to see how

far reaching it is into

smooth out some of the pinched areas.

Little cleanup is needed here though.

I'm going to add another filter on top of it.

This time, I'm adding a levels on top of everything,

and we can see if I change

my effected channel to just height,

I control the way the height is being

interpreted which will let me tighten up.

How thick the seam is.

Just play the blur intensity and the height,

and now I can use that mask to

just paint away regions that I don't want to see.

Somebody who is my color selection to

cutaway just the parts.

So now, we need to tighten up these

seems clean them up a little bit.

So let's start by going to filter.

I'm going to add a blur and adjust the intensity a

little bit 0.06 add another filter,

and this time, I'm looking for a clamp which

will let me set a maximum and

a minimum value for everything.

So I don't want those seems to be quite as severe.

So between the blur and

the clamp I can get a lot of control

over how the final scene will

look without having to repaint anything.

So I got some seems,

I got some grips.

I put in some details.

In the next video, I'm going to show you how

we can make a quick stencil inside of

Photoshop that we can use to

put on some of the details some of

the painted and sticker items

right on top of this object,

and build all those little details

inside of substance painter.

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