This will be a simple test of the workflow that I have decided upon. What that means is that I will try out the modelling and texturing process and also remind myself/teach myself new things about modelling and texturing. For example, I have never been a fan of texturing in Photoshop or creating UV’s or trying to match up the points on the UV’s location on the model etc. But I believe that if I implement and teach myself Substance Painter software then the process will be much more natural like fine art and I can also make the model look more realistic.
Not only this, I would like to make a mini mockup of my environment and test it in Unreal Engine in order to get a feel for the world I have designed, the placement of items, and the time duration which it will be suitable for the run-through video to last.
I keep thinking about two things. Firstly, how will the character be able to see the objects on the platforms above the hanging rope (while they are looking around but obviously not in play)? Is that even necessary since I will show all of the hazards on the plinths anyway? Secondly, I need more of a purpose and challenge for the opening the container task- since the task of simply avoiding the hazards is not exciting enough (even if this project is purely based on my games art side of it rather than the game’s design). This task is exciting enough for the hanging rope task but not for this one. I keep coming back to the idea of them not being able to be opened somehow. Having keys to open them is too obvious and quite boring. Maybe only 1st, 7th, and 15th can be opened, and once the character has tried to open a single container then the sequence changes, and then a different three will be able to open- such as the next ones along, or the second next ones along. This may not be obvious enough, however, there could be a sign with some indication as to the code. Otherwise, the player would probably try to open all of the many containers one-by-one until they found them all. This type of task would certainly not require any more input from the art side of things which suits me perfectly.
My workflow will begin by testing the workflow on sample objects, going through a process and see if it is successful. The workflow will contain: preproduction (mood boards/research, sketches and refined drawings) – modelling in Maya – test lighting in Maya (if necessary) – detailed work in Mudbox (in necessary) – export base model, displacement map and normal map (if necessary=test) into substance painter – export model, maps and Uvs into Unreal Engine – make environment composition – test everything in UnReal Engine.
Personal notes taken while testing workflow:
Maya
- What are geometry files prior to transferring the model to Mudbox? Considering that I can increase the number of subdivisions in Mudbox, I will, for now (TBC at a later date), assume that the subdivisions do not matter until I have transferred the model to Mudbox.
- The correct way to save/transfer UV: Export selection> save as FBX file.
- Another way to import a UV into Mudbox is to connect the Mudbox and Maya models and then update each other if there is a successful connection.
Mudbox
- Import UV with option ‘Position’. Check what these both options mean! (the other is ‘vertex ID’).
- When I sculpt in Mudbox and increase subdivisions the mesh becomes more rounded. I would like to find a way to maintain the straight edges if possible. Only other way to do this, that I know of, is to use the flatten and pinch tool but this would only create uneven edges ade from my ‘brush strokes’. I can’t be exactly accurate with that.
- Once imported check the UV view to see if it was successful.
- During the workflow tests, many times the UV did not appear in the UV view in Mudbox…
- (Do I even need to transfer the UVs to Mudbox if I am going to be painting in Substance?) (Short answer = No).
- Once sculpting is completed > Export the lowest level model as well as a higher subdivision level map as a …. (no sure, double-check. I believe you export as a normal map then apply that map to the Substance model later..?)
- Maps necessary to export and transfer are (I believe): Displacement map (to alter the shape of the model) and the normal map (for altered /added texture detail).
- “For texture maps, click the browse icon…
beside Base File Name and enter a file name in the Save As window that appears” Way to save file otherwise you can’t export. I didn’t notice this at first, easily missed.
Substance Painter
- In Substance open a new file- select the model in the browser- select the template called ‘PBR-Metalic roughness (allegorithmic) – then under UDIM’s press ‘add’ and select displacement map file.
- I need to use an export of the base model from Mudbox not the one from Maya, otherwise the displacement map doesn’t apply in Substance. (Although I have an alternative suspicion as to why this happened).
- First I need to bake the mesh maps (Also need to find out what this means and what exactly is the purpose of baking anyway??). Try output size 2K.
High res vs low resolution
Within this Youtube tutorial about ‘Map Extraction in Mudbox’ by the Autodesk explaining the process of creating maps within Mudbox is explained. Here I learned that a displacement map would help to alter the shape of the model (e.g. the solouettewould be considerably different in comparison to using a normal map, or others). The process is Maps (top menu)> Extract texture maps> New opperation> Name and select Displacement map> select the same model with the level you want (the first being with low resolution, either level 0 or 1, the second being about level 5)> Leave subdivision option on.
Workflow Test