3ds Max Tutorials of “God of War 86”(3)
Continue the 3ds Max Tutorials of “God of War 86”(1) and 3ds Max Tutorials of “God of War 86”(2), the fastest GPU & CPU cloud rendering services provider, Fox Renderfarm still share with you 3ds Max Tutorials of “God of War 86”(3).
After preparing the model, it is the UV part. There are four unwrapping UVS, namely hands, feet, body, and head. This workload is already a lot. When scaling UVS, we can use a scale to align the size of the checkerboard.
In the process of making a model, there will be a lot of trouble when reducing the surface.
If the UV is too fragmented, the texture will cause seams in many places. So my UV will not be very fragmented. For those seam problems, we need to use Edit normal to fix some normal problems, and we can also use the vertex normal transfer plug-in to achieve perfect normals.
The baking of the model uses Substance Painter. Now the names of High Polygon and Low Polygon are named in 3ds Max. Due to a large number of mecha model parts, it is likely that some places are not baked. In order to prevent this phenomenon, we will first test and bake to ensure that there are no problems before importing all models into Substance Painter.
When baking in Substance Painter, we need to pay attention to some problems that often occur.
When making textures, it’s vital to observe the references. Since the references are pictures of hand-made models, we can see that the textures of the model are relatively simple, and the references of the metal part need to be searched again.
The following is the process of making textures.
I plan to make it look like a battlefield. Its appearance is rather worn, not so new, there will be some dust, stains and other things, showing a sense of oldness. Then, we can start making textures.
First, make the most basic texture, which is divided into three layers, inherent color, light, and dark. These three layers of texture are the most critical. Only when these three layers are superimposed can the effect of worn-out dirt be better. What still needs to be considered is what other details will be on the metal surface. It is best to look for references.
As we can see in the above references, the details on the metal surface are still rich, including dust, scratches, breakage, paint peeling, dark edges of objects, strong reflections, rough surfaces, etc. Of course, the fastest way is to directly use the material that comes with Substance Painter to test what we need. Other textures are made in the same way, including wood, plastic, and so on.
Since the color of the texture and the color of the metal are both cold, it is necessary to add some color changes to the metal when making the texture, such as adding some warm stains, so that the complementary colors will not appear as monotonous.
One more thing to note is that lighting should also be considered when making textures in Substance Painter. A good model must be equipped with good lighting to show the best results. If possible, we can perform a rendering test when making textures.
Texture map made by Substance Painter，
We need to set up the light before Renderer. Since the color of the mecha and the metallic tone are relatively cold, the main light source must be a warmer light. For the backlight, I chose a purple light to illuminate the outer contours of the back. Since the mecha is still relatively large, many places are not illuminated by the main light source, so we still have to make some warm light to illuminate partially dark places.
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