Behind the Scenes: Spy House Production (3)

Behind the Scenes Spy House Production

Next, we will share the production process of two other materials:

Making wood material

Pay attention to the following points when making wooden materials:

• When you split the UV, try to place the squares as much as possible to ensure that the post-texture image will not be distorted.

• It is also necessary to consider the utilization rate of UV space and try to give priority to the things you can see, which can improve the quality of the material.

• The texture of the wooden structure is simple to produce, and it is necessary to find a lot of references that combine with the situation of the scene. For example, what does the wooden structure look like in an underground wet environment for a long time? Or the wood in this environment is more corroded? So to make such a feeling, a lot of references is very important.

Substance Painter wood texture production

• Import the baked Normal stickers and prepared materials into Substance Painter. Before creating something, create two fill layers, leaving only the Color option. One layer puts the AO diagram on the Color and adjusts to a positive overlay, which is used to improve the dark color. Another layer puts the Curvature map on Color and adjusts to Overlay, which is used to improve the bright color of the edge. After these operations are completed, the production of the texture begins.

Behind the Scenes Spy House Production

Behind the Scenes Spy House Production

Pay attention to the production of wooden texture: Consider the actual situation of the scene. Take the scene we made (spy house) as an example. For a long time in a dark and humid environment, the corrosion will be relatively serious. Afterward, it should be noted that the edges of the wood will not be particularly bright. The bright edges of the wear marks will also be darker, and then the scratches and the wear of the places where they are often used. A little brightness is needed here. Finally, there is dust accumulation and stains in places that are not often encountered. After these things are done, you can basically get a good real texture.

The material for making paper and book

When making a single-page paper with no thickness, please pay attention to the following points:

  1. When you split the UV, try to place the square as far as possible to ensure that the textures in the later period will not be distorted.
  2. The texture of the paper is simple to produce, without Hight Polygon, just baking Low Polygon Normal.

How to make paper in Substance Painter:

Import the baked Normal map and prepared materials into Substance Painter. Create a layer (unfilled layer), select Color for the material and put the material in Base Color, and select None for UV Wrap. In F1 3D/2D mode, place the picture material in the corresponding position.

Behind the Scenes Spy House Production

Just pay attention to the book texture production: from the beginning, it is necessary to distinguish between the shell and the content. If it is made into one, it will not be easy to separate when making the texture.

Marmoset Toolbag 3 rendering

Finally imported into Marmoset Toolbag 3 for rendering, the first is to layout the light source, choose to add an HDR suitable for the scene, adjust the Child Light to the appropriate position to make the model produce a 45-degree shadow.

Behind the Scenes Spy House Production

Because the scene is larger, more lights are added, but when rendering, pay attention to adjusting the size and illumination range of those fill lights to prevent the mutual influence of light.

Behind the Scenes Spy House Production

I hope our learning and sharing can help you, thank you.

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How does the studio directly produce the final shot? (2)
How does the studio directly produce the final shot? (2)
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Virtual Production:Past, Present, and Future(2)
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