Behind the Scenes: 3D Game Scene
Today, we will share a production process of a 3D game scene. This project uses the standard PBR process, and uses 3ds Max to complete the basic modeling, determines the proportion of objects. Finish sculpting in ZBrush for high poly, topology in Maya, baking in Marmoset Toolbag 3, finish making PBR materials in Substance Painter, and finally use Marmoset Toolbag 3 for rendering.
The production is divided into three parts:
2. Material production
Before production, determine what materials, objects, and overall proportions are in the scene, and then determine the production order according to the proportions. Most of the scene in this scene is walls and stones and wooden furniture, so they are the focus of the production.
Quickly set up their approximate proportions in 3ds Max.
Complete the medium face number model
After establishing the proportion of large objects, continue to build the remaining objects in the scene. And further enrich the details of the model. There are a large number of repeated objects, and several different shapes can be made.
Taking the above book as an example, many different types have been produced, which can reduce visual repetitions very well.
There are two pieces of cloth in the scene. Here we take the pillow as an example,
This production uses the cloth calculation that comes with 3ds Max. The specific process is as follows,
Create blocking objects:
Create a pillow base model (the higher the number of segments, the better the simulation effect),
Squash and find the cloth in the modifier,
The end result is a simple pillow model. (The shape of the wrinkles of the fabric should be well organized, and the top is a simple demonstration. Similarly, curtains may have better effects).
Finally in 3ds Max medium face model,
Next, import the model into ZBrush for sculpting.
High Poly sculpture
Here is an example of a house's walls and stones:
The medium face model was imported into ZBrush because of the irregular shape of the stone. You can use Dynamesh (dynamic mesh) in geometry editing to edit the model.
Brushes 1, 2, and 3 are used for large-scale carving of stones. Brush No. 4 adjusts shape to prevent penetration. Finally, brushes 5 and 6 are used to flatten some edges and corners to make the structure hard. Thus reflecting the texture of the stone.
The big ideas on the wall are the same. Finally, use the surface noise, adjust the curve, and the noise ratio to simulate the graininess of the wall and stone surface.
Finally, add some details such as cracks and bumps to enrich the picture. Use the brush No. 6 mentioned above to suppress it again for better results.
Take the wooden table as an example below, first determine the material to be carved, and then look for the corresponding reference picture. Because the wood in the scene is too old, you need to find some pictures of old wood when looking for reference pictures, for example,
The sculpting process needs to be combined with actual life, so as to achieve a more realistic effect. In this scene, the wooden table is a little bit decayed, so the edge of the table will not be made into a hard, right-angled structure, so when carving, you can use the brush to make the right-angled portion of the edge more rounded, so reflect the texture you want to express. With appropriate deformation, it can increase the visual impact more vividly (adjust the place with the Move brush a little).
The wood in the scene needs to have an old feeling, so cracks are a good way to show that the objects are worn out. At this time, you need to use the reference picture. For example, a crack on a window plate can be carved according to the crack in the reference figure. This can better and more realistically and quickly reflect the material.
The final High Poly display,
Low polygon model and baking
The final low-poly model was reduced using ZBrush, and then imported into Maya for final low-poly model production. This can get Low Poly models faster, but the wiring will be relatively less neat. Note that it is important to distinguish between the smooth group and split UV where the angle is close to 90 degrees.
The final baking uses Marmoset Toolbag 3.
After baking all the normals and IDs, import Substance Painter to make the material. It is worth noting that the normals baked in Marmoset Toolbag 3 and Maya use Opengl mode in Substance Painter, and the normals baked in 3ds Max use DirectX mode. After successfully importing, bake the rest of the textures in the texture set-baking model textures.
Wall material basic process
First of all, we make the natural color of the material, and the natural color layer can add filters appropriately to increase the details.
Add a dark color and use the Dirt generator. Partially unsatisfactory add a drawing layer to fix it. Add bright colors and color variations to create the approximate effect of wall decay. Here, it is mainly modified by hand-drawn layers. Continue adding color changes and roughness changes. Try to be as close to real effects as possible.
Finally, you can add an adjustment layer to increase the brightness. The material made in Substance Painter should be imported into Marmoset Toolbag 3 and the brightness will be a bit lower than that seen in Substance Painter. The wall material production is complete.
And because the furniture in the scene should reflect the old feeling, the overall color is grayish and dark. The damage and abrasion are to reflect the original color of the wood, so the color saturation will be higher than the surface color.
Finally, before importing into Marmoset Toolbag 3, you need to set up the lighting, the main light establishes the main light, and the auxiliary light supplements the light source to maintain the brightness of the picture. And to turn on high DPI and oversampling, turn on GI global illumination and AO environment occlusion.
I hope this sharing will help you.