Maya Tutorials: Game Props Modeling
Maya render farm
Fox Renderfarm, a leading cloud rendering service provider in the CG industry, will share with you the game props model produced by Maya. In this Maya tutorial, we will introduce how to create a game-style 3D model based on conceptual design drawings, from ZBrush carving to high poly and low poly UV texture production.
The following is a brief description of the process of making 3D models of games. I hope that you can have some understanding of the models used in games.
Before making a model, there are usually some conceptual drawings as reference for making. In this case, you can directly put the reference drawing in the production software Maya as a reference.
Before importing into ZBrush for sculpting, you can first do some preparation work in Maya. If the model is relatively simple, such as stone, tree trunk, floor tiles, etc., they are relatively simple. You can use ZBrush to sculpt High Poly directly without making a Low Poly model. If the model is more complex, such as a biological model (animal or the like), you can make a Low Poly export OBJ file in Maya and sculpt it in ZBrush.
Import the low poly model into ZBrush for sculpting. From Blocking, make sure that the scale is appropriate. The most important thing is that the model does not deviate from the conceptual diagram. It is necessary to determine the overall ratio first, and then it is the part of some accessories, and finally the detail part. This process only uses the basic brush.
The number of model faces sculpted by ZBrush is very high, which may be as high as hundreds of thousands of faces, or even millions. Such models cannot be used in-game engines. Therefore, the high poly model sculpted by ZBrush needs to be topologically a low poly before it can be used in the game engine. The topology process uses a topology software TopoGun, TopoGun can help the model Resurfacing and Maps baking, and the details of the model will not be lost. If you are making a single static map, then the model does not need to rig bones, it is not necessary to make low-poly and Normal map.
After the topology is completed, it is the job of the UV. Normal maps can be baked after the UV is split. The UV can be organized using some plug-ins included in Maya, or can be produced using other software. You just need to expand them and adjust as needed. Try to be as reasonable as possible.
Schematic diagram of UV deployment and placement
Before bringing the model to Substance Painter, you need to bake the details of high poly onto the developed UV to make the texture. Baking and texture can be made using Substance Painter or Toolbag, especially Substance Painter has many tools and functions, which is very suitable for realistic and cartoon-like texture production.
These textures represent different information such as Normal map, Specula, Hight, and Gloss. The higher the accuracy of the texture, the better the final display effect of the model.
Import the baked texture into the most commonly used Substance Painter software to create PBR textures. Some parts can be adjusted using some preset textures, and then output different textures according to different needs.
Behind The Scenes: Sagittarius(2)
Maya render farm
Three main buildings were built according to the position in the original painting, and then the entire background was spliced out with these three buildings. This step is relatively simple.
Then put the objects made at this stage into the main scene, adjust a few materials, such as metal, leather, SSS materials, give the corresponding model, add an HDR skylight, and test the entire scene.
Now it's time to break the symmetry between the character's head and the monster's head model. This step needs to enrich the details on the skin, such as adding some wounds or something.
At this time, you need to split the head UV. Use ZBrush to export the displacement map to view the effect in Maya.
The ZBrush export displacement method is as shown above: first connect the displacement map exported by ZBrush in Maya. You need to open the subdivision level in the object properties. In this way, the object can restore the display effect in ZBrush.
When the model with refined objects is put into the scene, you can start to adjust the lights. Decrease the intensity of HDR light and use it as a secondary light source, with a film light source as the main light source, and adjust the effect of the light and dark boundary line in the sun with parallel light. The effects at this stage are as follows.
Use of character XYZ
Here you can start to try the smallest level of detail processing on all objects, such as the XYZ replacement texture of the skin, the metal texture and damage traces of the equipment itself, and the skin after the XYZ replacement, as shown below:
The effect of making detailed equipment:
The model is almost finished. Now it ’s time to split the UV. Here, UDIM is used to facilitate textures, a set of UDIM, a set of background, a set of skin, and then the cumbersome UV process.
SP texture production
After splitting the UV, the textures are created. All textures are made in the substance painter. A set of UDIM models are directly imported into the Substance Painter. As long as the options shown in the figure above are checked, they will be automatically recognized. When making textures, it is mainly due to color changes. The color changes should be rich but they cannot cover his original main color. Of course, the roughness changes are also very important. The following picture is the effect of Substance Painter.
The skin needs to be color maps, roughness maps, and rough range maps in the Substance Painter. The color maps are obtained by mapping the real face skin (the same method as XYZ). The roughness can be converted using the previous XYZ three-channel conversion then overlay some random ALPHA textures. The rough range is to control the position of the highlight, and it is hand-drawn. Generally, the forehead, the tip of the nose, and the highlights on the cheeks are more obvious.
Maya texture connection
After the three pictures are drawn, you can add the rough range in Maya, and paste the roughness below:
The color map is attached to the arrow in the figure below, and then radius gives a red color (light transmission effect).
We also need to apply the XYZ displacement and ZBrush-derived displacement that we created earlier to the displacement channel,
After the first pass of the texture, you can test the rendering, and then you need to adjust it according to the picture effect. Then the monster's head also needs to draw a map. Just like the human head, it needs three pictures of color, roughness and rough range.
The next step is to replace the wings. The method of wings uses patch stitching. First, make a single feather map in three or four different positions, and then stitch it. What it looks like at this stage,
Xgen hair production
Let's start adding hair, XGEN for hair, each part should be separated into different Maya files when making hair, and then integrated into the main scene. Mainly how to import into the main scene, first clean the Maya file of the Xgen hair that is made separately, leaving only the growth bodies and the grown hair, and then directly import the cleaned Maya hair file in the main scene, and the imported file will be prefixed with a name. The prefix cannot be deleted, otherwise an error will occur.
When rendering, you need to add AOV channel as a later auxiliary layer.
The entire scene is divided into the foreground and the background for rendering separately, and the later scenes are stacked together to facilitate the final effect adjustment. Finally, the final picture is rendered,
And the detail,
Behind The Scenes: Sagittarius(1)
Maya render farm
Fox Renderfarm, a powerful but affordable maya render farm, brings you a sharing of behind-the-scenes of Sagittarius made by Maya from 3D artist Zihao Zhou. This article introduces how to use the animation CG model production process to restore a 2D original painting Sagittarius, and tells the whole creative process, especially sharing some special places' processing methods and skills.
This artwork contains many elements in the early stage, so it is necessary to consider clearly in the planning of the early stage of production, otherwise it will affect the later model production. Zhou divides the whole work into several parts,
- Character skin: human head, body, horse and monster head.
- Equipment: protagonist equipment, wings and soldier equipment.
Construct the entire scene with simple geometric objects, and make some adjustments after determining the position of the camera lens, and try to place all the objects as well as possible. The location of the light can also be tested to find the most suitable place. It is necessary to make some model objects in ZBrush and put them into the scene as soon as possible to enrich the scene. Don't pay too much attention to the lights and details.
When everything is there, you can start making more accurate models to replace things in the scene. During the construction process, gradually adjust the shape or the position of the wrong part. In the production of this scene, I used to separate the equipment into separate Maya and ZBrush for production. There are two main reasons for this.
- There are many symmetrical objects in the equipment (although it will definitely break the symmetry later), but the previous symmetry can be improved efficiency (making high-precision models directly in the scene will be inconvenient) .
Do it separately in each Maya file. It can save some time for testing the material effect later, you can put the main scene lights into a single Maya equipment in the file, you can increase the speed of rendering. Of course, in the end, the scene effect in the lens shall prevail.
In this step, you can sculpt the protagonist's face, muscles and monster head (except for the symmetrical sculpture of muscle, human face and monster face, which is convenient for making the overall effect, and then break the symmetry later), the muscle part uses an existing body. Use the mask and move tool in ZBrush to adjust the desired appearance, and put it in the scene to match the position of the body. The head of the protagonist and the head of the monster are also placed in the placeholder model before the scene is replaced. The horse's body also needs to be sculpted with muscles, but it will be covered with a large area of hair in the later period, so the sculpting need not be too detailed.
Equipment is produced separately. When this large piece of equipment is determined, the next important thing is the pattern on the body, and there have been many versions of this pattern. In the production process, depends on the topology pattern of the equipment. Here I use Maya's own topology tool to first select the model to be adsorbed, click the magnetite, and then click quad draw to draw on the model.
Then add a line in the middle of the drawn shape, and put the added line in the direction of the normal (to turn off the suction command) so that the pattern is there, then only need to extrude the thickness, pay attention to the corners wiring.
In addition to a larger pattern, some small patterns attached to the surface of the equipment are needed to enrich it. This level is actually to find some suitable black and white pictures of the pattern on the Internet for stitching to make a continuous square picture, and then expand the equipment. UV, stick the pattern to the position corresponding to UV.
Then paste the black and white pattern into the ZBrush replacement channel (need to flip the V direction), adjust the extrusion height, and take a look at the effect. Of course, the patterns on the equipment can be stitched using some online pattern materials.
The production of the armor part is more troublesome, because the shoulder armor looks like a broken metal effect, so first make the shoulder armor large, and then use the ZBrush grouping to divide the shoulder armor into multiple groups, and rewire the regrouped part. The effect of broken metal can appear. Of course, it is still necessary to manually adjust the gap between each piece of metal. By default, the gap size is the same, which is not good-looking.
Wings can first find a wing and place it to see the effect, and then replace it with your own wings.
Blender vs Maya vs Cinema 4D, Which One Is The Best 3D Software？
Blender vs Maya vs Cinema 4D, which one is the best 3D software for animation? As the leading render farm in the CG industry, Fox Renderfarm will answer this question in a personal opinions. As we know, Blender, Maya and Cinema 4D, all are 3D production software, and they can all make 3D animation. The concept of 3D animation is actually very wide, and the movement of 3D objects can be called 3D animation. Therefore, this software should be distinguished according to their areas of expertise, and cannot be generalized.
Maya can also be said to be a resource integration platform, which is mainly used in the production of film and television animation and the integration of related resources. Maya's 3D animation, modeling, simulation, and rendering modules provide a powerful integrated toolset. Can be used for animation, environment, motion graphics, virtual reality, and character creation. We can see the figure of Maya in the major movie screens.
C4D, full name Cinema 4D. One of the major features of C4D is the integrated package. Using these packages can quickly produce good quality effects and animations. Relatively speaking, novices are relatively easy to get started with C4D. C4D can be seamlessly connected with AE(After Effects), and C4D scenes can be directly imported into AE, so C4D is still very popular in the production of short films and film packaging.
Blender is a free and open-source, cross-platform, all-round 3D animation production software, providing a series of animated short film production solutions from modeling, animation, materials, rendering, to audio processing, video editing and so on. Blender has a variety of user interfaces that are easy to use in different tasks, with built-in advanced video solutions such as green screen keying, camera backtracking, mask processing, and post node synthesis. There are also built-in cartoon strokes (FreeStyle) and GPU-based Cycles renderer. Python is a built-in script that supports multiple third-party renderers. It is favored by the majority of graphics enthusiasts in short videos and game production.
All in all, the three software cannot be compared without any restrictions. Each of them has its strengths. It depends on which area you want to develop and then choose the best software tool from them.
Behind the Scenes: Old House Impressions
Maya Cloud Rendering
Hello there! My name is Huangsong Zhang, I really like things with Chinese style. This creation refers to many pictures and restores an old house that has gone through vicissitudes. The software used is Maya, PS, Nuke.
I have always used 3ds Max software. Later, because I needed to switch to Maya for my work, I also tried to make creative works while learning, so the models in this work were completed with Maya software. It is not difficult to create a model, no special modeling skills are used, as long as the overall wiring is reasonable.
The created model is placed, but the screen feels a bit empty.
So a lot of small things were added beside it, such as screwdrivers, cigarettes, sticks, stones, etc. to enrich the picture.
UV is made with the UVLayout plugin. UVLayout is really easy to use in making UVs. Here, as long as UV production is focused on the classification of materials, similar materials are classified under the same UV, and 4 sets of UVs are divided.
The drawing of the texture is all done in PS. First, the basic texture is roughly drawn according to the output UV. Then slowly add details on the basis, and add some feeling of wear and age, and add some effects of falling gray.
An AO layer was superimposed on the material.
The last is the processing of highlights and bump mapping.
The hot water bottle placed in the scene is a kind of plastic with a light transmission effect, and the material is VRayFastSSS2.
The wood texture material has been processed by PS before each texture, so it is relatively simple. The intrinsic color map links the diffuse color channel and the highlight map link reflection color channel. Using the layered texture material node of the Maya and the highlight map, the gloss map is simply created and link to reflection glossiness channel, bump map to Bump mapping channel. Other materials are also adjusted similar to the above, and so on.
In this scene, I want to create an atmosphere of dusk. Therefore, a spotlight is used as the main light source, and then a surface light source is used to supplement the light to avoid dead corners and darkness.
Or use the Color channel of the spotlight and the black and white map of the tree branch to simulate the effect of sunlight coming in from the window through the shade of the tree. Then enter the color gain under the color balance of the texture channel and adjust it to warm yellow to look closer to dusk. Light effects. Finally, I added some small fill lights, in order to add some texture, make the details richer, and the dark parts more brilliant.
Final render and synthesis
For the convenience of adjusting the post-production, layered rendering is used. There are a total of 15 layers including diffuse reflection layer, GI layer, lighting layer, highlight layer, reflection layer, normal layer, AO layer, etc..
This project uses PS composition. And for compositing, layered rendering was performed in the early stage. Now you can grade all individual layers, which can enhance GI, enhance reflection and highlight effects. PS layer overlay method I basically use color filter, in Nuke is the plus overlay method under the merge node.
The left image is directly rendered, and the right image is the effect of layer synthesis, is it a big difference?
Thank you for reading.
Behind the Scenes: 3D Game Scene
Maya render farm
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: 1. Modeling 2. Material production 3. Rendering
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.
The Usage of Maya 2018 Attribute Spread Sheet
Prior to the Maya 2016, it is automatically created a layer selection (Create Layer Override) when opening or closing object properties in bulk. But since Maya added the Render Setup layering settings, the automatic creation of layer selection features has disappeared for the layered approach of older versions of Legacy Render Layers. This is confuse many people who don't know the existence of the Create Override for Selected feature.
Today, cloud rendering will tell you that if the automatic layer selection disappears, how to use the Attribute Spread Sheet tool.
For example, I want to make a layer selection of the object's Primary Visibility property.
Step 1: Select the object you want to make the layer selection and open Maya's Attribute Spread Sheet tool.
Step 2: Select the Primary Visibility property in the Attribute Spread Sheet.
Step 3: Click Layer - Create Override for Selected in the upper menu bar.
Step 4: Change on to 0 (off).
Step 5: Check the Primary Visibility under the Object Properties and you will find that it made the layer selection automatically.
However, cloud rendering want to note that, in fact, the previous version of this feature is also available, but the Maya automatically created the layer selection in the previous version, and now you need to manually click it.)
Making A Robots of League of Legends with Maya and Houdini
houdini render farm
The idea of this robot comes from the game League of Legends, using software such as Maya, ZBrush, Substance Painter, Houdini.
1.Reference I had the idea of making this robot after I saw a reference picture as below.
2.Maya I made the approximate shape of the model in Maya, especially the part of the body structure. Although there is no detail, I try to construct the model.
Now importing ZBrush adjustments, this production process does not use ZBrush's hard surface, but adjusts the large structure of the large model inside, without adding detail adjustments.
After ZBrush was adjusted, it was imported into Maya again, mainly to adjust the details of the model again. In particular, the parts of these edge details need to be adjusted to the position of the wire.
3.UV UV production is very simple, I used the unfold automatic expansion of the UV function, it is very useful in terms of UV extension.
4.Substance Painter After splitting the UV, make a material using Substance Painter. The material of the Apple robot is very simple, mostly metal and luminescent materials. I made a texture using the basic material of Substance Painter.
5.Pose Exporting textures in Maya textures, I made simple settings, Skinning, and Paint Skin Weights in Maya. Because you don't need to do role dynamics, the above steps are as simple as you can.
6.Rendering After the model is finished, I chose to use Houdini for rendering. The material of Houdini is very similar to the PBR material of Substance Painter. Instead of using the Houdini default lighting material, I used light in lighting and created an environment map. Mantra is used for realistic rendering.
The material of the robot's light-emitting part uses the glow node that Houdini comes with, but slowly adjust to the desired effect.
The final rendering.
How Maya Adds Sequence Maps
How **Maya** adds sequence maps, when the camera is projected, the projected video is converted to a sequence map. Next, I will talk about how **Maya** adds sequence maps and their points of attention.
- Identify the texture map
Go to the Material Editor and give a texture file "masterLayer.0001.exr" file on the Color.
Here, why not identify the sequence map.
(Note: The Property Editor window in the Maya Hypershade is incomplete.)
The first method: display the property editor, check Use Image Sequence. Identify the sequence map.
The second method: in the Direct Property Editor window, change "masterLayer.0001.exr" to "masterLayer.<f>.exr" (in English input mode)
Note: If your sequence format is:
"masterLayer.1.exr;masterLayer.2.exr;......;masterLayer.10.exr;" This mode, you can use the second method directly. Checking the “Use Image Sequence” option is still not recognized.
- Window display mode
After the map is identified, pressing the 6 buttons in the window still does not display.
Because Maya displays the window, they clicked on the Maya default material display. (use default material)
Solution: Remove the default material display mode and press the 6 key.
How To Quickly Create An Object Id For Arnold For Maya
To create Arnold's object ID in **Maya**, you need to assign the material ball separately. If you consider the Displacement, we need to manually connect the displacement to the SG node of the ID’s material ball. Here's how to quickly assign an object ID. 1. Switch the Arnold Translator property under the Arnold menu in the Object Attribute to Mesh Light. 2.Change color in R, G, B value you need. Exposure changed to 20, considering the brightness of self-illumination, you can increase it. Check Light Visible Remove the Cast Shadows’ hook (do not let it produce shadow) Change the parameters such as Diffuse, Specular, sss, Indirect, and Volume to 0. Everyone knows that this is the self-illuminating property of the object, so first we have to let the object show its intrinsic color, all need to check Light Visible. Secondly, since it is self-illuminating, it will definitely affect the surrounding environment, so we need to turn off the self-illuminating Diffuse, Specular, sss, Indirect, Volume and other attributes, while not letting it produce shadows, remove the Cast Shadows hook. And this method also fully considers the displacement, Normal and Bump. (This method may not be used in the new version of Arnold and layering with Render Setup. The new version of Aronld has a crypto method for distinguishing IDs.)
To Rebuild Avatar With Arnold For Maya
Arnold for Maya
In 2009, a sci-fi film Avatar swept the world. This film won a lot of honors, but as a CG enthusiast, the greater fun is still exploring the production process of this film.
In Avatar, many characters and scenes are made using Maya. Today we will introduce the Avatar as a case by Arnold and Maya to introduce the software. 1. Collection of materials Material collection is an important step, and the more time you spend collecting material, the less late errors will be. When making the Avatar model, I used the web to collect a lot of real material and video reference. You can add some of your own understanding during the production process. You can also try different brush strokes when post-production in ZBrush, and finally unify the whole character. Here are some of the materials I collected.
2.Maya basic model Use Maya's own box as the basic model, first adjust the general proportion, and then start from the large-sized model parts, so that you can grasp the overall feeling of the character in a relatively short time, and easily modify the scale. As far as possible, the wiring should be as clean as possible. It is not necessary to describe too much detail. In particular, pay attention to the structural turning of the head to facilitate engraving later.
Step 1: This role, gives me the feeling is a combination of feline and human face, the upper part of the face is a lion, the lower part is a human. I decided to put more effort into her lower half of the face and tried to understand the upper half of the cat's face. After analyzing these things, we can grab some of her characteristics to start modeling. I made a simple model, this time there are very few lines, it is very convenient for you to adjust the feeling. At this time, the proportion and position of the character's lower jaw and facial features were fixed.
Step 2: Add one line while adjusting and perform local detail processing.
Eye, eyebrow and cheekbones, here are the low mold and final wiring diagram.
Adding ZBrush details According to the previous reference to determine some of the details of the role structure, subdivision in ZBrush, improve the number of faces of the model to add some details to the model. For example, pores, texture of the lips, etc. Step 1: First perform Maya's cleanup to check if there are more than four sides. Export the obj model without problems.
Step 2: Import ZBrush to add details. Use a few skin brushes. Detail breakdown and detail addition.
- Mapping the texture Because there is already a film and television as a reference, the texture is closer to the content of the film. Here are some of the material I collected.
You need to make sure the uv is correct before drawing the texture. I am using the UVLayout plugin to split the model UV. Pay attention to the position of the tangent at the time of splitting, try to put it in the place where it can't be seen, so as to avoid the seam problem. The mapping of the texture here is made by combining Mari and ps. In order to quickly grasp the process of drawing textures using mudbox here.
These are the uv splits using plugins. It's worth noting that sometimes splitting out is not ideal and needs to be re-edited in the Mayauv editor.
The overlapping parts in the red part of the figure can be adjusted in the uv editor. The final result is as follows.
After the UV editing is done, it is necessary to draw the texture and draw it here using the mudbox. Firstly, subdivide the model and then export obj. The second is to open the mudbox and import the model. Select a brush.
The shader looks at your personal habits and can switch between viewing highlights and non-highlights. Select the brush and click New Layer on the model to select the map size and format as needed. I am here to choose 40964096 size for clarity. And named as the background color, in order to put the background color on the model, to prevent the back when painting the map. The new layer adds the pattern, which can be adjusted in conjunction with the layer blending mode. To achieve the right results.
Generate textures and export them after making multiple adjustments. And add textures in ps. And the root layer is created to generate the corresponding 3s highlights and bumps.
- Rendering Light setting: The first step, we basically use the most basic three-point lighting principle to first adjust the intensity of light to achieve the required intensity. Note that this is the arnold renderer that is utilized, so the default light is attenuated with light. The lighting test of the advanced model (the model without the map) pays attention to the contrast of the cool and warm of the light.
The three-point lighting is generally the primary light source auxiliary light and contour light, pay attention to the contrast between the main light source and the contour light. There is also an application with skydemo light to simulate the surrounding environment. Setting of the shader ball: In order to better express its texture and skin characteristics, we will use the corresponding skin material.
The first step: Since the texture has been drawn before, the respective skin layers whose inherent color is blue are also adjusted according to the inherent color. Connect all the textures to the corresponding properties of the shader and adjust the parameters.
Here, five textures are connected to the skin's three-layer highlight and normal map. Then adjust and test the lights. Render channel output: Render the corresponding channel, which is more convenient to adjust later. They are id, normal, highlight, ao, sss, etc.
Channel synthesis: The rendered layer is synthesized in ps, the ao channel is synthesized by the method of the film stacking, and the highlight channel is synthesized by the screen method. The normal channel can be synthesized in nuke to re-adjust the light. It is possible to directly adjust the eyelashes and adjust the background lighting effects and color in the ps. Adjust the desired effect with the final adjustment.
Author: Xiao Zhen Xing
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