![]() An additional render was created using V-Ray to showcase the original sculpt. Like for a game engine, where just the lighting information is baked into a texture, typically using UV channel 2, then overlaid on the object. What sort of light map are you interested in baking We will likely add more baker outputs in the future. Render - Look dev was done in Marmoset where the model was also lit and rendered. You can bake ambient occlusion maps currently, but not light maps. Extra care was taken to create a pattern that would not draw attention to the symmetry of the model. Textures - The model was textured using Photoshop 3D Coat was used to paint over the UV seams. High-res animal images and textures were used to create realistic patterns and variation. ![]() The xN ormal plugin in Photoshop was also used to add extra details to the normal maps. Diffuse, s pecular, gloss, subsurface scatter and emissive maps were created in Photoshop. Maps - Normal and ambient occlusion maps were baked in xNormal. ![]() UV - Half of the model was UVed in Maya on a single 4k texture map which was used symmetrically across the model to optimize texture space and reduce the number of texture maps. all the right maps for the material including the important emissive map. Game-Res Model -The high-res sculpt was then re-topologized in Maya to create the game-res mesh. When doing this my main focus was keeping the poly-count at low level with minimal sacrifice to the silhouette and form of the model. CONTENTS2 Hours1080p ResolutionMarmoset Toolbag SceneSubstance Designer Graph. This was done by using the concept as a reference for the overall form of the creature while using a mixture of human and various animal anatomies as reference for the mid level forms and details. High-Res Model - The creature was sculpted in ZBrush where a balance was established between the original concept and aesthetics/believability in a 3D medium. ![]()
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