Low Poly Objective Lens

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Current Gen 3D Game Prop Production

Universidade Estadual de Michigan

Curso 3 de 4 no Art for Games Programa de cursos integrados

In this course you will learn to create a photo-real game prop using modern game art production techniques. You will gather reference, generate a base model, create a high polygon model, bake details onto a low poly model, and then texture and present a final portfolio piece. This course is aimed at students who have some knowledge in 3d and game art and would like to learn more advanced techniques employed in the creation of modern game assets. We will be using Maya, Zbrush, Marmoset, and Substance Painter extensively throughout the course. When you are finished you will have your own model based of of a real-world prop suitable for use in modern game engines.

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Week 4: Low-Poly Model

In this module you will take the mid-poly model from week 2 and reduce the geometry. This is the model we will be UV unwrapping and baking maps to. The goal for this model is to still achieve the silhouette of our object while using fewer vertices than the mid or high poly model.

Low Poly Dial4:36

Low Poly Objective Lens9:26

Low Poly Strap Mounts3:38

Low Poly Battery Pack3:55

Low Poly Battery Switch3:00

Low Poly Swivel Mount3:36

Low Poly Eye Piece4:34

Low Poly Finishing Body11:51

Ministrado por

Andrew Dennis
Professor of Practice

Transcrição

In this video, I'll continue making low poly versions of the parts of my model by

doing the objective lenses.

[MUSIC]

Now I'm going to hide the focus dial.

And let's show the objective lens frames.

So I need both the lenses, the frame itself, as well as the low poly piece.

And just see everything lines up.

Now I made some pretty significant changes to the block-in when I made the high poly.

So I just need to go back in and make sure that I remodel those features, and

everything more or less lines up.

So I'm going to select this face ring and

expand the size of my selection by doing Shift+>.

And I'm just trying to get enough overlap so it's close to how the lens comes in.

So I'm playing with my scale tool to try to get it to more or

less line up with the distance of everything.

And using 4 on my keyboard, I'm looking from the top to make sure my lenses look

like they're relatively the same shape.

The sort of goal is to make sure that they're right on top of each other, so

I should just see a little bit of this red poking out.

I can see in my low poly in my breakdown,

that there's an extra vert there to get rid of.

That looks pretty good.

Just like before, I've got to have this line up as well,

the edges here need to line up.

A lot of this detail's going to come through in the bake.

I just need to make sure that I get everything close enough so

that there's enough room for everything to bake it.

So the real goal, especially on these cylinders,

is I just want them to be as over top each other as I possibly can get them.

Perfect right there.

So let's mirror those changes back over.

And everything else is more or less lined up, so

now I can just get rid of extra verts.

In the case of my low poly geometry, I'm actually trying to weld up and

get rid of as many extra verts as I possibly can.

Everything's going to triangulate in my engine anyways.

So any vert that doesn't describe a change in shape or

a turn in the form, I can go ahead and get rid of.

So especially any of these verts on straight edges.

I don't really want any of these edges that are just unflat, I just, like this,

I don't want.

This is going to make the, as you're going to see in a second,

the unwrap process go a lot quicker.

What I want to save is any edge that is on an important rotation

that has any turn to it.

So if an edge is on a flat surface I don't need it.

So these edges running along here don't define any change in the shape.

But I wouldn't want to select any of the edges running along my cylinder because

that would actually destroy detail in the shape.

This is getting rid of extra verts.

And I can do this by doing Control-Delete instead of just pressing Delete,

which will also remove the verts with the edges.

Now we see if we triangulate, it'll still produce a nice triangulated mesh.

But it's getting rid of those extra verts.

And vert count is what really matters.

So I, in fact, can get rid of all these as well, because again,

these verts don't really define anything for me.

The other ones I'll do, though.

All right, now I pop into my editing mode and we start working on the UVs.

I'm going to start by taking this lenses,

both sides at the same time, Shift+> and I can actually just do,

when I do my first project, just do them all from this same side.

So you see that having that big n-gon there made it a lot easier for

me to select everything.

So I'm selecting everything that is going to be planar along the z axis.

Then I right-click to do a planar unwrap here.

And now I'm going to do everything that runs in the y axis.

And I do middle mouse click on planar to unwrap it from the y axis

Now all I have left are these edges that run around.

So I take these, And

I'm just going to do a planar from the x.

And now I have all my cylinder pieces so I don't even need to select those.

I can select those by the UV groups that are left over.

So I'm going to do a cylindrical unwrap.

So I'm going to select all of these cylinders and

I'm going to do a cylindrical unwrap on everything together, hitting that T,

that scion circle.

And then I can actually rotate it.

And if I hold J, it'll snap the direction it goes.

And I want it to be on the bottom side of those lenses like that.

Because it will be less noticeable from the view my player or

viewers likely to be looking at them.

Let's do the same thing on the other side.

Again holding J to rotate snap it.

And then just rotating the little tool until it is where I want it to be.

Get that out of the way.

Now I have just these pieces left.

So we see along here, there are some seams that run along the top and

bottom of my actual object.

And so I can make my life easier by replicating the seams that I see there.

And it's a great place to hide my UV seams as well, seams inside of an object itself.

So I decided to project these from the top and the bottom and then unfold them.

Then we want to make sure again that things are straight as we can relatively

can get them.

And in fact I'll do a little straight new V on each of these.

And then I can unfold along just the v axis to get back the curvature that I want

while leaving everything else straight up and down.

We do a quick unfold on everything in,

just to get everything to line up properly.

You can take everything and unfold it along just this one axis, so

it will still keep its shape, and it will be nice and lined up for us.

Let's do the same thing with these.

Let's do a quick unfold, just a standard both access and fold,

especially on cylinders like this.

We can see the lenses have something odd going on with them.

And that's because we have extra geometry in here that we don't actually want,

probably from the mirroring process.

So this is a perfect opportunity to go in and fix this kind of thing.

So let's hide everything but just those.

We can find those individual verts.

We can see exactly where the problem is.

And let's get rid of this one as well.

And make sure I do a merge verts to clean up anything else that might be hiding

in there.

And now they'll unfold nicely.

So we take everything.

We do a quick layout UV.

And take a look at how its grid looks.

It's nice, it's clean, and it's very even.

Let's move it out of the way and we can move on to the next piece.

Don't forget to rename it, and we can move on to the next piece.

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