Low Poly Swivel Mount

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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 be making a low poly version of the swivel mount.

[MUSIC]

Now I'm ready to move on to the swivel mount piece.

Just like before, the process is I bring in the low, I bring in the high,

I make sure things generally line up with each other.

And then I can optimize the object, unwrap it, rename it, and move onto the next one.

So one thing I am going to do here is I am going to add a couple extra edges.

Just one bevel will run across the whole thing,

help it line up better with my high poly, and it's going to bake much cleaner.

And then I can get rid of any extra edges and faces that I don't need.

So in this case, I don't need that vert in the center.

I don't need those edges running along there.

I certainly don't need this vert back here, but

I do want verts to help me control the curvature back here.

So, I'm just snapping them and moving them back.

Let's make sure we match that curvature on the bottom.

So bring back our high poly as reference.

That looks good.

So we did quick soft and harden and

that usually takes care of most of my soft and hard edges for me.

And just start selecting out individual groups, and unwrapping them together.

So do in the planar x-axis, do an unfold along one axis and

as much as possible, I want to unwrap things as groups

together that are planar with each other if possible.

So I'm going to wrap these two pieces separate,

because that curvature I want the UVs to help me define here.

And I'm going to unwrap that whole little curvature piece, all as one thing.

So we'll need to select,

So if I take the whole shell and I do straightened UV,

you'll see that it turns these corners.

So I'm going to manually rotate them with my UV tool,

just select by UV, rotate them and try to line them up.

And then do another unfold on everything, another straighten, another unfold,

and then we're back in business.

Especially on small, little seams like that,

I want to make sure that they're nice and straight.

It's really going to help define the edges for the normals.

Move it out of the way, rename it, next piece.

[MUSIC]

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