3D Modelling for Computer Games - Summary

To summarise this unit, I have learned multiple new methods to modelling in its entirety, not massively different to the things I already know but different enough to provide me with a new skillset ant.

From the proper building of a model, to the proper production of a normal map and diffuse map through new software, I have learned easier methods of creating game-ready models without having to spend time painting my own textures for every item. This in turn could save me time exponentially in the future and I will bear this all in mind.
I have also run into various problems throughout this unit and have learned methods of fixing them as a result, expanding my knowledge for future projects, hopefully helping me to avoid encountering these problems again.

Whilst the model I have produced is not absolutely identical to my conceptual idea, I have thoroughly enjoyed this unit from concept to final production elements. I will continue to modify the materials inside Maya and in-engine to get the best result possible, as I am aiming to get the black glass section as transparent and realistic looking as possible.

3D Modelling for Computer Games - Importing into UE4

For the final piece of this unit, once happy with my model, I have been asked to import my piece into Unreal Engine 4, to demonstrate the knowledge of exporting and importing meshes for game-ready use.

To begin with, I exported my mesh in FBX file format, and whilst the textures can be carried across using the 'embed media' tick box, I chose to leave this unticked as to show my understanding of the basic material process within Unreal Engine 4 itself.

To begin the import into Unreal Engine 4, I created a new project, and with that a fresh folder inside the Geometry folder in-engine. This allows a user to keep all of the meshes, materials and textures alike within one folder designated to a specific model.

Following the import of my mesh, as can be seen in the above screenshot I began playing with the material attributed of the containment chamber, and will continue to do so until I find a perfect balance between gloss, specular highlight and opacity, assigned specifically to the glass portion, viewed as black glass in 3DO's renders.

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I initially had one material applied to my model, which was presenting me with some complications when it came to material values, as I wanted to produce a glass containment chamber with a metal surround.

As a result of this I needed to apply two separate materials to my mesh in Maya, and then subsequently export my mesh again in FBX format.
With this process complete the FBX was once again ready to be imported into Unreal Engine 4, with the two materials also contained in the FBX.
The Mesh which was already in Unreal had to be deleted and replaced, as a simple update did not read the file fully and only imported it with the singular material as it was before.

I adopted the Glass material already present in Unreal, took information and inspiration from the material blueprint within and built my own slightly different material to put in place.

Through some extra attention to the Unreal material editors and experimenting within, I have managed to produced two materials I am currently happy with at this point.

Note I am still not yet finished and will be making further adjustments to this in time.

3D Modelling for Computer Games - Texturing with DDO

Having laid out my normal map and colour ID maps respectively, producing bakes which I was happy with, I began the export and texturing process with DDO, which dependent on the version of DDO in use, can rely on any mesh to be exported under the OBJ file type, which in turn possibly needs the be activated in Maya through the ObjectExport plugin.

When imported with along with both the Normal bake and Colour Id bake, the DDO interface presented me with my mesh in a 3D viewport, and using selection functions like Shift+C allowed me to view and click on my mesh.
This then presents the user with a menu full of pre-determined, customisable materials to apply to sections of the model, selected via the determined colours in the Colour ID map.

Through selections, applications and customisations of varying materials to the mesh, I ended up with a selection of renders of my containment chamber which can be seen below.

The darkened glass was the only glass material immediately available to me at the time of application, and I will be looking to modify this later in engine once I import my containment chamber into Unreal Engine 4, though this will quite possibly be extra work.

3D Modelling for Computer Games - Baking and preparing for dDo.

Once I had finished placing each of the kibashing pieces on the mesh, I transported the high poly and kitbashed pieces of geometry to the centre of the world to initiate a test bake.
Due to output settings not being changed adequately in the first instance the normal map did not come out quite as desired and once pinpointed, the appropriate changes were made to both the Maya common output settings and the mental ray settings.
Both were set to a high quality 4096x4096 bake and the process was then allowed to complete, producing the below pictures map.

On the lower section of the containment chambers surround can bee seen an issue as expected there may potentially be, with the hardened edged of the higher polygonal mesh affecting the normal map, when applied to a physical model, the normal map is represented like this.

Whilst the map has affected the visual representation of the containment chamber, I pushed on to create a Colour ID map, working on the possibility that with the diffuse/albedo values applied to the model through dDo later in the process, the effect may be lessened somewhat.

Again however, if there are changes which need making manually, then I will make these through PhotoShop as and where necessary.

I began applying multiple materials to the varying parts of the model via face selections, made easier by being able to select the shells projected through the UV editor individually.

Using the brightest possible pigment of colours like Yellow, Red, Green, Cyan and Magenta, I selected each respective part of the model and applied a coloured Lambert in accordance with easy selection through dDo further through the design process.

Once again a bake was produced at 4096x4096 in size, keeping in accordance with modelling/ texturing regulations, with the outcome below.

At this point, I was satisfied with the result to a point at which I felt able to progress forward into dDo to begin experimenting with textures and materials

3D Modelling for Computer Games - Retopology and Kitbashing.

From a point at which I had rebuilt the low poly mesh which was to be the base of my containment chamber I duplicated the mesh and began creating additional geometry, primarily via edge loop insertion with some use of the multi-cut tool here and there.

This allowed me to manipulate the model in such a way that I could easily create enough geometry, particularly vertices in the high resolution mesh for any kitbashed detail within a Normal bake to be projected in a proper manner and ultimately be displayed accordingly.

I decided to add in multiple edge loops at any interval which a bolt was planned to be placed. With this in mind, there more edge loops drawn both vertically and horizontally in places.

The low and higher poly count meshes can be seen side by side below.

Once I was happy with the higher polygonal mesh, I needed to generate some kitbash items, this was to help on two fronts, not only for this project itself, but for any future projects I need to kitbash also, with a view to my future prospects.

I began creating some simple screws and bolts in a fresh document which will be worked on from time to time to expand my abilities with kitbashing from one project to the next.

Taking inspiration in design from some already existent screw types and developing on a few with my own vision, which will help for various themed projects in the future I am sure.

Post-creation, I copied and pasted the bolt of choice into Maya and began placing it around my mesh, having duplicated the high poly mesh once again to bake down to for the higher level of detail captured.

Normally I would have at least partially used the Duplicate Special for this procedure, as at least the top portion of the chamber surround is cylindrical in design, but due to an unforeseen error I could not use this, and as such began manually placing the bolts at precise intervals, using exact positive and negative rotation angles to align thee base of the bolt perfectly with the mesh it on which it was sitting.

For the lower portion of the chamber I had to pay more attention to the placement and angles used, as the mesh is not completely cylindrical in design lower down.

I also took one of the not yet modified bolts from the capture above, and added the half sphere to the surface at the front of the chamber, three on either side, which are to act as the lights on the front of the chamber.

The kitbashed model, following the process detailed above, can be seen below.

As can be seen, there is one obviously glaring issue in the fact the edges of the model have not been softened and as such it could possibly translate into the normal map when baking, giving a stuttered effect on the model as a whole.

Whilst I have tried to use the soften edge tool found under Normals in the toolbar in Maya, the software itself did not want to soften the edged, quite possibly due to there being that many edges, this could possibly have caused the software or my hardware unnecessary stress, or possibly the software just could not handle it.

I am not yet sure or why this has occurred and will look into it at a further point if the bake is indeed affected by hardened edges, though I may be able to fix this simply in photoshop.