Trying to layer the different elements while keeping a nice 'scale ramp'. Photoshop clean-up and Substance Alchemist map generation.I tried to expand on them a bit and provide more insight. Have a look below to give you an idea of what the processes I talked about in the article look like. Typically, this HD leaf modeling step would have been done in some other modeling package (like 3Ds Max, Maya or Blender) but the more I’ve been using SpeedTree, the more I find myself cutting out some of the modeling work I would typically be doing in those other software packages." All my high poly models here are done directly in the built-in SpeedTree modeller. In case this sounds confusing, I’ve added some images to help illustrate the typical workflow I use for creating some of these different elements. Now, once I have my bark texture and my HD leaf material maps, I go into SpeedTree to build my cluster texture. If what I was working on were the HD leaf images I would be using to build my cluster, I would take those into Photoshop to build an HD atlas, and generate my normal, AO and roughness maps in Substance Alchemist. If it was something like a tree stump or branch, it would go directly into UE4, however, if it was a tree trunk that I wanted to use as my bark texture, I would go into Substance Designer to adjust it so that it tiles properly. This step would generate a high definition mesh and texture which I would essentially treat as a high poly object in ZBrush.įrom there, it’s a matter of building a low poly, unwrapping, and baking. Anything that was scanned as a mesh would then be sent to Photoscan for processing. This stage at the beginning just ensures that all the photos have the correct lighting and color values, which will help out my texture work later on. When I was done scanning, I would transfer those photos onto my pc at home and run them through LightRoom for calibration. If I wanted to capture the leaves of that tree, I would place a few leaves on a black piece of bristol board and take a single high-resolution photo from a top view. For example, when scanning the trunk of a tree, I would do a series of photos in a full 360-degree circle around the tree. "I used different techniques for capturing mesh vs. I thought it might be useful to post some of those breakdown images here (as well as a couple new ones), and expand a bit on this excerpt from the article. Since posting up that project, I've received a few questions with regards to working with scanned data, and the overall process for some of the different elements. I also talked about my vegetation workflow, working with photogrammetry, and shed some light on how I built my Birch Forest scene. If you're interested in reading about our approach to creating and organizing reusable assets for Splinter Cell: Blacklist and the recent Far Cry games, head on over and have a read. open-world games, as well as how our processes have evolved over the past few projects. I touched on the different strategies we’ve used at Ubi with regards to how we build environments for single-player vs. I recently shook off some of my writer's rust and wrote an 80lv article regarding reusable asset and vegetation workflows.
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