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“How do you approach huge props?” is a question I get fairly frequently. Let’s take a look at some of the bridges I’ve built for games over the years and discuss the approach I generally take. It may not be perfect, but it works for me!
We’ll look at the texture in Substance Painter and discuss construction techniques in MODO.
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Hi! I’m Warren Marshall!
I’m a freelance, hard surface 3D artist living in North Carolina. I specialize in hard surface work but I can do pretty much anything from environments to props.
I worked at Epic Games for over 15 years and started freelancing after that. Since then I’ve done prop and environment work for some fun projects, including We Happy Few from Compulsion Games and PlayerUnknown’s Battlegrounds. I’ve also done a bunch of asset packs for the various marketplaces.
I have experience with Unreal Engine 4 and Unity and know how to put assets together quickly that look good in those engines.
Here’s a link to my Art Station page where you can see a bunch of my latest work:
Visit my main web site here :
You can email me directly if you’d like :
warren@warrenmarshall.biz
Questions, business inquiries, support – or just to say hi!
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Motion Graphics : Skye Nelson, aka “SkyeShark” ( )
Nguồn: https://unknownsiberia.com/
Xem thêm bài viết khác: https://unknownsiberia.com/game/
What's the biggest prop you've ever worked on, and what advice would you have for someone attempting the same piece?
Oh man thanks for those last words, they just saved me from jumping out the window! For real, it's the first time I'm making a large building (a church) and I'm so dreading having to decide for myself how much resolution and detail I need it's absolutely nervewracking.
hey waretn , did you use floaters to bake the hp to lp? thx. how many materials for this pieces?
As a game dev of 12 years this is good stuff, I like how at the end you threw the real life bit about iteration time… which is absolutely freaking true.
So glad to see a bridge I've walked and died many times on, lol.
I think it would be better to make the big trim pieces tileable so you can use them on a larger scale and you won´t have to worry about hiding the seams.
I'm a little bit confused , so you break the bridge to multiple individual pieces and textureing them in SP ? but it seems you just combined the whole pieces into one object , how do you use them to rebuild the bridge if they're one single object?
Luvit
or you can just google two magical words , Trims and Modular
Hey, nice vid man!
I know it's a bit late, but I have a question – is this ok in gamedev to make like 2-3 texture sets for medium size "hero prop", so this prop will look good in close up? Or should I search for another way to texture this in single texture set?
Just stumbled onto your videos excellent content thanks a lot Warren!
Interesting Approach. Thanks for sharing. Currently wrapping my head around Trim Sheets and this one indeed seems like a hybrid approach. I guess the layout was done this way because so that the islands correspond to the real life sizes of the objects and their texel density? Otherwise I would not undestand why the gaps inbetween would be neccessary. Is there any other particular reason for this? I mean like not to use a fully filled trim sheet and rather go with this approach? Anyways, great looking stuff!
No disrespect I was searching for this kind of stuff I saw the thumbnail and I didn't care couple times after reading it I clicked on it and u saved my time thanks for helpful info Sir…
Thanks for the video Warren!
A few questions if you don't mind me asking,
• How do you tackle LODs in this workflow? Do you just remove the detail pieces and fill in the missing textures with something else?
• If you're using baked lighting then I believe this approach won't gel well with the texture bakes. Maybe I'm wrong but how would one approach big props in a baked lighting setup? If I'm not mistaken, GTAV used extra geometry with an offset of a few micro units away from the "static meshes" and applied a grime texture with an occlusion mask to provide an appearance of darkening/grime build-up.
Thanks in advance!
In my experience, finding a lot of information about texturing huge game assets is not easy to do so thank you for the video.
I've transferred some Unreal assets to Modo and seen where the UV map is huge in comparison to the 0-1 UV space for tiling purposes. Is the trick/rule to create your UV space in terms of the 0-1 UV space multiplied by the number of times you want it to tile?
Hi Warren! Great and useful tips as usual…I have a question though: Wouldn't u be better off using a tiling texture for the bridge with masks for the rust/dirt etc to maintain resolution even up close?
Thank you so much for the video Warren. I assumed things like this were made from tiling textures, but that would mean pulling more textures. Thanks for shining a light on it!
Hey warren,first of all , thx for the video I like it , because, yeap it is really hard to see and undesstand how to deal with huge props , somedays ago I askyou here about TD (texel desnity) with atlasing combination , for saving batches ,etc…. some hours ago I decided to model and texture a Huge but huge gates (similar to Warhammer 40K) with huge doors, all hardsurface (but this is another topic) …and nice, your pov are great ! thx.
Thanks for sharing this Warren. Your videos and explanations often help to reinforce or correct whenever I'm on the right or wrong track but still lack either the confidence or experience to know for sure. One thing, since I know you're an Unreal user; have you played around using multiple UV sets for a single object to "resolution cheat"? It's not quite the same as using a decal since that's mapping a separate poly altogether, but say you have a car you've textured, but then you want to make a cool flame design or logo but don't want to be locked into a single UV map where it lose detail. So you create a second UV set from the selected Polygons and use your logo at a higher resolution, and then composite the maps together for the final output. I've done it in Modo, but not for anything to be used in Unreal or Unity (which I think with Shadergraph, this can be done).
Wow, I had no idea you worked on those bridges. Small world lol. They look awesome and I love your micro to macro approach to big pieces like this. It makes them less intimidating to tackle.
Before I fade to black "Words of encouragement" . . . probably the best part. When I'm working on large models I pick a small section and copy to a new scene so there are no over whelming 'big model' distractions. Useful for raising the over all quality of the model by making sure the detailing is consistent. Also, keep those mini scenes in case you have to redo, undo or do do . . . more later. (hmmm, should add a bit of detailing to my vocabulary)
I love the models for the game, and thanks for this breakdown, my only beef with PUBG is their lighting artist, he just butcheres all the work, it looks so horrible, that guy needs to go back to work at 7-11, they keep doing horrible lighting in every map, if its not even just the standard unreal light.