Showing posts with label BA3: Material and Rendering Fundamentals. Show all posts
Showing posts with label BA3: Material and Rendering Fundamentals. Show all posts

Sunday, 13 May 2012

BA3: Material & Rendering Fundamentals


Conclusion
This project I didn’t enjoy half as much as the modeling process. I think this is a mixture  of not feeling like I had half as much tuition on rendering and texturing as I feel we needed and deserved and the lack of time we had left to complete it. 

Alas, after my internet being dead for the weekend that I had planned to use to render and light I was left to my own devices to light my model and render it which was a huge fail, in return I feel my door suffered because of it. 

I wanted to make the marble door and stairs shiny but I had no internet to look up guides on how to accomplish this. I also wanted to put patterned stone textures on the indents of the pillars, archway and stone detail but I ended up just making them all 1 stoney texture again because I couldn't look up the correct method of UV mapping. 

I do feel I got a basic grasp of UV mapping but I feel I need ALOT more practice. Having said this, I enjoyed the modeling more and need to determine where my interests lie so I know where to improve. I don't feel texturing is a part of this. 

My turn table was done very last minute but with the help of Stacey as I was unable to acess the correct help, guides and software to complete it myself. I am proud that I now know more about the render process but I wish I could of produced a longer lasting  turn table as mine is so fast.

 
 
Overall I did enjoy this project, just not as much as my modeling part. I want to keep trying at it to improve my skills as I do seem to enjoy 3D alot more than I tho
ught I would. I WANT to get good at it and I am proud of this piece of work as it is my first ever piece of work created from scratch in Maya. 

 
 

BA3: Material & Rendering Fundamentals

Rendering
I am struggling immensely to render this an animate a turntable for submission without internet help. I have called friends who have tried to give me a talk-through guide over the phone on how to render and create a turn table and from the sounds of it I’m not doing anything different so I am at a loss. I cant even open up Maya help because that needs the internet to load. 

As I am writing this blog post with the final door all lit up (although even the lighting isn’t quite what I wanted as I couldn’t look up techniques therefore I am not quite as happy with the outcome as I could of been…) and the model complete all I need to do is render it and create a turntable video but I just cant. So what I plan to do is blog about what I have tried to do in order to render and create a turntable video so you can at least see that I tried. I am going out somewhere that has internet later to upload this blog and probably wont be able to blog any more after that so even if I can get the door done I wont be able to upload it to my blog unless I do it quickly at uni tomorrow which is the deadline. 

Moaning aside, here is what I am trying to do to get this door to render and animate. 

 

Overcoming the Problems...
Okay so I have had huge problems rendering my turntable video for my door, all the suggested software to use I couldn't download due to my internet being cut off at the worst possible time this weekend. 

To combat this, Stacey helped me so much. I was able to go to my partners to use his internet so big thanks to him! Here, I was able use the internet to get in touch with Stacey and she was able to help me with the use of a guide she used to do her turn table, to then do mine.
To do this I had to create a 90fps animation time line. Create a camera myself in Maya and animate it so that it rotated around the front of my door. I key framed it at frame 1 and at frame 90. 
 
I then set up my render settings and made sure it batch rendered the camera as opposed to the perspective view. This way it would render (record) what the camera was seeing, which was the 180 turn around the front of the door.  After the settings were  done, I was able to select batch render and render the turntable. 

 

BA3: Material & Rendering Fundamentals


Various Lighting Experiments
& Setups
Here are some rendered images of the various light setups I have experimented with. As I have been saying, no internet meant I couldn’t look up how to do lighting correctly therefore this is a bit of a trial and error job. 

Light Setup 1 


Light Setup 2


Light Setup 3
 

Light Setup 4

  
Light Setup 5


Light Setup 6
 

Light Setup 7
 

Light Setup 8


Light Setup 9


Light Setup 10

  
Final Light Setup

  

BA3: Material & Rendering Fundamentals


Texturing my Door
I am writing this having finished all the textures on my door. Due to unforeseen circumstances this weekend I was unable to access the internet and research how to add some finishing touches to the textures on my door which I was really upset about because I have worked so hard on my model that I feel like I have fallen at the last hurdle.
  
Alas, here is the picture guide to what I did. At this point in time all I have left to do is light the door, render it and then turn it into a turntable video to showcase the final lit up version. With no internet this weekend I am panicking a bit, I have no idea how to make the video or render it correctly so here’s hoping I get it done okay!

 
A trick my friend Liam showed me which depicts if you have any hidden geometry and faces by hitting the “3” key. He told me that if everything is rounded and smooth, you’re okay to begin texturing. 


I actually re made the floor and wall into flat planes to make it easier to texture, however, this is what the net looked like when I opened the UV map. 


Open uv map, split up faces to neatly fill UV map, by selecting objects, create UV’s, automatic mapping


Select edges to see what shapes connect to others, select UV to then shift select shapes and resize them and move them around so they fit nicely onto the UV grid, hit edit UV, layout which will nicely lay all the new shapes on the UV grid


Select panels then perspective/UV texture editor

 
To assign a texture to the selected object, right click the object, drop down to “assign favourite material” and select “Lambert”. 


Rename the lambert to whatever your texture is, in this case it was “side walls”. An option window will pop up on the right side, from here you can select the square icon near the colour option. This will bring up the box seen above and you can then select “file” so that you can literally assign a texture file. 


From here you can select your desired texture and apply it.

  
Unfortunately after assigning the texture I realised it wasn’t large enough to not appear pixelated on my side walls. This is when I took the image into Photoshop and “tiled” it so that it appeared as a larger file still keeping its quality.


After selecting the texture for the object, your texture will appear on the UV map as shown above. It will also begin to appear on the selected object. Unfortunately, at this point, I realised just how messy and difficult my UV map was going to be to work because of all the faces and sides to the entire wall I had selected. 


I reselected main areas of the newly separated side wall, opened the UV perspective and selected “automatic mapping” so that Maya could sort out the shape the best it could on the UV map. This works well for simple shapes. 

The main problem with complex shapes on a UV map is that its much harder to organise the pieces so that they don’t overlap on the UV map and also maintain their quality in terms of the texture. I found that having so many pieces required me to greatly increase the pieces so that they bled out of the UV map, this is also not allowed. To allow for the texture to remain high quality and look good over the side walls I had to come out of my UV map, into Maya’s main view port, select the object, go to mesh and “separate” it so that I could select smaller parts. This in turn meant I had to make more UV maps for the separate selections but it ensures the quality is good. 


 After I selected all the separate parts of the wall and UV mapped them successfully this is what I was left with. Nicely textured side walls for my main door.


I mentioned earlier that I re made the wall and floor into a flat plane. Here is an example of that. 

 
I was having trouble texturing the stairs so I had help from my tutor, Mark. Unfortunately I was unable to take notes/print screens.

 
 By selecting the floor and wall, I was able to assign lambert and texture, use automatic mapping and redo what I did with the side walls to create a stoney marble texture to the floor and a large stone texture for the backing wall. However, to do the pillars I was sort of at a loss. I am fairly sure I have textured them wrong which is upsetting but hey, it’s my first go!

Because I made the pillar from one single cube at the very beginning I was unaware that I would have to fit the whole of the shape onto my UV map thus making the texture quality pretty low as the shapes on the UV map were pretty small so I could fit it all on.


The automatic mapping actually did a good, clean job. 

 
  
To combat the low quality texture and bad UV map organisation I decided to try and map the pillar by face selection. Here you can see that I selected the bottom half of the pillar and automatically mapped it. It did a decent job and I was able to increase the size, keep the shapes on the UV map and have a high quality texture.

 

Because the back of the door and archway are never seen (they touch the wall) I was able to literally delete the back faces from the door and the pillar. This meant I had more room on my UV map to increase the sizes and make the texture a higher quality as seen on the archway UV map. 

I used textures from 2 websites which claimed their textures were royalty free for personal use. Those websites are: 
and

Thursday, 3 May 2012

BA3: Materials & Rendering Fundamentals


A Brief UV Mapping Tutorial
Following our previous tutorial on UV mapping basics, we were given a live demo/give it a go yourself tutorial on  very basic UV mapping. I managed to keep up with main sections and also take notes and screenshots. However, they are a little too much on the basic side for  me to properly follow up so I will try my hardest to explain.

Here I have cut up the UV shell by selected the “cut UV shell” tool which is highlighted in the top left of the UV map area. I was then able to select edges and use the “scissor” tool to literally cut them up and move them around like I would a normal shape in Maya. Shown above is the cut up shell and moved around pieces of the shell. 

 
By selecting edges you can then select particular edges, on the UV map screen you will notice that is selects the joining edge as well so you are then able to select the “move & sew” tool to literally stitch them back together. 

 
(LOOK FOR UV GRID so you can open it as a file and it will help you for the size and proportion on a spherical object)

If anything sits on top of itself or can be pushed apart (think of the top of the sphere where you could pull the sections apart) you can select the whole shape and use the polygon drop down menu on the UV page and select the “merge UV’s” (like merge vertex etc.) and this will make it one shape and easier to move. 
 
If you have a single texture shared across multiple objects just make sure they don’t overlap on the UV map. 
 
Here we were looking at wrapping a texture successfully around a spherical object. The process was as follows: 

 
Here you can see I have selected only the top of the sphere (the area where the texture screws up and distorts/needs sorting out), I then make this areas massive on the UV map so I can place it correctly so that the cheque pattern is equal and looks right. 

 
Select flipped UV so that shape turns blue so you know it is the correct way round/facing the right way. 


Select faces > make sure shell move tool is OFF > then select the area.

 

When you want to stitch, move, rotate etc you must have the shell tool ON but if you want to select the edges or faces it must be turned OFF.  The best thing to do is move your UV map around so that it fits successfully onto the 3D shape AND the UV grid. 

 
To make the chequered pattern match up as close as possible I used the rotate and resize tools (on the main Maya page, near the actual shape on the far left) and moved the shape around over the chequered pattern on the UV map side as well as re sizing the object so it looked like it fitted nicely over the sphere. I appreciate it doesn’t perfectly match up in terms of size and shape but it’s the best I could do in the live demo tutorial whilst taking notes and keeping up!

BA3: Materials & Rendering Fundamentals


New Brief!
Okay so our “new” brief, ‘material & rendering fundamentals’, basically bleeds straight into our other BA3 project ‘digital modeling’ where we are building a game engine ready door. This brief see’s us through the texturing, UV Mapping, hypershades and rendering phases of our door. 
On Monday the 30th we had a small presentation introducing us to the idea and basic fundamentals of UV Mapping. I managed to take down some notes whilst keeping up with the demonstration but, I wont beat around the bush, it looks complex. The notes might not make much sense to read but I will post them anyway, it shows I tried to at least keep up with the demo! I will also start with a brief explanation of what UV mapping/texturing is that I found on Wikipedia, it actually does a good job of explaining the ideas behind UV. 

This process projects a texture map onto a 3D object. The letters "U" and "V" are used to describe the 2D mesh[1] because "X", "Y" and "Z" are already used to describe the 3D object in model space.

UV texturing permits polygons that make up a 3D object to be painted with colour from an image. The image is called a UV texture map, but it's just an ordinary image. The UV mapping process involves assigning pixels in the image to surface mappings on the polygon, usually done by "programmatically" copying a triangle shaped piece of the image map and pasting it onto a triangle on the object. UV is the alternative to XY, it only maps into a texture space rather than into the geometric space of the object. But the rendering computation uses the UV texture coordinates to determine how to paint the three dimensional surface.

A UV map can either be generated automatically by the software application, made manually by the artist, or some combination of both. Often a UV map will be generated, and then the artist will adjust and optimize it to minimize seams and overlaps. If the model is symmetric, the artist might overlap opposite triangles to allow painting both sides simultaneously.

The UV Mapping process at its simplest requires three steps: unwrapping the mesh, creating the texture, and applying the texture.
 
My Notes:
Need to know to export between Maya and Mudbox? There is apparently a drop down menu tab that allows easy and simple exports between the two programs. 
 
Panels > UV editor OR Window > UV editor.
 
“U” is across the bottom of the grid, “V” is up the side. 
 
UV splits the shape into 2D.
 
Right/middle mouse click > UV mode
 
Each vertex has co-ordinates in 3D and 2D space so you know what you have selected in the UV Map. 
 
If you use the scale tool you can scale up to create more of the texture on the face of your object  and scale down to reduce the size of the texture, this all affects the quality and you must resize all areas the same to ensure all textures have the same quality. 
 
Cut edges tool, move shell tool (UV shell is a piece of the UV map) means you can move parts of your UV map around on the grid.
 
“X” key snaps to grid. 
 
Standard light is called lambert. 
 
Apply texture > navigate to lambert > leave it grey/ lambert 1 > create new (lambert 2). 
 
Select object > lambert 2 > chequered object > file (texture info).
 
To make sure the image fits on your UV page go on UV edit  page > select whole image > scale the whole image down. 
 
You can split the faces and select certain faces > grab edge on 3D or 2D space > cut edges tool (scissors on UV map selection). 
 
If you need to rotate each face because the image is the wrong way round you can use the rotate shape tool on the UV Map. 
 
Instead of twisting, breaking the UV up more to position it correctly you could just do it in Photoshop. 
 
2048 is the maximum resolution for our doors, maximum of 2 UV maps of this size. 
 
Blue, orange, red and purple colours on your UV map indicate overlapping faces/textures on the inside of your door. 
 
Make sure your UV map of your door is all blue, this shows the faces are all the right way found and that your texture will show up on the outside,  not the inside of the door.
 
Automatic mapping tool > select the amount of faces you need to project from/your shape has.