Great explanation on preparing objects for texture painting. Over the past year I have learned the quality of the final project is a slow process. Anyone watching these tutorials should understand the length of time required to complete a project of this size. The length of the video is great for the amount of information that is being covered.
Is very kind that you also teach why you do certain things, what issues it may cause and how it fits into a game asset workflow. That's very valuable on a blender tutorial cause most of them don't actualy show any kind of workflow logic. Thank you for this series, you deserve a lot more!!!
@Corey Parker I recently discovered the "Cinema HD" app for android, has everything, but its not on desktop, Bluestacks gets it going but it uses a lot of RAM to run, but great for phones :) ill take a look at flixzone :)
Omg i am so surprised, just yesterday, i was working on a drone. And there were lots of small details so i decided to seperate all of them and colore them individualy. Nice to see you doing the same. Because it felt quite messy when i did it.
Great tutorials, but that part where you justify the position of the sight got me real hard hahaha. When someone doubts you, tell them "it's magical" haha, gonna use that one!
Looking forward for more... I'm all up to date here, model with retopo, duly unwrapped and with app parts seParated here. Standing by further lessons, Mr. Grant Abbitt.
I imagine the margin is a fraction of the texture space where 1.0 is the whole width. This means that a margin of 0.010 will be a differing number of pixels, depending on the texture size, so at 1024 it would 10.24 (there's a surprise) and twice that for 2048. This is because the UVs are floats between 0 and 1 (typically) to enable allow the UVs to be agnostic of the texture dimensions, i.e. you can reduce the texture size and the islands will still map to the same area on the texture, even though your original was 2048 say and you're using 512. It's a guess but it's a well educated guess or a reasonable assumption at least.
also, that's the reason you want to have as few or, at least fewer UV island, bec. the bleed takes up space, and each new island needs even more bleed . . last, .png are actually compressed, if you have pixels, that are the same color, or transparent . . . but, if you paint with a realistic rock texture, I think the bleed sort of, gets really weird, not sure, ie. not just one color . . also, the textures that are generated, and work like LOD's for textures, are called 'mipmaps' . . standard procedure is, if have a 1024x1024, it makes a smaller 512x512, then 256x256, when importing to game engines . . that's where compression can cause ' errors ' along seams, so it looks like, the more you zoom out, the ' worse ' it gets . . happens bec., you don't see this but, the compressed textures are swapped in, on the go . . . this happened, bec. before mipmaps, there were a lot of errors, when zooming out, and mipmaps are the answer but, it also means you need a certain ' bleed ' area, so the compression doesn't create ' semi ' color, esp. noticable in high-contrast textures or, so on . . . anyway, there's been LOD's on textures for a long time, since early 2000, and I THINK all game engines use it, Blender also has this problem, try and create a black texture, set ' bleed pixel ' to 1, and ' fill ' it with a white, so inside the UV's are white . . then try zooming out and, see what happens, the completely why model zoomed in, should get ' darker ' lines, around the UV seams . . . in Godot, not all game engines are the same, it uses OpenGL, atm . . you need quite a lot, I found 24 pixel bleed, for a 1024 texture is needed . . but, in Blender the number is lower, for some reason, ie. mipmap seams appear after zooming much further out . . Unity, other engines might have a different number . . . anyway, that's how you fix those things, if they happen, or so . . . .
I have a beginner question. Generally if you have an object and you want to add more than one texture (for example 5) to it. First thing you do is marking seams and uv unwrapping. But what if instead of painting it I'd like to add for example PBR materials or image textures? Should I split the model into parts, unwrap and texture them separately? Or is there another method? I can't find the answer
Okey i found a way to select all polygons of uv island (just select one polygon in edit menu and click L) and then I can easily add a new material to it :) there is a mess after moving and scaling all that uv islands but i don't know how to do that in a different way.
Grant i came here from udemy and i was watching your character cours. I am wondering if its a good practice to use shade smooth - flat in terms of exporting that object to a game engin like unity. Or its better to subdivide the object and bake some maps and get that smooth look ?
@@thecanaeggplant2937 If I were you I would make all of the models in the LOD smooth shading. Your closets up model will have the most detail obviously so make that one look the best with separate pieces(in blender) if it actually makes the smooth shading look better. I used to use sharp seams but it has been a few years. IDK if that still works. It wont matter too much on weapons and items. If it were trees you plan to have 4k of then make those optimized lol. Also if you are going for realism you could spend the time to make extra maps like AO, bump, shiny-ness(not the right name) and just add those to your closed LOD. I hope that helps.
In the texture paint tab, I am not able to paint on the flint(separate piece) even though it is selected and has the same material as the main part of the gun. What am I missing? I appreciate the feedback.
Bit of an off-topic request but I thought I'd post it on the (currently) latest video. Do you have any tips for sculpting/modelling hair and would you be interested in doing a video about it? I went through your full character workflow playlist but couldn't find the point at which you redid the hair. I've tried the common and "easy" technique of using curves, but when it comes time to retopologise for a game ready model, they just don't bake well. Most professionals I see are sculpting the hair, but I just can't wrap my head around it. I tried remeshing the individual curves (after converting to mesh) into a single object in an attempt to clean them up, but even then it felt like the wrong way of going about it, because it just created more mess. Booleaning them together didn't work well either, with a lot of the geometry going missing. I'm guessing the best way would just be to sculpt it all as a single object, I'm just not confident in being able to sculpt at that level of detail.
Thanks for the tips about island margins when reducing texture image sizes for import to game engines etc! I took your character creator course on gamedev, and I believe you said that having small island margins and/or bleed (4-6px) was fine as the default 16px was overkill.. So that's what I've been using. But after inspecting lots of professional models, I was always seeing large amounts of island margins and (excessive) 'bleed' from the texture painting and wondering why??? I guess this explains it!
@@grabbitt That makes sense. In general, I like to paint on much higher resolutions, and reduce as needed later. So this is very good information to be aware of! Thanks for the clarification :)
one thing, I think using separate objects, if you use smooth shading, causes some problems . . it's sort of, ' cheap ' normal maps and, many use them, also when baking normal maps, you get nicer results, if both objects, hi + low, are in smoothing, the normal map sort of ' uses ' the smooth shading, or so . .
would it be possible to have a tutorial on repetitive patterns for armor, like the ones on Steppenwolf form the Snyder Cut. would come really handy for sculpting and sketching, thank you !
Random question. I remember a few years back some people in game dev chats were talking about making one large texture to hold the UVs of all the objects in the game lol. I'm sure this is an old school practice but I don't know what actual optimization it gave. Is that something useful still? Sorry for the weird question lol.
@@grabbitt thanks for the reply! I'll rewatch the video later to see if my experience matches yours. I had to manually click it once for each individual object, which seems unnecessary
Can you make a intermediate tutorial series about hardsurface rigging, there is literally 0 free content on the youtube. All of them for 90 dolars. I am so sad
Hello brother i am from india, i saw ian huberts this video ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-RxD6H3ri8RI.html at 50 times and tried to do it but could not do it, camera trigonometry trick, like following camera to object, Ifollowed all the steps step by step but the result did not come, can you explain me how Please help please brother.
@@grabbitt if you make a mistake while unwrapping, like putting the islands very close to each other, and you have already started painting, you can make a new UV map properly unwrapped and bake the colour to the new UV🤷🏿♂️..
last, I made a tutorial, about how to make auto-good topology, that's generated for you . . it's latest video on my channel, but you seem like a better teacher, or so . . might wanna give it a look, and see if you can use it, also one never needs to use a high-poly sculpt, to make nice human characters, works on slower computers . . . anyway, it's a bit long, maybe you could compress it down, also use it to make a dragon, and a horse, really fast, just different loop cuts, after that, it's just cleaning up, adding more detail loop cuts and, booom . . instant good topology, for most creatures or, such . . .
Sorry, after weeks of silence, I have to say something. A Blunderbuss is a short range 'elephant' gun, equivalent to a big 'sawn off' shotgun. The scope looks RIDICULOUS and should not be there. Use some logic in your models, dude.
