MODEL AN ADAPT­ABLE HIGH-POLY AS­SET

Learn how to turn a 2D con­cept into a 3D model that can be used both in games and cin­e­mat­i­cally

3D Artist - - THE PIPELINE -

Monowheel, 2017

Matthias Devel­tere soft­ware

Modo, Keyshot

learn how to

• Model and de­sign based

on a 2D con­cept • Con­vert a model into both cin­e­matic and in-game as­sets

• Cre­ate our own HDR

map for Keyshot

Con­cept

This piece was made for Wolfenstein II: The New Colos­sus. It’s the stan­dard mo­tor­bike that was used by the Ger­man Army.

The idea be­hind this tu­to­rial is to give you an in­sight into how to make your mod­els in an easy and quick way. We will go over how to con­vert a stan­dard mo­tor­bike idea into a 3d de­sign that can work for an­i­ma­tion pur­poses and func­tion in both cin­e­matic and game en­vi­ron­ments. this tu­to­rial also comes with some ex­tra mod­el­ling tips and tricks to make your life eas­ier and to help you work in a non­de­struc­tive way.

We will be us­ing 3ds Max but you could use any 3d soft­ware pack­age. it’s also im­por­tant to note that this tu­to­rial isn’t specif­i­cally cen­tred around the Wolfenstein uni­verse – i have tried to keep it as broad as pos­si­ble so that you can apply these tips and tricks on your own work. this tu­to­rial is made for peo­ple with a ba­sic un­der­stand­ing of in­dus­try terms and those who are fa­mil­iar with the pro­duc­tion pipe­lines of game as­sets.

to start with, we will go over some quick meth­ods to make your model low­poly-friendly so that it is eas­ily con­vert­ible and then we will ex­plore some quick pre­sen­ta­tion passes in Keyshot be­fore fin­ish­ing it up in pho­to­shop for pre­sen­ta­tion.

Mo­cap and an­i­ma­tions the first thing that needs ac­knowl­edg­ment is that this is a not a static as­set – this dy­namic model needs to be an­i­mated for dif­fer­ent cutscenes. let’s start by defin­ing the el­e­ment that will be in­tractable so that we won’t end up stitch­ing pieces that should be mov­ing to­gether. in this case, we want to make the steer­ing wheel and the tyre. We also want the kick­stand of the mo­tor­bike to be func­tional and it can’t be ob­struct­ing the driver when they are sit­ting down. it’s im­por­tant to pro­to­type all of these – that way rig­gers and an­i­ma­tors can start on a mo­tion cap­ture. Char­ac­ter mo­cap When it comes to such an im­por­tant as­set, it can never hurt to dou­ble-check ev­ery­thing. to do that, you can al­ways use a mo­tion­cap­tured ver­sion of the char­ac­ter. if you don’t have one of those, you will be able to use a biped in 3ds Max as these are au­to­mat­i­cally rigged and skinned. Just place it into the correction po­si­tion. but keep in mind that this is just a skele­ton so imag­ine some ex­tra space for clothes – for ex­am­ple, if the hands can reach the steer­ing wheel or if the char­ac­ter can reach the ground when he sits down.

Find your style When you work on a spe­cific uni­verse, it is im­por­tant that ev­ery as­set shares the same vis­ual lan­guage. For ex­am­ple, there are two el­e­va­tors i made – one for Doom and the other for Wolfenstein. the Doom one has a lot of sharp, bev­elled shapes with big, shaped de­tails, while the one that was made for Wolfenstein (and is pic­tured) has a lot of round, bulky shapes that are sup­ported by bolts, riv­ets and a lot of small de­tails.

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