![]() Matching the concept was complicated, but it was my goal for this work to improve my skills. ![]() I wanted to change a few other things, such as using micro details in Unreal for metal/clothes, and add more fiber techniques, but I thought it was time to wrap it up. The first Maya file was created in August 2020, but due to work and other projects, I was able to finish it only last month. In the end, the model took me about four months, but I started it a long time ago. It was also at this moment that I edited the mask to match the concept better and added other parts such as the eye and inner face. I used the Transpose Master plugin, which lets you use the latest subdivision level and modify all visible subtools together without merging them. I sent the low-poly model to ZBrush and started to adjust it with the high poly itself. I think one of the problems was focusing only on the micro detailing, and I should have sent the model to Unreal Engine and played with cameras earlier. However, at this moment, when I started to play with the engine using the baked low-poly model, I noticed that I messed up some model proportions. I baked with the average normal check disabled since I'm using the hard edge technique and didn't need any cages. The only important thing, besides optimizing the layout, is to use the same pixel density for all the meshes.Īt this point, I started to do the initial bake to check for artifacts. Then I unfolded and laid out, and made other adjustments as usual. With the same shared MEL script, I selected all the hard edges of the model and cut the UV. Remember to flip the V of the subtool before applying the texture to the vertex.įor the UV, I also used Maya. I used the "decal" technique, which consists of using a spline mesh with color embedded to project color to the high poly and then used this information as a mask (for inflating or other purposes). Before sculpting, I projected some detail and pattern to the high poly. In ZBrush, I dynameshed all single pieces with low density, subdivided them, and projected them to the creased geometry. So when modeling in Maya, with the smooth preview, be sure to have the full crease. In ZBrush, the crease has only integer information which means it just goes ON or OFF, even though you can control which level of subdivision goes OFF. ![]() There are some differences between the two creases, the Maya crease has float information which means that you can slide the value of the crease itself from 0 to 1. The MA file exports the Crease information to ZBrush. With the Maya model finished, I exported everything in the MA format to ZBrush for the sculpting phase. I have no idea why it isn't already in the software. I used also the Maya bonus tool such as Curve to Ribbon and Curve to Tube mesh for other golden ornaments, which you can download from their website.
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