First, I began in Maya by creating a low-poly basic mushroom shape.
I then imported it into Zbrush and began shaping it with the Move tool, added some texture to it and polypainted it. I then saved that mushroom as a Tool (ZLTool) and used the Append button to add it as another mushroom into my scene on a sub-layer. I repeated this process to add a third mushroom and used the move tool to bend and shape them a bit so each was unique.
Lastly I used the polynormals tool to assist with UV unwrapping, exported the texture map (colors) and the normal map (bump), then exported the mushroom meshes back into Maya so I could re-wrap the texture and bump on them and export as an FBX to Unreal.
I imported my model from Maya into Zbrush as an OBJ file, then used the Insert H-Ring tool to create some elbow-macaroni type shapes above the eyes, then used the Move and Smooth tools to flatten and shape.
I added some ridges with the Standard brush
Then I began to use the Polypaint tool in Zbrush to give it some color
This weekend, I began creating the Fire Salamander for the Root Chakra.
After an hour or so into it, I realized that my modeling felt clunky and wasn’t flowing smoothly. I began to feel I had started with too many subdivisions, which were unwieldy to control and shape. Every time I tried to select an area to scale, rotate or move, I had to select several faces/vertices. Also, it still looked very much like a box, not organic. At that point Maya crashed, so I called it quits for the night.
When I re-opened the file the next morning, something was wrong with it. Maya took several seconds to respond to any command, and seemed to seize up every time I made a selection. I decided to start over, since I wasn’t happy with that model anyway.
This time I began with a cylinder, using fewer subdivisions, and began blocking out the rough proportions. This was much quicker. It took half the time that I spent the day before.
About halfway through the process, I came across a tutorial that pointed out the Maya now has several ready-made basic mesh templates you can use, including a LIZARD! Although I would have shaved a few hours off my production time by starting out with a ready-made sculpt, I felt I got much better with practice doing this model and was glad I did it myself.
Up next – taking the model into Zbrush for more refined sculpting.
I began modeling the tree roots in Maya. I began with a polygon primitive cube and began subdividing the bottom faces, extruding them downwards, and continuing to subdivide and extrude each new face in a branching method, using scaling and twisting/rotating at times to organically shape them. Here is a pic of the beginning, with Smoothing turned on. (I cannot get smoothing to work once it is exported as and FBX, even with Smoothing Groups turned on.)
Once I felt I had enough branching roots, I imported it into Zbrush, and began shaping it more organically with the move tool.
I continued to shape the roots by pulling with the Move tool and applying some texture with Clay Buildup and Clay Tubes tools.
The first of the seven chakras. Physically it is centered at the base of the spine.
Associations: Safety, grounding, basic physical strength, vitality and survival.
Gemstones: Ruby, garnet, jasper
Symbols: Fire salamander, cauldron, mushrooms, roots
Lotus has 4 petals:
Player begins below the root system and travels upward via a “lava path” – a warm red light that guides the player up the roots. As the player climbs, they encounter red glowing “bubbles” that turn orange when the player runs over them. Along the way the player encounters 3D objects that symbolize the fiery root chakra (salamander, cauldron, etc.) These objects may also change (glow?) when the player encounters them.
Once the player reaches the top, the level finishes.
Level 2 will be the Sacral Chakra. The player will emerge from the base of the tree root and climb a hill towards a fountain.
Most of week 2 was spent in frustration, reading several documentation pages on software/hardware installation and trying to sort out how to set up my computer to publish to Samsung Gear VR. In total I spent 8 hours reading, installing, uninstalling, and reaching the limitations of my laptop computer that is my primary design & modeling computer.
Unreal Engine’s documentation is inaccurate and out of date. I feel that many hours of frustration could be resolved if their documentation was updated and better written. Unreal needs to hire some UX people with some real empathy for new developers.
To publish to Android, you must install Android Codeworks, which only works with Microsoft Visual Studio 2015 (not 2017, which is what Windows 10 and most updated computers have.) Microsoft does have a link to download older 2015 Visual Studio if you dig for it. Visual Studio requires 8 GBs hard drive space, and on my computer it said it must be installed on C: drive. My laptop is limited to 100 GBs C: drive – even with most programs installed on D, I do not have room. I am working on a solution to install VS Studio, Unreal and Codeworks on another computer and port files back and forth to publish.
Codeworks is NOT in the folder Unreal’s documentation says it is. You must go down one more folder to find it.
Because I could not get Codeworks to install, I also tried installing Android SDK, Java DK, etc. per this video on using Unreal with Samsung Gear VR which says you do not need Codeworks if you install those components separately, but still received an error that said the SDK was not properly installed.
The bright spot – by watching the above mentioned video, I successfully put my phone into Developer Mode, plugged it into my computer via USB and ran the Command Prompt to navigate to the correct folder to get the Device ID which gets copied/pasted into the Oculus Developer Tools. This is how you get the Oculus Signature File that goes into a folder in Unreal Engine which helps you publish to your phone.
Another bright spot – I had some mental breakthroughs about how the interactions could work in my VR garden and began sketching in earnest and modeling.