Yesterday I wasn’t happy with the resolution and look of the fountain, so I exported it at a higher res and re-textured it in Maya. The file size went from 242kb to 1MB.
Higher res fountain
Today was the first day I actually launched Unreal Engine and I was able to import the fountain asset into a scene.
My first thoughts are that Unreal Engine seems way more complicated than Unity. The UI is very cluttered, and you actually have to go through the Epic Games launcher just to get to the game engine. Once in the actual editor, there seems to be a lot going on. Even a blank scene comes with a bunch of pre-built chairs, tables, etc cluttering the screen. This will take some getting used to.
For my fountain “hero piece” I began by creating a low-poly model in Maya, then brought it into Zbrush for more organic sculpting. Here is the sculpted “red clay” version.
Zbrush allows you to create Polygroups from Normals. This basically lets you group areas of you model according to which direction the topology is facing and organize these facing “normals” by color. This can be helpful for exporting or isolation sections.
After watching several hours of tutorials on Pluralsight.com on prepping Zbrush files as game assets, I was able to create polypainted version. I enjoyed the process of painting directly on the model in 3D, rather than painting on flat UVs in Photoshop then wrapping them around a model.
I exported the polypaint texture maps from Zbrush, then exported the low-poly version of the fountain model into Maya, where I used the Hypershader to apply the high-res texture map to the low-poly model.
Polypainted fountain in Maya
I think this could still use a lot of work. I wasn’t entirely successful getting Bumpmaps to be as dramatic as I wanted. It’s possible I could export a few more types of maps (ambient occlusion, etc) and tweak them in Photoshop, then reapply them in Maya via the Hypershader. But for now I was happy that I had gone through the entire process of scuplting, polypainting, then exporting back into Maya. This asset could them be sent over to a game engine like Unreal or Unity for inclusion in a larger scene.
One thing I realized while working on my prototype is that Unity does not provide any kind of visual code editing helper to people like me who are unfamiliar with programming. This is a hurdle for people like me who focus on 3D and animation, want to make games but haven’t had lots of time to learn coding. There is a plug-in for Unity called Playmaker that costs $65 and has decent reviews.
It was brought to my attention that Unreal Engine has Blueprints, which is a visual code editor that works sort of like a flow-chart. I had already started in Unity, because I heard it was the most popular platform. When discussing with professor Zeb I asked if I should work in Unity or Unreal and he said “Let’s do both!”
So here goes… I installed Unreal Engine after getting particularly excited about some of the recent tech demos they released showing how innovative they have become. So now I’m starting all over in Unreal Engine, so I can make a comparison.
Here are my thoughts on Unity so far.
Same user-controls for moving around the viewport, scaling, rotating etc. as Maya, so very familiar
Intuitive interface, easy to find things
Easy to drag/drop assets
Good selection of beginner tutorials
Exports to WebGL for HTML5, so easy to post games online
If you don’t want to learn code, you have to buy a plug-in
Graphics rendering isn’t awesome
Watching lots of Unreal Engine tutorials
Building the game prototype in Unreal
Improving all game assets by importing them/recreating them in Zbrush
Trying to understand the workflow of taking hi-poly assets from Zbrush, dumbing them down for game engine and then making them look nice again. This is the part where I am completely confused!
I created some low-poly game assets in Maya to import into Unity to prototype the game and experiment with game mechanics. These represent the element of Water, plus a 3D version of the Sacral Chakra symbol.
After the initial game build, I felt they needed more color, so I used the Hypershader in Maya to give them some color for the final prototype. I also created some background texturing for the floor of the game.
I used the Roll a Ball tutorial for Unity as a template to create the game prototype. I was really glad this tutorial allowed me to copy/paste the code provided as I followed along in Unity, because I have very little programming experience.
My project will be an interactive 3D model of a fantasy landscape to simulate the 2nd or “Sacral” Chakra known in Sanskrit as “Svadhisthana,” meaning “your own place.” (In traditions of Yoga practice there are seven Chakras that align along the spine.) The 2nd chakra is located along the lumbar vertebrae, slightly below the navel. It is associated with sensuality, creativity, passionate emotions, flow and flexibility. Associations with this chakra include:
A circle with six petals
A moon crescent
The color orange
Element of water
To make the scene interactive, I plan to create a series of objects that the player places in specific locations around a fountain. If they select the right objects, a spiral of colorful “energy” emerges from the fountain. I would also like to recreate the Koi fish I created in a previous class. I feel that using Zbrush will help me create a more realistic and beautiful model. If there is time, I would also like to create music soundtrack.
Audition has a nice feature where you can add Markers to your timeline so you know when certain transitions or sound effects should occur.
I placed the previously rendered “glowing figure” scene into Premiere, and added sound effects. I also added the soundtrack from Audition.
I was able to get Maya’s Mental Ray render engine working after installing a service pack upgrade. This caused me to tweak the lighting a bit. I began to batch render a test sample. My laptop was able to batch render 120 frames in an hour 1/2. By my calculations, rendering the entire 1440 frames should take only 32 hours!
Still needs a few tweaks on audio, but making progress.
The next part might be the trickiest thing I’ve attempted yet in Maya. What was I thinking? LOL
Getting all the mandalas to float in and spiral up the helix in their “dance.”
This isn’t too bad, except now that I have the mandala attached to the helix, I want to edit the timing. It should start around frame 90, not 150. I cannot figure out how to change the start/stop time of the motion path.
I decided rather than one big spiral, I would do one for each of the seven lily pads. Here is the final animatic for this scene.
After some discussion about how to match scene 2 (where the medicine flows into the vein) to scene 3 (now we’re underwater) I decided to ditch scene 2 and use the underwater vein scene as the transition.
The end of this scene would flow into the beginning of Scene 3, the transition to underwater.