![]() If you exceed a 50% value, the material can appear to absorb light, which can look like render problems. Realistically all materials have at least a subtle highlight. At a 50% value, light hitting that surface is nearly completely diffused leaving only soft highlights. Also, it is rare you would exceed a 50% value when making a surface rougher in either workflow. ![]() When creating these maps, it is important to remember that no surface is perfectly smooth in real world conditions. This microsurface detail is what gives the object character and a sense of reality. When you are finished you will have your own model based of of a real-world. We will be using Maya, Zbrush, Marmoset, and Substance Painter extensively throughout the course. En general, comencé a hacer esta arma, y se me ocurrió que podía intentar describir todo el proceso, de repente sería útil para alguien. This course is aimed at students who have some knowledge in 3d and game art and would like to learn more advanced techniques employed in the creation of modern game assets. ![]() How the object has been used, how old it is, and where it’s been in the world or even the universe. Decidí escribir aquí un pequeño (enorme) artículo sobre cómo hago modelos de juegos. Glossiness and Roughness maps can really help you tell a story with your model. Since these maps have the most impact on how a material feels, it’s important that the values be correct and consistent. ![]() The values determine the microsurface properties of the material, such as whether a material is smooth and shiny like glass or rough and grainy like sand paper. As a matter of fact, one is practically an inverted version of the other. Glossiness and Roughness are both grayscale maps.
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