KatzenfleischJoin Date: 2014-03-21Member: 194881Members, Squad Five Blue, Squad Five Silver, NS2 Community Developer
That's some pretty good stuff there, you better get a playable version. No way I am letting you leaving with a gun like this .
Are you sure the color scheme will match ns2 ? seems a bit too dark.
That's some pretty good stuff there, you better get a playable version. No way I am letting you leaving with a gun like this .
Are you sure the color scheme will match ns2 ? seems a bit too dark.
Ye, used a bit of collor correction and lightning condition to highlight the texture. Other than that... Collorpicked the texture collor for NS2 base (greenish color). Should match..
Even if any element missmatches, texture is entirely done with masks for entire set meaning I can go back and edit any element on the texture (normal,gloss, spec, albedo) with minimum effort.
For the first point, should be good with ns2 base models it should not differ much via requirements for the engine. Just need to rig skin and animate and should be playable.
Well done. What I like most about this model is that some details resemble the in-game ones such as greebles and the color palette. It also contains details based on real guns like the picatinny rails. A nice blend of real life and sci-fi.
I've been following your work for a while and I'd appreciate some insight into your texturing, rigging, and animating process. I'm using Substance Painter to texture a revolver I've been working on recently and it's been a slightly frustrating, but interesting, experience. I'm starting to understand the traditional diffuse-specular workflow from studying similar graphics in games like Skyrim. Based on what I've seen from the in-game textures, I'm guessing a lot of lighting, shadows, and AO are baked into NS2's diffuse maps? Do you mind sharing your workflow? Keep up the great work.
P.S. Please consider joining the Spark Crafter Collective discord. Besides me, there are a few 3D modelers/animators who could use your advice concerning rigging and animation.
This is really awesome work you are doing here. What I like most about your model is (aside from the quality and amount of details), how much it fits into the NS2 art style. So good job not only on the modeling, but also on the creating of its concept.
Hey @Vlaad, I was wondering whether you solely use Photoshop/GIMP with imported UV maps like traditional texture artists or do you use Substance/Quixel? If you use Substance Painter, do you recommend using a PBR preset/shader or a non-PBR one? I tried using the non-pbr-spec-gloss shader, but environment maps aren't supported, so specular reflections can't be seen in the viewport. Some artists like the Beyond Skyrim modding team use pbr-metal-rough even though their game engine uses blinn-phong (e.g., the Creation Kit and Spark). If I stick to a PBR shader, it makes more sense to use a spec-gloss workflow since they translate more directly to traditional specular maps.
Regardless of texturing traditionally or in 3D painting software, what is your workflow for creating diffuse and specular textures? I assume that the CK and Spark are similar enough that I can use the workflow linked above. Should I bake lighting, AO, and curvature into the diffuse map?
For last 2 or so years using quixel suite but before that classic photoshop texturing.
Quixel suite is essentially painter that creates and uses classic photoshop layers meaning you can go back and edit layers that compose classic texture. So a bit of both (cs and qixel suite) but substance is more complete texturing package. Quxel is quite nifty for UE4 since I work with ID masks (more flexibility if you like to build/ tweak materials in UE4). Previosly, gloss/spec maps base is taken when texture is complete since they are black-white texture. Quixel allows me to tweak it on the fly but using ID maps (certain values for certain material property it is easy enough to isolate parts that use same values and tweak by hand each ID and combine to final gloss/spec texture).
Starting with base high poly, building a suitable low poly, baking out ID maps in maya and AO and normals using xNormal. Now as far as AO goes, highpoly is mandatory but for larger models I bake out low self - occluded model especially for envirenmentals. Aside from being insanely faster to max maya (it bakes out 4k 2aa normal in ~ 30-40s on a 2500k cpu and around 40mins for ~800-1000 rays AO).
AO is used as base for texture from my side. Combining 2 AO maps can give satisfying results for some models. Need to get this in engine to see how it ineracts and will adjust the texture accordingly.
Further, i never wirried too much about rough/metalness in ue4, again, because of ID maps and ID masks I build out - easy enough to build a shader network and controll values in engine.. For this engine.. Well see, hopefully during weekend.
Comments
A bit of necromancy and a bit of update.
https://sketchfab.com/models/15a67cfd773e45d59627acf633c70fa1
First one is base, 3 images added are base for texture, or in other words "game" model with applied normal map and AO map in diffuse channel.
Will get it properly textured soon.
And sound like this, TBH NS2 weapons sound very lackluster compared to the NS weapons... There is a serous lack of "punch" to their sounds...
Yeah, as it stands, making some noise with my mouth sounds more convincing
I'm also a bit disappointed that the exo miniguns dont have the intensity like an A10
A10 gun test
Damn those sound cool!
Also since NS2 is quite flat in terms of map design, why not have ED-209 replace the MASC ARC. I mean stairs are it's only adversary right...
Will upload to sketchfab at some point for full 3d view...
Now just to rig and animate
*EDIT*
Pics are 4k, feel free to pop open in full size.
Are you sure the color scheme will match ns2 ? seems a bit too dark.
Ye, used a bit of collor correction and lightning condition to highlight the texture. Other than that... Collorpicked the texture collor for NS2 base (greenish color). Should match..
Even if any element missmatches, texture is entirely done with masks for entire set meaning I can go back and edit any element on the texture (normal,gloss, spec, albedo) with minimum effort.
For the first point, should be good with ns2 base models it should not differ much via requirements for the engine. Just need to rig skin and animate and should be playable.
*Edit*
Spelling
I've been following your work for a while and I'd appreciate some insight into your texturing, rigging, and animating process. I'm using Substance Painter to texture a revolver I've been working on recently and it's been a slightly frustrating, but interesting, experience. I'm starting to understand the traditional diffuse-specular workflow from studying similar graphics in games like Skyrim. Based on what I've seen from the in-game textures, I'm guessing a lot of lighting, shadows, and AO are baked into NS2's diffuse maps? Do you mind sharing your workflow? Keep up the great work.
P.S. Please consider joining the Spark Crafter Collective discord. Besides me, there are a few 3D modelers/animators who could use your advice concerning rigging and animation.
@Nominous
Feel free to fire away with questions will help out
Regardless of texturing traditionally or in 3D painting software, what is your workflow for creating diffuse and specular textures? I assume that the CK and Spark are similar enough that I can use the workflow linked above. Should I bake lighting, AO, and curvature into the diffuse map?
Quixel suite is essentially painter that creates and uses classic photoshop layers meaning you can go back and edit layers that compose classic texture. So a bit of both (cs and qixel suite) but substance is more complete texturing package. Quxel is quite nifty for UE4 since I work with ID masks (more flexibility if you like to build/ tweak materials in UE4). Previosly, gloss/spec maps base is taken when texture is complete since they are black-white texture. Quixel allows me to tweak it on the fly but using ID maps (certain values for certain material property it is easy enough to isolate parts that use same values and tweak by hand each ID and combine to final gloss/spec texture).
Starting with base high poly, building a suitable low poly, baking out ID maps in maya and AO and normals using xNormal. Now as far as AO goes, highpoly is mandatory but for larger models I bake out low self - occluded model especially for envirenmentals. Aside from being insanely faster to max maya (it bakes out 4k 2aa normal in ~ 30-40s on a 2500k cpu and around 40mins for ~800-1000 rays AO).
AO is used as base for texture from my side. Combining 2 AO maps can give satisfying results for some models. Need to get this in engine to see how it ineracts and will adjust the texture accordingly.
Further, i never wirried too much about rough/metalness in ue4, again, because of ID maps and ID masks I build out - easy enough to build a shader network and controll values in engine.. For this engine.. Well see, hopefully during weekend.