@Tristan: I studied computergrafics for 5 years. I'm making 3D art now since about half a year fulltime, but I had some experience before that. Its hard to focus on one thing, it took me half a year to understand most of the vegetation creation pipelines. For speeding up your workflow maybe spend a bit time with the megascans library. Making 3D vegetation starts from going outside for photoscanns to profiling your assets. Start with one thing and master this. @Maxime: The difference between my technique and Z-passing on distant objects is quiet the same. (- the higher vertex count) I would start using this at about 10-15m+. In this inner radius you are using (mostly high) cascaded shadows, the less the shader complexety in this areas, the less the shader instructions. When I started this project, the polycount was a bit to high. Now I found the best balance between a "lowpoly" mesh and the less possible overdraw. The conclusion of this technique is easily using a slightly higher vertex count on the mesh for reducing the quad overdraw and shader complexity. In matters visual quality a "high poly" plant will allways look better than a blade of grass on a plane.
Is this not like gear VR or anything else
Emre Karabacak talked about the main stages of production, detailing the creation of his amazing 3d weapon model. The project was part of the internship with Berker Siino. The modeling of the original gun is done by Mark van Haitsma for Destiny.
Hello everyone! My Name is Emre Karabacak and I’m a 3D Environment / Prop artist from Berlin, Germany. I graduated the S4G School for Games in September 2017 with a Diploma in Game Graphics and I am currently looking for a job. Feel free to check out my portfolio on Artstation.
The following project, called “Hawkmoon” was part of the internship with Berker Siino.
This weapon is one of my favorites from Destiny and its complexity gave me a good opportunity to refine my hard surface skills.
First I searched for reference to get a better feel for the dimensions and size.
Finally, I found the original model by Mark van Haitsma which was great and very helpful. (Basically, the whole design of the gun is taken directly from Mark’s work for Destiny. It was done solely for educational purposes).
With the reference I found, I created a blockout model with the proper dimensions and the rough shape. I mostly used primitives to save time.
Base mesh / Mid poly
After I was confident about the blockout I created a better-shaped base mesh with more details and resolution.
In the following step I used the subdivision method for the high poly mesh and added additional geometry for the details. I also used ZBrush for the complex areas of the model (see the feather on the barrel or the grip). Furthermore I added material properties to see the reflection to avoid surface errors.
Here is an example of how I used supporting edges to get the right shape for the cylinder after turbo smoothing. Very old school technique, but it gives you full control of your edges.
For the very detailed barrel I created an alpha feather mask in Photoshop, which I used to stamp the prepared model. First I imported my barrel into ZBrush and subdivided it to get a higher polycount (around 6 million polygons). Then I set the stroke to the drag rect function and I applied my alpha, so I could easily stamp the details with symmetry for both sides.
Note that it is really important to have an even topology when a mesh gets sculpted to get an evenly detailed sculpt. You can try to achieve this by cutting the mesh in even polygons in 3DS Max or use Dynamesh in ZBrush.
Low poly / Retopo
The low poly version of the model was built and edited referring to the high poly version. I used the freeform tools in 3DS Max to select my high poly as the surface reference mesh (similiar to Topogun, 3DCoat, etc.).
Map Baking & Texturing
I decided to use Substance Painter for the baking and texturing process. It has the neat option to bake only meshes with matching names so that any cage colliding is avoided. Additionally, the Substance Share library offers a large selection of smart materials and smart masks.
I highly recommend the tutorials by Tim Bergholz / Chamfer Zone about texturing.
The early coloring of my high poly mesh was important as well. It gave me the opportunity to separate the parts later with masking by color id.
After finishing the texturing I started the render process. For this I used Marmoset Toolbag 3, because of its great feature to export and upload the scene to Artstation where interested viewers can look at the assets in 3D.
I gained a lot of experience and had plenty of fun working on this project.
I really want to thank Berker Siino for mentoring me so professionally during the whole internship as well as 80 Level for giving me the opportunity for this breakdown article.