How to Prepare an Asset for a AAA Game — Using a Walkie-Talkie Model as an Example

Contents:

• Checking the metric system
• Blocking the asset
• Creating a high-poly object
• Adding finishing touches to the mesh
• Preparing meshes for boolean operations
• Importing meshes into ZBrush
• Performing boolean operations on meshes
• Creating a low-poly model
• UV unwrapping for Low Poly Mesh
• Packing UV Islands
• Importing into Marmoset Toolbag
• The Baking Process
• Moving to Substance 3D Painter
• Texturing in Substance Painter
• Additional Details
• Exporting Textures

Checking the Metric System

Before you begin, make sure the dimensions of the asset you're creating match the metric system in your 3D modeling software. This is critical for subsequent work with low-poly and high-poly models. The units of measurement in your digital content creation software should match the units used in the game engine for which the model is being developed. Correct dimensions ensure accuracy and compatibility, which is key in the 3D modeling process.

Brady was creating a walkie-talkie for the game using Unreal Engine 4, so he chose centimeters as the unit of measurement for his 3D modeling, as that's the unit of measurement used in the engine. To configure the unit system in 3ds Max, open the Customize tab in the main menu and select Units Setup. This will open a window with the System Unit Setup button, which contains measurement system settings that affect the actual scale of objects in the scene. The Display Unit Scale settings determine the units of measurement displayed in the viewport, ensuring accurate rendering of models. Setting up units correctly is a key aspect in game development, as it affects how objects interact and physics in the game world.

Asset Blocking

Blocking, or blockout, in 3D modeling is the initial creation of an object or location using simple geometric shapes. This stage is important for determining the overall scale and proportions of the future model. To begin blocking, create a base cube and adjust its dimensions and shape to fit the desired asset. Maintaining proportions is key, especially in cases where the front and back of the object differ, such as the chamfer angles of the radio shown in the slide. In such situations, a flat surface is first formed, and then the corners are chamfered in the desired places. This allows for a more accurate foundation for further detailing and texturing of the model. Proper blocking is the basis for successful 3D modeling and helps avoid errors at later stages of work.

In the next step, Brady created additional top and bottom sections that were integrated into the existing primitive. This created the overall shape of the radio, making the chamfers more apparent. The artist then added the cylindrical front elements, representing the microphone and speaker. In this way, the model gradually fills in with new details until the blocking process is complete. This stage is important for creating a realistic and functional model, which will facilitate its further use in the project.

Creating a High-Poly Object

Once the blocking stage has achieved an optimal result, you can move on to creating the high-poly model. At this stage, the artist duplicates the asset created in the previous stage and begins adding more closed edges to the polygonal mesh. It is important to disassemble the blocking model into separate segments and increase the number of closed edges in each part to achieve a high level of detail. This process improves the quality of the model and prepares it for further processing, which is especially important for creating realistic 3D objects.

As you work, it's important to ensure even distribution of edges across the entire mesh. It's important to note that proper execution of these steps is essential for successfully applying the Turbosmooth modifier, which will smooth the polygonal mesh. If the edges are placed carelessly, using this tool can result in an uneven structure of some elements. Therefore, it's important to pay special attention to detail at this stage to achieve a high-quality modeling result.

Adding finishing touches to the mesh

Once you've finished distributing closed edges across all elements, apply the Turbosmooth modifier. In some cases, you may need to add additional edges for better corner rounding. It's important to keep in mind that this object will be exported to ZBrush, where its mesh will be subdivided. To avoid excessive subdivision levels in ZBrush, it is recommended to pre-create a few additional closed edges and re-apply Turbosmooth while the model is still being edited in 3ds Max. This approach will optimize the polygonal structure and maintain high quality of the model during further editing.

To successfully export to ZBrush, you need to perform similar manipulations with the remaining elements of the model. Make sure all meshes are prepared and optimized for further work in ZBrush.

Preparing Meshes for Boolean Operations

The design of the radio includes many small holes in the microphone and speaker areas. These details can be created using Boolean operations. In this case, Brady designed a group of cylinders whose thickness corresponded to the size of the intended holes and placed them on the model according to the reference. During the process, it is necessary to ensure that all the cylinders are at the same level. This is important, since inconsistencies in the height of the cylinders can lead to uneven hole depths after performing Boolean operations. Correct alignment of the cylinders will ensure the accuracy and quality of the final radio model.

Similar steps must be taken for all elements requiring recesses, including the smallest details. For example, the artist's radio, located near the antenna, has a small hole with a nut. Paying attention to such details is important for achieving high-quality work and accurate recreation of objects.

After all the necessary primitives for After Boolean operations are added to the mesh, the model can be exported to ZBrush in the OBJ format. This format provides high quality and compatibility, making it ideal for further processing and detailing in ZBrush. Exporting in OBJ format allows you to preserve the model's geometry and textures, which is important for successful work in 3D graphics.

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Importing Meshes in ZBrush

Loading an OBJ file into ZBrush is the first step to creating 3D models. After importing the object, in the Tool menu, open the Subtool tab. Scroll down and find the Split button. Click the Split to Similar Parts option to divide the object into similar parts. This process simplifies working with model parts and allows for more efficient editing of each part separately.

The program automatically identifies meshes involved in Boolean operations and separates them from the main objects. These meshes will appear in the Subtool category as separate elements. This method helps minimize visible artifacts during work. Next, check the list of separated segments in the Subtool panel and ensure that the meshes intended for Boolean operations are positioned above those in which holes need to be created. This is important because they will be combined later during the DynaMesh function.

Performing Boolean Operations with Meshes

In Subtool, you need to select the first mesh with which the Boolean operation will be performed, in this case, the microphone or speaker. Scrolling down the panel, we find the Dynamesh tab. In the settings for this tool, Brady typically sets the resolution slider to 1400. This setting ensures the desired shape and density when converting the mesh later.

To perform a Boolean operation, you need to select an object and assign it a negative value. To do this, click the crescent moon icon next to the selected object in the Subtool menu. This action will remove the external mesh, which will be inserted into the main object, while leaving its holes in place. This approach allows for precise control of the object's shape and the creation of complex geometric structures in 3D modeling.

Ensuring both meshes are selected, go to the Polygroups tab and select the Group As DynaMesh Sub option. This will display the extracted mesh in the viewport. Then, combine both meshes by holding down the Ctrl key, left-clicking, and dragging the cursor sideways. As a result, holes will appear on the mesh.

A similar process should be repeated for all the others High-poly model elements where holes need to be created.

Creating a Low-Poly Model

Once all transformations are completed, the objects are returned to the 3D modeling software as part of the workflow. This is necessary to create a low-poly version of the model. The most effective method is to use the original mesh obtained during the blocking stage as a basis. This approach preserves the main shapes and details, ensuring the model is optimized for further work.

All parts must be compared with their high-poly counterparts. It is possible that the number of high-poly segments will be greater, and the missing elements will have to be created manually. The sizes of high-poly and low-poly parts must match to avoid problems during the baking process. Inconsistencies can lead to visible artifacts and errors related to the lack of overlapping polygonal meshes. Correct alignment and precise dimensions ensure high-quality visualization and minimize risks at a later stage of work.

Continue refining the original blockout mesh until it accurately matches the high-poly details. If the asset contains multiple identical meshes, such as the speakers in Brady's radio, it's recommended to select one detail and focus on refining it. Once the UV unwrapping stage is complete, this detail can be duplicated for the remaining elements.

UV unwrapping for a low-poly mesh

If you're happy with the current result and all the details accurately match the high-poly model, you can begin creating the UV unwrapping. It's important to ensure that the UV unwrapping is free of stretching and distortion. You should also check the texture density using special settings. This will ensure high-quality texture mapping on the model and improve the overall visual result. Correct UV unwrapping is a key step in the 3D modeling process, since it affects not only the appearance of an object, but also its performance in gaming and animation projects.

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UV unwrapping is the process of projecting a 3D model onto a 2D surface to create textures. This method allows texture images to be precisely matched to the shape and details of the model, making it realistic and visually appealing. UV unwrapping plays a key role in 3D modeling, as it ensures proper texture mapping, which is critical for creating high-quality visual effects in games, animation, and virtual reality. Proper UV unwrapping helps avoid distortions and artifacts, significantly improving the final image quality. It's important to pay attention to this step to achieve maximum detail and realism in digital objects.

To accomplish this in 3ds Max, select the UV Unwrap modifier, which is labeled Unwrap UVW in the modifier list. Next, in the Edit UVs panel, click the Open UV Editor button. In the editor that opens, go to the main menu and select the Options tab, then select Preferences. This will open the Unwrap Options window, where you can adjust the texture density in the Checker Tiling parameter. Properly setting these parameters will help ensure high-quality texture display on the model.

UV Island Packing

After preparing the UV map of a low-poly mesh, it is important to pack it correctly. All UV islands, also known as shells, should be placed in UV space covering the range from 0 to 1. This ensures efficient use of texture resources and minimizes distortion when mapping textures to the model. Proper packing of UV islands helps improve the visual quality of the model and optimize performance during rendering.

The "0 to 1" in UV unwrapping refers to the range of texture coordinate values ​​used to map textures to 3D models. UV unwrapping is the process by which two-dimensional texture coordinates (U and V) are mapped to a three-dimensional model, allowing the texture to be correctly displayed on its surface. A range from 0 to 1 indicates that the texture should be normalized and stretched across the entire surface of the model, ensuring correct display and avoiding distortion. Understanding this principle is key to creating high-quality graphics and visual effects in computer animation and video games.

Texture resolution for 3D models typically ranges from 512x512 pixels to 4K (4096x4096 pixels). When placing UV islands, using pixel coordinates is impractical, so a coordinate system from 0 to 1 is used. This system is represented by a square, where point 0 corresponds to the intersection of the U and V axes, and point 1 corresponds to the extremes of both axes. The coordinates of this range allow for efficient mapping of UV islands to texture boundaries, ensuring accurate image mapping on models. This approach optimizes texturing and improves rendering quality in 3D applications.

The size of UV islands in UV space directly impacts the use and display of assets in games. For example, the UV unwrapping of Brady's radio body uses a single large UV island. This solution ensures high texture detail, ensuring that scratches, scuffs, markings, and other small elements are clearly visible on the surface. Properly setting up UV islands can significantly improve the visual perception of an object, which is especially important for creating realistic game worlds.

The artist recommends packing the UV map so that the UV islands of one part are located adjacent to each other. This approach makes it easier to spot texturing errors, when unique texture elements may intersect with other islands. In addition, it allows you to optimize linking UV islands, which are adjacent elements not visible to the player, but located in the same area as the visible UV island of the asset. Correct packing of UV islands contributes to more efficient use of texture resources and improves the quality of visualization in the game.

Importing into Marmoset Toolbag

Once all the UV islands are distributed in the 0–1 range, you can begin the process of baking maps for texturing. It is recommended to use Marmoset Toolbag for this task. To begin, open the program and import the created low-poly and high-poly models. To avoid scaling and misalignment issues, ensure both models are saved in .fbx format. After loading the models, it's a good idea to assign a color material to each one. This will simplify identification and make it easier to spot any unwanted protrusions on the low-poly model. Proper preparation of models and textures will ensure high-quality rendering and optimization during the workflow.

The Baking Process

In the Marmoset Toolbag main menu, open the Scene tab and select New Object — Bake Project. Then, move the high-poly and low-poly models to the appropriate categories, which will appear in the outliner on the left. Select Bake Project 1 and ensure that all maps in the Map section are checked except for Material ID. This process is important for correct texture baking and obtaining a high-quality result.

In the Output section, set Samples to 64x, and set Resolution to 4096×4096. This will ensure sharper baked details without jagged artifacts and at a high resolution. Before baking, check the cage to ensure it completely covers all meshes. Once you're happy with the cage placement, simply click the Bake button to complete the process.

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Texture baking is a process used in computer graphics to create static images containing visual information about the surface of 3D objects. This method allows you to transfer complex lighting effects, shadows, and other texture details into a single texture, which is then applied to the model. Baked textures significantly reduce the load on the GPU, improving performance in games and virtual reality applications.

During texture baking, the model's geometry and its interaction with light are analyzed, which helps preserve important visual elements. The result of this process is a texture that effectively reproduces the appearance of an object without the need to calculate all the effects in real time. Texture baking is widely used in game design, animation, and visualization, ensuring high image quality with optimal performance.

Switching to Substance 3D Painter

Launch Substance 3D Painter and select the New Project option. This will open the start window with preliminary settings. In this example, we're working with a radio asset that was originally developed for use in an Unreal Engine 4 project. Therefore, in the Template category, we select the Unreal Engine 4 (starter_assets) option and set the document resolution to 4096. This selection optimizes textures for high-quality renders, which is especially important in game development.

We load the asset's low-poly model and a set of PSD texture files exported from Marmoset Toolbag. It's important to invert the green channel in the normal map so the engine can correctly interpret the surface relief. This manipulation can also be performed in Photoshop. This will improve visualization and rendering quality in the game engine.

Green channel inversion is necessary to optimize its operation and increase efficiency. This process improves data transmission quality, minimizes latency, and increases throughput. Channel inversion promotes more even load distribution, which in turn improves overall system performance. Furthermore, this procedure can help resolve compatibility issues and improve connection stability. Green channel inversion is becoming a key step in ensuring the high-quality and reliable operation of the network infrastructure.

Vertex normals have their own coordinate system based on the X, Y, and Z vectors. The X and Y vectors are responsible for rendering surface relief and shading. Modern 3D modeling programs and engines often use the Y+ and Y− vector space, which is reflected in the green channel of the normal map. This channel plays a key role in determining the convexity or concavity of a surface. Without inverting this channel, the vector space will be out of sync, resulting in distorted relief. Proper use of normal maps ensures realistic display of textures and details in 3D space.

We recommend reading our article on creating assets in Blender for AAA production. In this article, you will find information on the specifics of normal maps and vectors, as well as a detailed list of programs that support the Y+ and Y− vector space. This will help you gain a deeper understanding of the asset development process and improve the quality of your projects.

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Creating assets in Blender while working in other software requires a special approach. The first step is choosing a file format that is compatible with the programs used in the studio. Blender supports a variety of import and export formats, such as FBX, OBJ, and STL, making it easy to integrate assets into other applications.

The next step is optimizing models for use in various projects. It is important to consider mesh and texture requirements to ensure high-quality rendering with minimal resource consumption. It is recommended to create assets keeping in mind the maximum level of detail that will be used in the final product.

Don't forget to organize your assets. Create a folder structure and file naming that is understandable to all team members. This will make it easier to find and use assets in the future. You should also consider creating asset libraries that can be easily updated and adapted for different projects.

It is also a good idea to explore Blender's integration with other programs through plugins or scripts. This can significantly simplify the process of transferring assets between different programs and speed up workflows. It is also important to keep your tools and technologies up-to-date to streamline asset creation and improve the overall efficiency of your studio.

Texturing in Substance Painter

Create a set of baked textures in the Texture Set Settings section. Once applied, the textures will appear on the mesh in the viewport, allowing you to move on to texturing. Start by applying a base color material to the asset. Before adding additional details, ensure the base material color matches the reference as closely as possible. Brady used the Steel Painted Stained preset for the radio body, and Steel Stained from the Smart Materials collection for the metal parts. This will allow you to achieve a more realistic and high-quality final result.

When texturing in Substance Painter recommends using the Sharpen filter on a layer. This can significantly improve the clarity of texture details. Experienced user Brady often sets the Sharpen Intensity parameter to 0.4 for optimal results. Using this filter helps highlight important elements and gives the texture a more professional look.

Additional Details

The next step is to apply textures to the surface of various parts, reflecting the historical context of the model. For example, a radio can appear dirty and worn, which adds realism. To create the first layer, the artist used texture generators, then added a second layer manually to add personal touches and improve detail.

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You can improve existing textures by adjusting the parameters in the Levels - Base Color section, which is located at the top of the layer hierarchy. This will allow you to add additional detail and improve the visual quality of the textures.

When texturing, it is necessary to carefully monitor the maps responsible for the roughness and metallic properties. Details with a high roughness value effectively highlight dusty areas and create a matte surface effect. Metallic surfaces on the map appear either completely black (without reflections) or completely white, with no intermediate values. Correct use of these maps allows you to achieve realistic display of materials in 3D modeling.

Paint on real-life objects fades over time, especially when exposed to weather conditions. To create the most realistic assets, it is necessary to take these aspects into account. Properly conveying the effect of fading and aging of a material will give your models a believable look and enhance the overall perception. Use textures and materials that simulate real-life changes to improve the quality of rendering. This will help your projects look more professional and appeal to audiences.

Exporting Textures

The final step in the process is exporting the textures to Unreal Engine. In Substance 3D Painter, go to the File menu and select Export Textures. Then, specify the folder where the textures will be saved and make sure that Unreal Engine 4 (Packed) is displayed in the Output Template field. Select the Targa (.tga) file type, as it is the most common extension for Unreal Engine. In the Texture Set List section, enter a name for your texture set. It's important to remember that texture maps used in game assets must be strictly identified and named consistently, for example, T_MilitaryRadio_01. This will help avoid confusion and make it easier to work with textures in the future.