Difference between revisions of "3D Asset Workflow"

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This is a series of Wiki pages related to the 3D asset creating process at Frozenbyte. With these guidelines you should be able to create a game asset from an idea to a textured game model or at least get the needed information on what you should research and practice in order to achieve that. The information on these sites is created and collected by our 3D artists and these methods are used daily here at Frozenbyte. The wiki pages also include links to external sources we’ve found to be useful.
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<onlyinclude>
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<div style="float:right; width:400px; background: #f3e9f5; border: 1px solid #666666; border-radius: 15px; padding: 15px;">
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* '''If you can't find some useful info here, please find it out elsewhere and add the info here in the proper section'''
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<div style="border-bottom:2px solid #bc82c8; background:#bc82c8; padding-top:5px; color:white;">
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* Please keep things organized and '''use similar format as the existing material''' here is already using
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::: '''◇ Main Steps'''
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* '''Images and videos are super helpful''', so those are very much encouraged
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</div>
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* If the info is related to the general 3D asset workflow, add it to [[3D Asset Workflow]] page. If it's Modo specific, add it to the [[Modo]] page
 
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* '''The info should be in one place and linked''' into another place, no copy & paste duplicates across several pages
 
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= 3D Workflow steps =
 
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At Frozenbyte the 3D artists will usually take care of all of these steps when creating 3D assets. The 3D artist gets to design the asset from the concept to the final asset that is available in our own in-house game editor. Then the level artists will use the assets to create levels.
 
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# '''The idea''' - a mental image to work towards is formed when discussing with the art director, thinking about the story, and looking at reference images. This part might require communicating with different team members, for example designers, the script writer and/or other artists.
 
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# '''The concept''' - once the idea is clear some kind of concept is made. It can be a rough drawing or a sculpt or a photo bash. The point is to visualize the basic idea, so that the AD can approve it, and you can continue working on it further. With a concept everybody has some kind of idea what the end result will be. The concept can be a very rough scribble as long as the general idea is communicated.
 
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# '''High-poly mesh, or sculpt''' - the detailed and performance heavy version of the mesh. It's not used in the game, but it's used to bake texture maps that are seen on the low-poly mesh in game. Like in all the work phases, it's good to first sculpt a rough version of each piece and get a confirmation from the AD that everything seems to be going as desired. Then it's time to sculpt the details.
 
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# '''"Trash version" of the low-poly mesh, if the mesh is going to be animated''' - when making characters for example, it's good to give the animators a very crude low-poly version of the mesh. This can be done when all the proportions of the mesh are somewhat finished, but there is not detailing yet. This way the animators can point out possible problems early on, when they start rigging. ''Note that this step is obsolete if the mesh is NOT going to the animators''.
 
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# '''Low-poly mesh''' - a less dense and engine-friendly approximation of the high-poly model. This model will end up in the game. It's important to have the optimal amount of geometry (polygons), not too little so that the mesh is too angular, but not too much so that the mesh is needlessly performance heavy. The silhouette is what counts.
 
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# '''UV-mapping''' - creating the texture coordinates for the low-poly mesh, so that the textures are in the correct place on the model and in the correct resolution.
 
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# '''Baking and texturing''' - transferring details from the high-poly model to create a surface material for the low-poly model. Adding all the materials and colors on the model.
 
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# '''Export & import to editor''' - preparing the low-poly model (fbx) and the final texture maps (tga) and importing them to editor with correct naming, adding your new models to the asset gallery.
 
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# '''Adjusting in editor''' - further configuration in the editor, for example back light, self-illumination, etc.
 
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=== Additional Tips Along the Creating Process ===
 
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* '''The scale''' of the final model is important to get right as early as possible. '''Always have a game character model as a scale reference''' from the very start when you start sculpting.
 
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** '''The scale has to be considered every step of the way''': sculpting, detailing, how dense and detailed the low poly mesh should be, and in texturing.
 
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** In some cases it can be a bit hard to see the real scale of things outside the editor game view so '''a temporary version of the asset can be imported to editor to check the scale''' before it's finished. It's better to do this than to use days to finalize the asset and then notice it's in the wrong scale.
 
−
** How to nail the right scale: [http://www.neilblevins.com/cg_education/details_make_big/details_make_big.htm Using Details To Make Something Look Big By Neil Blevins].
 
−
* Some general art fundamentals tips that are useful for any game artist:
 
−
**See Neil Blevins : <i>[http://www.neilblevins.com/cg_education/cg_education.htm Theory And Techniques.]</i>
 
−
**See EmptyEasel.com : <i>[http://emptyeasel.com/2008/11/18/avoiding-tangents-9-visual-blunders-every-artist-should-watch-out-for/ Avoiding Tangents: 9 Visual Blunders Every Artist Should Watch Out For.]</i>
 
−
**See Itcy Animation : <i>[http://www.itchy-animation.co.uk/tutorials/light01.htm LIGHT - a detailed tutorial.]</i>
 
−
**See Drawabox : <i>[http://drawabox.com/ Draw a Box: An exercise based approach to learning the fundamentals of drawing.]</i>
 
−
**See FZDSCHOOL : <i>[https://www.youtube.com/channel/UCbdyjrrJAjDIACjCsjAGFAA FZD School of Design - One Year Makes a Difference.]</i>
 
−
**See Mark Brown : <i>[https://www.youtube.com/user/McBacon1337/videos Game Maker's TOOLKIT.]</i>
 
−
**See Sam Nielson : <i>[https://www.youtube.com/watch?v=iemcI0t096I Environment Lecture Part 1.]</i>
 
−
**See Sam Nielson : <i>[https://www.youtube.com/watch?v=FeUL-5wfj0U Atmosphere 1.]</i>
 
−
**See Gnomon : <i>[https://www.youtube.com/watch?v=FeUL-5wfj0U The Art of Environment Storytelling for Video Games - Part One.]</i>
 
−
 
 
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= Concepting =
 
 
* [[3D Asset Workflow: Concepting]]
 
* [[3D Asset Workflow: Concepting]]
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[[File:Electric wizard concept resized.png|600px]]
 
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=Sculpting=
 
 
* [[3D Asset Workflow: Sculpting]]
 
* [[3D Asset Workflow: Sculpting]]
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[[File:Owl sculpt.jpg|600px]]
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* [[3D Asset Workflow: Retopology]]
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* [[3D Asset Workflow: UV Mapping]]
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=Retopo and UVs=
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* [[3D Asset Workflow: Baking]]
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* [[3D Asset Workflow: Retopo and UVs]]
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* [[3D Asset Workflow: Texturing]]
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* [[Modo]]
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* [[3D Asset Workflow: Asset Assembling]]
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[[File:Owl lowpoly.jpg|600px]]
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* [[3D Asset Workflow: Naming the Asset]]
 +
* [[3D Asset Workflow: LODs]]
 +
* [[3D Asset Workflow: Exporting to Editor]]
 +
* [[3D Asset Workflow: Completed asset checklist]]
 +
<div style="border-bottom:2px solid #bc82c8; background:#bc82c8; padding-top:5px; color:white;">
 +
::: '''◇ Additional Steps'''
 +
</div>
 +
* [[3D Asset Workflow: Alternative Textures]]
 +
* [[3D Asset Workflow: Billboards]]
 +
* [[3D Asset Workflow: Blocksets]]
 +
* [[3D Asset Workflow: Collisions]]
 +
* [[3D Asset Workflow: Sikailu]]
 +
* [[3D Asset Workflow: Sway]]
 +
* [[3D Asset Workflow: Tile Textures and Trimsheets]]
 +
* [[3D Asset Workflow: Tintmask]]
 +
* [[3D Asset Workflow: Vegetation]]
 +
<div style="border-bottom:2px solid #bc82c8; background:#bc82c8; padding-top:5px; color:white;">
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::: '''◇ General Tips and Troubleshooting'''
 +
</div>
 +
* [[3D Asset Workflow: General Tips]]
 +
* [[3D Asset Workflow: Troubleshooting]]
 +
</div>
 +
</onlyinclude>
  
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= Baking and Texturing =
+
= Summary =
−
* [[3D Asset Workflow: Baking and Texturing]]
+
* This is a series of wiki pages related to the '''3D asset creating process in the Trine Art Team at Frozenbyte'''
−
[[File:Electric wizard Base Color.png|400px]]
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** With these guidelines, you should be able to create a '''game asset from an idea to a textured game model''' or, at the very least, get the needed information on what you should research and practice in order to achieve that
−
[[File:Electric wizard Normal DirectX.png|400px]]
+
** The information on these sites is created and collected by our AD and the 3D artists, and these methods are used daily here in the Trine Art Team at Frozenbyte
  
−
=Exporting Assets to Editor=
+
== Trine Art Team Terminology ==
−
* [[3D Asset Workflow: Exporting to Editor]]
+
* Here in the Trine Art Team, we have some non-industry standard terminology we use to describe certain workflow stages
−
[[File:Owl idle1.gif]]
+
** They are listed here for future reference (in Finnish, with rough translations):
−
[[File:Electric wizard color variations.jpg|525px]]
+
<br>
 +
# '''Vessanpönttöily / lisätä vessanpönttöä''' = "toilet(-ing)" / "adding some toilet". Used to describe the stage in which the 3D artist adds some wonkiness and uneven-ness to the lowpoly model after it's otherwise completed. Especially completely symmetric assets usually need some vessanpönttöily done to them, to fit the Trine style better
 +
# '''Juhlamokka / lisätä juhlamokkaa''' = "finetune (with passion and talent)". Juhla Mokka is a Finnish coffee brand, which had very specific marketing videos in the past, where they showcased professionals from different professions talking about their crafts, very intricately. Thus, when a 3D artist needs to finetune their model a bit (with passion and talent), it's called juhlamokka. A bit similar to vessanpönttöily, tho, in all reality
 +
# '''[[3D Asset Workflow: Sikailu|Sikailu / sikailla]]''' = "to behave like a pig", a noun and a verb. Sometimes a 3D artist/level artist needs to take an already existing 3D model, and make something completely new out of it, using the parts of the old one. This happens when the old models do not 100% fit the desired design. Rather than making a new model out of scratch, sikailing it is way faster
 +
# '''[[3D_Asset_Workflow:_Retopo_and_UVs#.22Triangelihuttu.22:_A_decimated_triangle_mesh_made_in_Zbrush_.26_cleaned_up_in_Modo|Triangelihuttu]]''' = "triangle porridge". A model that has generated triangle retopo instead of e.g. being retopoed by hand
  
−
= Other Possible Phases =
+
= 3D Asset Workflow =
 +
* In the Trine Art Team, the '''3D artists will take care of all of these steps when creating 3D assets'''
 +
** [[3D Asset Workflow: Completed asset checklist]]
 +
* The 3D artist gets to design the asset from the concept to the final asset
 +
** The 3D artist is also responsible for '''making sure their asset works as it should in the Editor'''
 +
[[File:3D Asset Workflow flowchart 30.5.2023.jpg|1500px|thumb|center]]
  
−
== Decals and Alpha planes ==
+
== 3D Workflow Steps ==
−
* [[3D Asset Workflow: Decals and Alpha planes]]
+
# '''Receiving a task'''
−
[[File:LeafCoverageMeshes05.jpg|600px]]
+
#* The 3D artist is responsible for making sure the task they received will be '''completed in a timely manner''', with the '''required specs in mind'''
 +
#** Likewise, they're responsible for '''keeping the AD informed of their progress'''
 +
#* In most cases, the 3D artist will have a couple of tasks at any given time
 +
#** This is to ensure that they have things to do even if they need to e.g. wait for feedback for the other task
 +
# '''The Idea '''
 +
#* The 3D artist needs to make sure they understand the actual idea behind the asset; how it related to the story and it's surroundings, and what kind of reference images to use or search for
 +
#* This part might require communicating with different team members, e.g. the AD, the designers, the script writer, and/or other artists
 +
# [[3D_Asset_Workflow:_Concepting|'''The Concept''']]
 +
#* Once the idea is clear, some kind of concept is made
 +
#** It can be e.g. '''rough drawing, a 3D blockout, or a photo bash''' - the point isn't to make anything polished, but to '''visualize the basic idea'''
 +
# [[3D_Asset_Workflow:_Sculpting|'''Highpoly Mesh, a Sculpt''']]
 +
#* The detailed and performance heavy version of the mesh
 +
#* Like in all the work phases, it's good to first sculpt a rough version of each piece, and get a confirmation from the AD that everything seems to be going as desired
 +
# '''"Trash Version" of the lowpoly mesh, if the mesh is going to be animated'''
 +
#* When making characters, it's good to give the animators a very crude lowpoly version of the mesh - this way the animators can point out possible problems early on, and fixes are easy to make
 +
#** This can be done when all the proportions of the mesh are somewhat finished, but there is not detailing yet
 +
# [[3D_Asset_Workflow:_Retopo_and_UVs|'''Lowpoly mesh''']]
 +
#* A less dense and engine-friendly approximation of the highpoly model
 +
#* It's important to have the optimal amount of geometry (polygons) - not too little so that the mesh is too angular, but not too much so that the mesh is needlessly performance heavy
 +
# [[3D_Asset_Workflow:_Retopo_and_UVs#UV_mapping|'''UV mapping''']]
 +
#* Creating the texture coordinates for the lowpoly mesh
 +
# [[3D_Asset_Workflow:_Baking|'''Baking''']]
 +
#* Transferring details from the highpoly model to create a surface material for the lowpoly model
 +
# [[3D_Asset_Workflow:_Texturing|'''Texturing''']]
 +
#* Adding all the materials and colors on the model
 +
# [[3D Asset Workflow: Asset Assembling|'''Asset Assembling''']]
 +
#* Assembling the assets to a coherent set, making use of duplicated and mirrored mesh parts
 +
# [[3D_Asset_Workflow:_Naming_the_Asset|'''Naming the Asset''']]
 +
#* Please follow the project's naming instructions to the T!
 +
# [[3D Asset Workflow: LODs|'''LODs''']]
 +
#* Using a ready-made script to create even lower polycount versions of the lowpoly models, which can be switched on in the Editor when the model is further away
 +
# [[3D_Asset_Workflow:_Exporting_to_Editor|'''Export & Import to Editor''']]
 +
#* Importing the textured lowpoly model and it's textures them to Editor with correct naming
 +
# '''Adjusting in Editor'''
 +
#* Further configuration in the Editor, e.g. backlight, self illumination
 +
# '''Adding Work Files to the Workspace SVN '''
 +
#* Once everything is done, add the work files (.fbx, .lxo, .spp, final texture maps .tga) to the workspace SVN so that anyone can find them, if someone else will need to edit your asset
 +
# '''Adding a Screenshot of Your Model to the Wiki'''
 +
#* Make a screenshot which showcases the model or the models made for the set. Add it to the correct project's 3D asset wiki page, with the name with which it can be found
  
−
== Collisions and Breakable objects ==
+
= Having trouble? =
−
* [[3D Asset Workflow: Collisions and Breakable objects]]
+
* If you have odd issues, try [[3D Asset Workflow: Troubleshooting]]
−
[[File:General assets.jpg|600px]]
+
* If you didn't find what you were looking for anywhere else, try [[3D Asset Workflow: General Tips]]
  
−
== 3D Asset Workflow: Billboards ==
+
= External Art Fundamental Tips =
−
* [[3D Asset Workflow: Billboards]]
+
<div class="toccolours mw-collapsible mw-collapsed" style="background-color: #f3e9f5; border-width:2px; border-radius:10px; margin: 5px;">
−
[[File:Billboard vs model.png|600px]]
+
Some general art fundamentals tips that are useful for any game artist:
 +
<div class="mw-collapsible-content">
 +
* [http://www.neilblevins.com/art_lessons/art_lessons.htm Neil Blevis: Various art tips, check especially 9. Composition]
 +
** [http://www.neilblevins.com/art_lessons/areas_of_visual_rest/areas_of_visual_rest.htm Areas Of Visual Detail, Areas Of Visual Rest]
 +
** [http://www.neilblevins.com/art_lessons/clumping/clumping.htm Clumping and Grouping]
 +
** [http://www.neilblevins.com/art_lessons/compositional_weight/compositional_weight.htm Compositional Weight]
 +
** [http://www.neilblevins.com/art_lessons/composition_contrasts/composition_contrasts.htm Contrasts In Composition]
 +
** [http://www.neilblevins.com/art_lessons/foreground_midground_background/foreground_midground_background.htm Foreground, Midground, Background]
 +
** [http://www.neilblevins.com/art_lessons/layers_of_light_and_dark/layers_of_light_and_dark.htm Layers Of Light And Dark]
 +
** [http://www.neilblevins.com/art_lessons/primary_secondary_and_tertiary_shapes/primary_secondary_and_tertiary_shapes.htm Primary, Secondary and Tertiary Shapes]
 +
** [http://www.neilblevins.com/art_lessons/details_make_big/details_make_big.htm Using Details To Make Something Look Big]
 +
** [http://www.neilblevins.com/art_lessons/tangents/tangents.htm What is a Tangent? And How To Solve Them]
 +
* [http://emptyeasel.com/2008/11/18/avoiding-tangents-9-visual-blunders-every-artist-should-watch-out-for/  Avoiding Tangents: 9 Visual Blunders Every Artist Should Watch Out For]
 +
* [http://www.itchy-animation.co.uk/tutorials/light01.htm Lighting Fundamentals for Artists]
 +
* [http://drawabox.com/ Draw a Box: An exercise based approach to learning the fundamentals of drawing]
 +
* [https://www.youtube.com/channel/UCbdyjrrJAjDIACjCsjAGFAA Feng Zhu design school videos. All kinds of stuff about painting/design/color etc.]
 +
* [https://www.youtube.com/user/McBacon1337/videos Game Maker's Toolkit. Interesting and well-made videos about game mechanics in different games by Mike Brown.]
 +
* [https://www.youtube.com/watch?v=iemcI0t096I Sam Nielson's lecture about environment design]
 +
* [https://www.youtube.com/watch?v=griCsvvRTQM  Sam Nielson's lecture about atmosphere]
 +
* [https://youtu.be/FeUL-5wfj0U?t=3m29s The Art of Environment Storytelling for Video Games GNOMON]
 +
</div>
 +
</div>

Latest revision as of 10:40, 1 August 2023

◇ Main Steps
◇ Additional Steps
◇ General Tips and Troubleshooting


Summary

  • This is a series of wiki pages related to the 3D asset creating process in the Trine Art Team at Frozenbyte
    • With these guidelines, you should be able to create a game asset from an idea to a textured game model or, at the very least, get the needed information on what you should research and practice in order to achieve that
    • The information on these sites is created and collected by our AD and the 3D artists, and these methods are used daily here in the Trine Art Team at Frozenbyte

Trine Art Team Terminology

  • Here in the Trine Art Team, we have some non-industry standard terminology we use to describe certain workflow stages
    • They are listed here for future reference (in Finnish, with rough translations):


  1. Vessanpönttöily / lisätä vessanpönttöä = "toilet(-ing)" / "adding some toilet". Used to describe the stage in which the 3D artist adds some wonkiness and uneven-ness to the lowpoly model after it's otherwise completed. Especially completely symmetric assets usually need some vessanpönttöily done to them, to fit the Trine style better
  2. Juhlamokka / lisätä juhlamokkaa = "finetune (with passion and talent)". Juhla Mokka is a Finnish coffee brand, which had very specific marketing videos in the past, where they showcased professionals from different professions talking about their crafts, very intricately. Thus, when a 3D artist needs to finetune their model a bit (with passion and talent), it's called juhlamokka. A bit similar to vessanpönttöily, tho, in all reality
  3. Sikailu / sikailla = "to behave like a pig", a noun and a verb. Sometimes a 3D artist/level artist needs to take an already existing 3D model, and make something completely new out of it, using the parts of the old one. This happens when the old models do not 100% fit the desired design. Rather than making a new model out of scratch, sikailing it is way faster
  4. Triangelihuttu = "triangle porridge". A model that has generated triangle retopo instead of e.g. being retopoed by hand

3D Asset Workflow

  • In the Trine Art Team, the 3D artists will take care of all of these steps when creating 3D assets
  • The 3D artist gets to design the asset from the concept to the final asset
    • The 3D artist is also responsible for making sure their asset works as it should in the Editor
3D Asset Workflow flowchart 30.5.2023.jpg

3D Workflow Steps

  1. Receiving a task
    • The 3D artist is responsible for making sure the task they received will be completed in a timely manner, with the required specs in mind
      • Likewise, they're responsible for keeping the AD informed of their progress
    • In most cases, the 3D artist will have a couple of tasks at any given time
      • This is to ensure that they have things to do even if they need to e.g. wait for feedback for the other task
  2. The Idea
    • The 3D artist needs to make sure they understand the actual idea behind the asset; how it related to the story and it's surroundings, and what kind of reference images to use or search for
    • This part might require communicating with different team members, e.g. the AD, the designers, the script writer, and/or other artists
  3. The Concept
    • Once the idea is clear, some kind of concept is made
      • It can be e.g. rough drawing, a 3D blockout, or a photo bash - the point isn't to make anything polished, but to visualize the basic idea
  4. Highpoly Mesh, a Sculpt
    • The detailed and performance heavy version of the mesh
    • Like in all the work phases, it's good to first sculpt a rough version of each piece, and get a confirmation from the AD that everything seems to be going as desired
  5. "Trash Version" of the lowpoly mesh, if the mesh is going to be animated
    • When making characters, it's good to give the animators a very crude lowpoly version of the mesh - this way the animators can point out possible problems early on, and fixes are easy to make
      • This can be done when all the proportions of the mesh are somewhat finished, but there is not detailing yet
  6. Lowpoly mesh
    • A less dense and engine-friendly approximation of the highpoly model
    • It's important to have the optimal amount of geometry (polygons) - not too little so that the mesh is too angular, but not too much so that the mesh is needlessly performance heavy
  7. UV mapping
    • Creating the texture coordinates for the lowpoly mesh
  8. Baking
    • Transferring details from the highpoly model to create a surface material for the lowpoly model
  9. Texturing
    • Adding all the materials and colors on the model
  10. Asset Assembling
    • Assembling the assets to a coherent set, making use of duplicated and mirrored mesh parts
  11. Naming the Asset
    • Please follow the project's naming instructions to the T!
  12. LODs
    • Using a ready-made script to create even lower polycount versions of the lowpoly models, which can be switched on in the Editor when the model is further away
  13. Export & Import to Editor
    • Importing the textured lowpoly model and it's textures them to Editor with correct naming
  14. Adjusting in Editor
    • Further configuration in the Editor, e.g. backlight, self illumination
  15. Adding Work Files to the Workspace SVN
    • Once everything is done, add the work files (.fbx, .lxo, .spp, final texture maps .tga) to the workspace SVN so that anyone can find them, if someone else will need to edit your asset
  16. Adding a Screenshot of Your Model to the Wiki
    • Make a screenshot which showcases the model or the models made for the set. Add it to the correct project's 3D asset wiki page, with the name with which it can be found

Having trouble?

External Art Fundamental Tips

Some general art fundamentals tips that are useful for any game artist:

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