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E-raamat: Beginning 3D Game Assets Development Pipeline: Learn to Integrate from Maya to Unity

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  • Formaat: PDF+DRM
  • Ilmumisaeg: 04-Dec-2021
  • Kirjastus: APress
  • Keel: eng
  • ISBN-13: 9781484271964
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Beginning 3D Game Assets Development Pipeline: Learn to Integrate from Maya to UnitySuurem pilt
  • Formaat: PDF+DRM
  • Ilmumisaeg: 04-Dec-2021
  • Kirjastus: APress
  • Keel: eng
  • ISBN-13: 9781484271964
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Beginning-Intermediate user level

This project-based tutorial covers the creation of 3D assets in a game engine, from concept to implementation. You will learn the 3D pipeline using Maya and Substance Painter, which are industry-standard programs used for content creation in game development. You also will know how to add them and work with them in Unity.

The book begins with an overall look at the production of game development and the different roles in creating assets. Then, starting with Maya, you learn how to start with a concept and take it through the entire production pipeline: base mesh, UV mapping, high poly, texturing, rigging, and animation. You will be working on one asset project throughout the entire book to understand how one phase leads to the next one. Lastly, you will cover asset placement and integration into Unity.

What You Will Learn

  • Build a thorough knowledge of the 3D game asset production workflow
  • Understand how each phase leads up to the next one
  • Know how 3D assets are implemented into Unity
  • Texture, rig, and animate the 3D model
  • Export and import the 3D asset or model
  • Understand the iterative design process


Who This Book Is For

3D artists, from beginners to specialists, who are interested in learning the 3D production pipeline of game assets as a whole

About the Author xiii
About the Contributor xv
Acknowledgments xvii
Introduction xix
Chapter 1 What Is the 3D Production Pipeline and Why Is It Important?
1(30)
Who This Book Is Intended For
1(1)
About the 3D Pipeline and How It Fits in the Game Design Process
2(11)
3D Modeling
3(3)
3D Texturing
6(3)
Wait! What About Rigging and Animation?
9(1)
Textures Before Rigging or the Other Way?
10(2)
3D Animation
12(1)
The Game Development Workflow
13(6)
Working with a Team
16(2)
How to Use This Book
18(1)
Nonlinear Game Development
19(1)
Embracing and Utilizing Computer Shortcuts
19(1)
Using the Right Tools
20(6)
What Is Maya?
22(1)
What Is Substance Painter?
23(1)
What Is Unity?
24(1)
Pricing
25(1)
Getting Started
26(4)
The Importance of Using References
27(1)
Gathering References
27(3)
Summary
30(1)
Chapter 2 Starting with Maya
31(24)
Installing and Opening Maya
31(1)
Overview of the Interface
32(4)
Menu Sets
33(1)
The Top Menu
33(1)
Shelves
33(1)
The Channel Box
33(1)
Quick Layout/Outliner Buttons
34(1)
The Time Slider
35(1)
The Range Slider
35(1)
Playback Controls
35(1)
The View Panel
35(1)
Creating Primitives
36(2)
Translating, Rotating, and Scaling
38(2)
Navigating
40(1)
Duplicating Objects
41(1)
Deleting Objects
41(1)
Adding Edge Loops
42(1)
Pivoting
42(1)
Mirroring
43(1)
Using Object Mode
44(1)
Editing Faces, Vertexes, and Edges
45(6)
Selecting Objects
47(1)
Deleting Faces, Vertices, and Edges
48(1)
Transforming Faces, Vertices, and Edges
49(1)
Scaling Faces
50(1)
Rotating Edges and Faces
50(1)
Duplicating Faces
51(1)
Before Continuing
51(1)
Maya Shortcuts
52(1)
Setting Up the Project
53(1)
Setting Up the Mech Project
53(1)
Summary
54(1)
Chapter 3 Creating a Base Mesh
55(42)
Creating a Base Mesh
56(6)
Exception to the Rule
57(1)
Topology
57(1)
N-gons
58(2)
Concave Faces
60(1)
Metrics
60(2)
Image Plane Reference
62(2)
Switching Between Panel Views
64(1)
Starting to Model
65(19)
Symmetry
67(5)
Display Modes
72(1)
Modeling the Leg Connectors
73(4)
Modeling the Foot Stabilizers
77(2)
Modeling Armor for the Motor Units
79(2)
Building the Body
81(3)
Building the Head
84(1)
Shaping the Head
85(1)
Adding Thickness to the Head
86(7)
Modeling the Head Details
87(4)
Adding the Neck Model
91(1)
Positioning the Leg
92(1)
Instancing the Leg
93(2)
Summary
95(2)
Chapter 4 Preparing the Asset for the Next Phase
97(20)
Adopting Best Practices
97(1)
Pipeline Requirements
97(2)
What Is the Outliner and Why Do You Use It?
99(2)
Using the Outliner for Clean Up
101(7)
What Is Construction History?
101(1)
Cleaning Up the History
101(1)
Starting to Use the Outliner
102(6)
Combining, Naming, and Freezing Meshes
108(4)
Resetting Transformations
110(1)
Freezing Transformations
110(2)
Pivot Locations
112(3)
Using Instancing for Fast Prototyping
114(1)
Grouping the Asset
115(1)
Summary
116(1)
Chapter 5 UV Mapping
117(34)
What Are UVs?
118(3)
The Different Ways You Can UV Map
119(1)
UV Map Optimization
120(1)
What Is the UV Editor?
121(3)
Clean Up for UV Mapping
123(1)
Setting Up and Using the UV Editor
124(5)
Creating a Basic UV Map for the Mech
126(1)
Automatic Mapping
126(1)
Interacting with UV Components in the UV Editor
127(2)
UVing Multiple Meshes Simultaneously
129(1)
Deleting History of the UVed Meshes
129(1)
Optimizing the Mesh UVs
129(7)
Cutting and Sewing Seams
130(5)
Unfolding UV Shells
135(1)
Handling a Real-Life UV Pipeline Scenario
136(1)
Optimizing and Arranging UVs
136(13)
Texel Density
136(2)
Moving, Arranging, and Packing UVs
138(8)
It Always Depends
146(1)
Final Arrangement and Layout
146(3)
Summary
149(2)
Chapter 6 Creating a High Poly Model
151(28)
What Is a High Poly Model?
152(1)
Why Create the Illusion of Depth in Games?
152(1)
The Different Approaches to End Up with a Low and High Poly
153(3)
Using Smooth Mesh Preview Display Modes
154(2)
Setting Up for the High Poly
156(3)
What Is the Difference Between a Low and High Poly Model?
159(1)
Creating the High Poly Model
160(18)
Adding Details and Edge Definition to the Body
161(4)
Modeling in a Non-Destructive Way
165(1)
Adding Details to the Feet
166(5)
Adding the Rest of the Mech's Details
171(7)
Summary
178(1)
Chapter 7 Texturing
179(44)
Using Floaters to Add Texture Details
180(1)
Getting Your Maya Files Ready
181(8)
Working with Multiple Textures on a Single Model
185(3)
Exporting the FBX Model
188(1)
Installing and Opening Substance 3D Painter
189(1)
Overview of the Substance 3D Painter Interface
189(7)
The Top Menu
190(1)
The Toolbar
190(1)
The Layers Panel
191(1)
The Properties Panel
192(1)
The Viewport
193(1)
The Texture Set List
193(1)
The Assets Panel
194(1)
The Display Settings Panel
195(1)
Preparing to Texture
196(3)
Baking the Model
198(1)
Creating Textures Using a PBR Pipeline
199(17)
Starting to Texture
201(3)
Masking
204(8)
Adding Sticker Decals
212(4)
Exporting the Textures
216(2)
Configuring Custom Output Texture Maps
218(4)
Summary
222(1)
Chapter 8 Rigging the Mech
223(50)
What Is Rigging?
224(1)
Understanding Mesh Animation
224(37)
What Are Joints?
225(18)
Working with Control Curves
243(18)
Using Kinematics for Movement
261(2)
Creating IKs for the Legs
261(1)
Connecting Vector Poles for the Knees
262(1)
What Are Constraints?
263(7)
The Importance of Using Constraints
263(1)
Creating Groups
264(6)
Creating a Grouping System
270(2)
Summary
272(1)
Chapter 9 Bringing the Asset to Life
273(38)
Iterative Design
273(1)
Animating the Mech
274(8)
Animation States
275(1)
Setting Up the Scene for Animation
275(1)
Creating the Idle Animation
276(6)
Installing and Opening Unity
282(1)
Overview of Unity
282(4)
Creating a New Project
282(2)
Navigating in the Scene View
284(1)
Understanding the Interface
284(2)
Working with Assets in Unity
286(11)
Using the Hierarchy
287(1)
Using the Inspector
288(9)
Adding Textures to the Mech
297(10)
Changing Shaders and Linking Textures to the Map Slots
299(5)
Assigning the Materials to the Mech Asset
304(3)
Working with Level of Details
307(1)
Playing the Scene
307(1)
What About Other Assets?
308(1)
Summary
308(1)
Wrapping It All Up
308(1)
Where Do You Go From Here?
309(1)
Staying Inspired
310(1)
Index 311
Nova Villanueva is Professor of Game Design at Pratt Institute, New York, USA. She has taught game development for more than five years at Pratt, Parsons, and New Yorks College of Technology, and is an independent game developer working on The Mills game. She live streams her game development process at twitch.tv/novavillan. Nova has previously worked as a 3D artist for Animatic Media, a 2D artist for the Webby award-winning Mafia Wars game developed by Zynga, and is a published artist featured in the Photoshop Creative magazine. She has an MFA degree in game design from the NYU Game Center in New York and a BS degree in media arts and animation from the Art Institute of Fort Lauderdale, Florida.
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