![]() ![]() Attach the edges of the quads to the corners of your mesh paper the entire mesh with large quads.In the case of Sculptor’s cave, I chose to This will make painting the carvings and details very difficult because you will not be able to isolate the areas you want to focus on.Even if you could practically make one giant texture, you would be using a lot of texture space on things that are not generally important to the viewer in game (i.e.a single UV map at 8K resolution is too low to capture both the cliff face and the small and subtle carvings.The reason you have to break up the mesh for a number of reasons: This is especially true with a large and unusual mesh that will need to be extracted (broken up into connected pieces) so you can generate Hi resolution UVs to take with you to Marmoset toolbag. Start by making your mesh with as large quads as you can and smooth your way down to the correct topology. Retopology will allow you to make a greatly decreased (and cleaned) version of your mesh with sensible UV and normal maps. If your hi-res mesh has a texture or vertex colours, you can transfer them in marmoset. export as a package to a game engine of your choice.Paint the low poly mesh in high detail (Texturing).transfer the details of the hi resolution mesh to the texture of the low poly mesh (Baking Maps).Build a sensible quad-based low poly mesh (Retopology).You can also decide if you prefer any single workflow and just use that. Any one of these products could be used on its own to complete the task in full, but this workflow takes advantage of the strengths of each to make the process easier. These products are not free, but you can download generous trials and work in stages. Meshlab, cloud compare (free) or Zbrush (45 day trial).Maya (30 day trial or academic license).A hi-res mesh– preferably a naturalistic one in need of texture.TO BEGIN: For this project, you will need: Interesting acoustic phenomena are believed when experienced ‘live’, but the listener may not believe the acoustics when heard in game. This is the same problem with spatial audio. The eye may not find this incongruous when visiting the site, but in game these changes in colour and texture may be misinterpreted as fake. In the case of Sculptor’s Cave, there are many different colours and textures of rock, moss, sand, and ancient artwork. There is also the risk of incorporating too much creative license to historical places and then laying the groundwork for misinterpretation. The patina of history is also very detailed, and natural features need to be added with great care to avoid looking artificial. ![]() It is like trying to apply striped wallpaper to the inside of dome– there are no good places for seams. This model is a very good example of everything difficult about texture work, and presents every obstacle of the process.Ĭaves, interiors, and ancient architecture each present unique problems in meshing because they tend to have unique structures that dont ‘wrap’ well. The objective of this task is to add the carvings and the details to the mesh, and then build a game reconstruction of the cave. Here are some images of the carvings (from photoscan– not hi res) I also took acoustic measurements (but that is for another post). I took photogrammetry models of the carvings and made a texture set of natural materials around the cave. In June 2018, I went to Covesea with the Covesea Caves Project. The texture was lost due to a technical glitch during earlier field work, and one of my roles was to add the textures back. I have used this process to retexture a model of Sculptor’s Cave in Covesea, Scotland. Projects should budget sufficient time and resources to complete the task, and understanding the process can help project managers better plan their output. In my case, most of the models I have been working with are extremely detailed laser scans of highly irregular interiors. For example, older 3D models may have been optimized for smaller screen resolutions and will look blurry or gooey when used today. Simply having a 3D model does not necessarily mean that the model can be plopped into a game engine and look good. ![]() It is important to explain texturing because ignorance of the process has been a recurring issue when working with archaeological 3D models made for preservation, measurement, or even just for fun. Explain the entire texture process to archaeologists, beginners, and non-designers. ![]() For this series of ‘tutorials’ I will go through the processes that are needed to go from a complex mesh with millions of faces, mesh errors, and unusual topology, to a clean, detailed, and attractive mesh. This series of 3D modelling workflow posts outlines the steps that go into retopologizing and texturizing a mesh for use in a game engine. ![]()
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