This blog records the software I used in this FMP, the knowledge I learned, the difficulties and solutions I encountered, my future goals, in order to make me work harder in the future! If you want to know the process of my production, please check the previous blog.
Software used:
Concert Art: Photoshop, MG PaintTool SAI Ver.2
Modeling: ZBrush, Maya, Marvelous Designer
Unfolding UV: Maya, RizomUV
Texturing: Maya, Substance Painter
Rigging: Maya
Animation: Maya
Gaming: Unreal Engine4
Video: Premier
Knowledge learned
Concert Art
Same as last time, because I didn’t spend too much time on painting, I can only guarantee that the character has the style of Apex.
Modeling
I learned more features of ZBrush! Such as Zremesher and Zmodeling. More importantly, I carved out a real high court face model! I changed from an original European character model to an Asian face, and increased the number of faces to sculpt hair and muscles.
Although Marvelous Designer is easy to learn, if you really want to achieve the effect I want, you still have to understand the settings of the avatar and the adjustment of the physical properties of the cloth.
In addition, I used several methods to topology, such as using Zremersher in ZBrush, and topping the hair of the high court face in Maya. All of these are greatly retained while saving my time. The details of the model.
Because my reference is a mobile game, my face count is only controlled at 40,000, which is exactly what I need.
Unfolding UV
I tried to download a plug-in to connect RizomUV and Maya. In addition, I avoided exporting the OBJ file and saved the time to change the file name. This was the last time I encountered a problem.
Texturing
I learned to bake the high court face model with ZBrush and Substance Painter, and also learned to adjust my normal map in Photoshop. Second, this time I used the Mentalness map and learned about the effects of some options on the texture.
Rigging
During the summer, I studied Advance skeleton 5 and used it to rig my character Maha. So I have more experience in rigging this time, and I have successfully avoided many bugs.
In addition, I figured out the difference between game engine and animation rigging. For the sword (object), bones related to the character are also created.
Animation
I learned to make loop animations of idle, walk, run, jump, crouch. Use the graph editor to be more proficient. For example, you can directly adjust all the key frames here like Luke.
I learned the importance of shoulder and knee controller, and also learned how to switch between IK and FK with one click.
Gaming
I learned to import characters and animations in Unreal Engine 4, and edit the character blueprint and Anim blueprint in it, so that the characters can walk, walk, jump, crouch, and attack. In addition, I used animation montages to add sounds and particles to make the game cooler.
Difficulties and solutions
A. I don’t know how to make the character more concise when drawing the character. So I downloaded many models, including Apex game characters, and found inspiration from them.
B. I don’t know how to sculpt the character, so I found many tutorials, from the face to the hair, and the clothes, to add details to the model.
C. Import the custom model in Marvelous Designer, but the collision point is lost. So I customized the collision point and enlarged the model so that he can put on clothes.
D. The clothes have too many folds, not like woolen sweaters. So I also learned how to adjust the physical properties of the cloth to make the clothes thicker.
E. I don’t know how to bake high court face models, so I asked Karl and Yann. Karl taught me how to bake in ZBrush, and Yann recommended baking in Substance Painter. But I have changed the positions of the high court face model and the low court face model, so the baking effect is not very good.
F. In RizomUV, I encountered the same problem as the last time. The face could not be unfolded perfectly, so I separated the UV in the conspicuous place, which caused the model to have a complete line when drawing the texture. I haven’t solved this problem so far, but I have tried many methods.
G. Body and face rigging cannot be built. So I asked a friend to build on their computer, and it turned out that it was indeed a problem with my adv.
H.Animation is unnatural, knee often pops. So I made an appointment with Alan’s tutorials, he pointed out my problem in detail (for example, there is no key shoulder controller), and also explained to me why knee pops.
I. I edited the blueprint in UE4 very smoothly because of the tutorial and the help of my classmates. However, the collision body has not been set successfully, and no better solution can be found for the time being.
Future goals:
I have completed the last goal, the most important thing is to let my character run in UE4! The goal this time is to continue to sculpt a better high court face model and successfully bake a perfect normal map in ZBrush.
And I will continue to study using bones to create animations in UE4, and learn more about Anim blueprints and animation montages.
Output：
Conclusion
I had an operation on my leg a few months ago, and after lying on the bed for a month, I could barely move. So my FMP was done late. However, the final output of FMP that I envisioned a few months ago is the same as it is now, which means that I have reached my goal.
I am very grateful for my enthusiasm for learning, and also thank my family, friends and tutor for their help. I hope everyone can be healthy and work harder to study and work.
The completion of my FMP also means that my postgraduate course is over. Looking back a year ago, I even found it difficult to make bouncing ball animations. Up to now, I can design by myself from modeling to gaming, which is really not easy. I also know that I have a lot more to learn than good classmates. Anyway, I will continue to work hard!