Normal Map Ind Normal Map Ind dustry Survey dustry Survey EGMENT - - PowerPoint PPT Presentation

Normal Map Ind Normal Map Ind dustry Survey dustry Survey

EGMENT 0: Adam Myhill wit EGMENT 1 Zb h (S tt S EGMENT 1: Zbrush (Scott S EGMENT 2: (Gio Nakpil and EGMENT 2: (Gio Nakpil and REAK – Lunch (1 hour) GMENT 3: Normal Map Imp EAK- 10 minute GMENT 4: Texture based N GMENT 4: Texture-based N GMENT 5: Real World Data EAK- 10 minute GMENT 6 I ith GMENT 6: Issues with norm th introduction S ) Spencer ) d Rich Diamant) d Rich Diamant) plementation Buffet Normal Map Sampling Surve Normal Map Sampling Surve a Sampling with Steve Chap l i th j mal maps in the major conso

• ry of normal maps

is idea of taking geome ad been introduced in " ad been introduced in Meshes" by Krishnamu h thi h here this approach was ver nurbs, its application , pp ter two papers were presen s normal maps from hig p g ance Preserving Simplif APH 1998 and "A gene APH 1998, and A gene n simplified meshes" by tric details from a high Fitting Smooth Surface Fitting Smooth Surface urthy and Levoy, Proc. S d f ti di l used for creating displa n to more common trian t d ith th id f t nted with the idea of tra gh to low poly meshes: g p y fication", by Cohen et a ral method for recoverin ral method for recoverin y Cignoni et al.

w of how they work

mapping is sometim " Whil b g". While bump map (the way the surface (the way the surface g replaces the norma

• lour channel of the n
• r bending of the pix
• r bending of the pix

h R, G, B chnnels , , mes referred to as "Do i t b th i ping perturbs the exi e is facing) of a mode e is facing) of a mode al entirely. - Wikiped normal map represen xel normal on an axis xel normal on an axis

s, weaknesses, co

ve vely inexpensive wa ces ces s for much lighter me s for much lighter me r to weight + rig g g r to animate s computation from C

mmon misconcepti

ay to represent highly eshes eshes CPU to GPU (typica

s, weaknesses, co

ve n’t do anything for si d f hi h d i good for high and mi n’t animate (without n t animate (without

• verly used - ineffic
• verly used ineffic

exture N textures are much t ti f C s computation from C

mmon misconcepti

lhouettes id f d t il id frequency detail a bunch more work a bunch more work. cient asymmetry betw cient asymmetry betw larger than DXT1 CPU t GPU (t i CPU to GPU (typica

ead: Instruction incr e budgets: Strive to g: Normal maps are m

lex ambient: Irradian nt specular contributio

th t k ti ng them takes time

es model es model

rease / shader comp

• balance normal m

e only as good as th

ce / Spherical Harmo

• ns!

:

e our speakers and

Spencer: Art Director k il 3D M d l I kpil: 3D Modeler at I iamant: Lead Charac iamant: Lead Charac

• Ariza: Senior Char
• Ariza: Senior Char

Myhill: Sr. Technica Chapman: VP of Gen elazquez: Character

• rganizers

r at Gentle Giant Stud ILM ILM cter Artist at Naughty cter Artist at Naughty racter Artist and Naug racter Artist and Naug al Artist at Pandemic ntle Giant Studios Modeler at Ravenso

Creature and Charact h

ection I will discuss us create creature and ch create creature and ch I try to focus on the sa al sculptors. When wo and form first leaving t and form first leaving t demonstration I decide e which was scanned

• ws me to also cover w
• ws me to also cover w

as well as illustrate the t di

ter Design: A Traditio

sing ZBrush’s digital sc haracter models When haracter models. When ame foundations laid b

• rking I try and be awa

the details for later the details for later. ed to use a traditional into a digital model as ways of bringing scan d ways of bringing scan-d e same techniques app

mples mples

mples mples

culpting culpting

culpting culpting

ized approach to scu ized approach to scu ulpting: Form Analysis ulpting: Form Analysis

kes form kes form

default materials do not default materials do not to the Basic Material Y get a much clearer idea s flat color shader to che hot keyed allowing you d shaded mode d shaded mode. p is to export the mid s p is to export the mid s ported as an obj, lit, an po ed as a

• bj,

, a ve camera than ZBrush t allow for interactive lig t allow for interactive lig You can move the light g a of the form relationsh eck the silhouette. This to quickly switch betw ubdivision level to May ubdivision level to May nd checked under a diff d c ec ed u de a d h’s.

with rakes with rakes

are a real world sculptin are a real world sculptin ed for the rapid t f f b bt ment of form by subtra e clay surface e clay surface ng ng ti acting

he rake brush can be he rake brush can be h add or subtract form apes in a rapid and anner

de: From clay to gam de: From clay to gam me mesh me mesh

e in ZBrush e in ZBrush

re sculpture is scanned re sculpture is scanned ught into ZBrush to ZT l a ZTool d

g the sculpture scan

the mesh in Maya to 0 metrical so this is not a metrical so this is not a you to use many tools i ush use the Transpose ation for remeshing ation for remeshing. data must be remeshed data must be remeshed

• t suitable for sculpting

shing in ZBrush using t awback to this is the in awback to this is the in there is however a wo

into ZBrush as a Zto

0 0 0 – scans are inher perfect process but en perfect process but en in symmetry mode. e tools to center pose i d as it consists of rand d as it consists of rand

• r animation

topology tools. nability to create a mou nability to create a mou

• rkaround for this we w

mizing the ZBru g

ning the edit curv ning the edit curv mod and Smoot mod and Smoot ng details on lay ng details on lay

sh brushes

ve ve thing Curves thing Curves ers and removin ers and removin

r design changes can b g g gh the use of mesh Ins be made to an existing g sert and the clay brushe

ment Map Detail Tr

k t d th b ckets and mouth bag e is completed by u e is completed. by u ement map detail tra

• cess uses a 16bit di

d t il f details from one me hnique can be more hnique can be more projection tools unde p j

ransfer

b dd d s can be added once sing a process calle sing a process calle ansfer. splacement map in Z h t th esh to another. predictable than usi predictable than usi er Topology And Sub p gy

for Normal Maps for Normal Maps

can also be used to can also be used to meshes meshes generate normal ma generate normal ma

e process can be app e process can be app plied to this scan of a plied to this scan of a

ral approach to digita

hy of forms r forms ry forms ndary forms ndary forms ry forms

al creature creation

ms

i t f th t d fi prominent forms that define re all the other sub-forms (s th h t e the character secondary and tertiary) will r

forms

t dd l it t i at add complexity to primary ways compliment primary fo stance, secondary forms sh to primary forms to primary forms f y forms

• rms rather than overpower
• uld be the least prominent

ms

th t dd l it t s that add complexity to sec important of the forms

• verly used in digital sculpt

ed properly however these f ed properly however, these f t t ti f h ld stance, tertiary forms should y on top, The cake can do w y p perly) d f (i W i kl ) condary forms (ie. Wrinkles) ing forms define the quality and forms define the quality and d b th l t i t f f d be the least prominent of f without it, but sure looks goo g

ht and Shadow)

th t d fi h li ht

• rms that define how light a

lpture depth and contrast d h d hit th f nd shadow hits the surface

Mapping inside of

ions ng your normal ma

f Mudbox:

p

Editor

Maps he Slot. Slot. Normal rom the l/Map l/Map r.

ump

he Normal itmap from erial/Map

• pen a file

for you to

• ur normal
• ur normal

Manager Manager.

• n the DX display of Sta
• n the DX display of Sta

l. h Sh M i i he Show Map in viewpo n now view the normal m n now view the normal m aded viewport. Perspec d l ith l e model with specular s

• f the DX display off as
• f the DX display off as
• ur scene, especially w

Th t i l i till i The material is still view derer. andard andard b

• rt button.

map in map in ctive will tti settings. s it slows s it slows hen using bl i wable in

Mapping inside of

ions Transfer Maps for nting errors l i R g normal maps in R l maps l maps

f Maya:

normal mapping R l ti d d Real-time and rend

w of the XSI workf

nce photography ular extraction h kfl

• rkflow

shop cleanup / tips shop cleanup / tips

flow

and tricks and tricks

mpression:

k as far as you can an g: g get it as flat and even d i t nce card is great

• sition:
• sition:

ck and close eyes for hin information shot of eyes closed m shot of eyes closed, m s closed then animate d zoom in. At least 70 as possible. Overcast a shot, so you get the model and texture head model and texture head

• pen (otherwise your

p ( y

ce Photography

ce photography

lar extraction throu ation: How to creat l equency normal ma ugh differential cros te perfect specmap d t il ap detail

extraction through differe

l i i filt t i d

• larizing filter + tripod

character down and face th

• ur camera at 90* to sun a
• larizer until you see max s
• larizer until you see max s

gles on filter, they’ll be 90* ne at ‘open’, quickly rotate 9

• Photoshop stabilize imag
• Photoshop, stabilize imag

erence multiply function ate and add contrast erfect specular capture !! erfect specular capture !!

ential cross polorization

hem into the afternoon sun ngle sheen and max specular b sheen and max specular b apart 90* to ‘closed’ shoot again ges over top of each other ges over top of each other

ng 5 minutes from Z-Brush to XSI vide

ng 7 minute XSI workflow video

:

n rendertree interf s l di l l erly display normal lay requirements: lay requirements: es es helper objects / null helper objects / null eframes mera safe guides face: Only display i lti maps in realtime v s