A shotgun i just finished for a Vive Sim
Figure 1 : Poolroom Pool Table
The poolroom was my first attempt at creating a truly rich environmental experience with Stingray. Most architectural visualization scenes you see are antiseptically clean and uncomfortably modern. I wanted to break away from that. I wanted an environment I would feel at home with, not one that a movie star would buy for sheer resale value to another movie star. I also wanted the challenge of working with natural and texturally rich materials. Not white on white, as is generally the case.
Figure : Poolroom Clock
To this end, I started looking for cozy but luxurious spaces on google and eventually came across a nice reference photo I could work with. Warm rich woods, lots of games, a bar, and well... those all speak to me. For better or worse, I felt this room was one I would personally feel comfortable in. So I took on the challenge of re-creating that environment in 3D inside Stingray.
The poolroom gave me some major challenges. Some I knew would be trouble from the start, but some I didn’t realize until I started rendering lightmaps. Most of my difficulties came down to handling materials properly.
Figure 3 : Poolroom Bar
In addition to being my first complete Arch-Viz scene in Stingray, this was also my first real stab at using physically based shading (PBS). Although physically based shading is similar in many regards to traditional texturing, it has its own set of tricks and gotchas. I actually had to re-do the scenes materials more than once as I learned the proper way to do things.
For example, my scene was predominantly dark woods. With dark woods, you really have to be sure you get the albedo material in the correct luminosity range or you end up with difficulties when you light the scene. In my first attempts, I found my light being just eaten up by the darkness of the wood’s color map. I kept cranking up the light Intensities, but this would flood the scene and lead to harsh and broken light bakes.
Figure 4 : Arcade Game /p>
Eventually, once I understood the effect of the color map’s luminosity and got the values in line, I started getting great results with normalized light intensities. My lighting began responding favorably with deep, rich lightmap bakes. When you get the physical properties of the materials right, Stingray’s light baker is both fast and very good. But I can’t stress enough: with PBS, you must ensure that your luminosity values are accurate.
When I was building out the scene and trying to mimic the reference photo’s lighting, I realized that the original image was made using some high-dynamic range techniques. I couldn’t seem to get the same level of exposure and visual detail in the shadowed areas of my scene.
Figure 5 : Before Ambient Fills
Because of this, I had to do some pretty fun trickery with my scene lighting. In the end, I got it by placing some subtle, non-shadow casting lights in key areas to bring up the brightness a little in those areas.
Figure 6 : Soft Controlled Lighting
All in all, the scene took a lot of lighting work to get just right. I have to say that I was very happy with how closely I was able to match the lighting, given that the original photo was HDR.
The last big challenge was also related to materials. I had to find that fine balance of a room that is clean and tidy but also obviously lived-in. So often I find Arch-Viz work feels unnaturally smooth and clean, which can destroy the belief of the space. I really wanted my scene to break through the uncanny valley and feel real.
I handled this mostly by creating some very simple grunge maps, and applying them to the roughness maps using a simple custom shader. This was easy to build in Stingray’s node-based shader graph:
Figure 8 : Simple RMA style shader with tiling and grunge map with adjustment.
I have this shader set up so I can control the tiling of the color map, normals and other textures. The grunge map, on the other hand, is sampled using UV coordinates from the lightmap channel. This helps to hide the tiling over large areas like the walls, because the grunge value that gets multiplied in to the roughness is always different each time the other textures repeat.
Balancing the grunge properly was the biggest challenge here, but in the end, some still shots even get me doing a double-take. When that happens, I know I’m doing well. I also posted progress along the way on my Facebook page — when I had friends saying, “whoa, when can I come visit?” I knew I was nailing it.
Figure 9 : Record Player Model in Maya LT
I don’t have much that’s special to say about the 3D modeling process. I simply modeled all my assets the same way anyone would. Attention to detail is really the trick, and making sure that I created hand-made lightmap UVs for every object was critical to ensure the best light baking. Otherwise it was just simple modeling.
Figure 10 : Poolroom Model in MayaLT
One thing to note, however, is that I only used 3D tools that came with the Stingray package, except for Substance Designer and a little Photoshop. I did the entire scene’s modeling in MayaLT. Sometimes people think cheap is not good, but I believe this proves otherwise. MayaLT is incredible. I am super happy with the results and speed at which you can work with it. Best of all, it’s part of the package, so no additional costs.
Laying out the materials in the scene was pretty straightforward for the most part. At one point, I experimented with using more species of wood, but the different parts of the room started to feel disconnected. I started removing materials from my list, and eventually when I ended up with only a small handful the room came together as you see it.
Figure 11 : Record Player Material Design in Substance
I guess something else I should mention is performance shaders. Stingray comes with a great, flexible standard shader, but I wanted to eke out every little bit of performance I could on this scene while keeping the quality very high. Without much trouble, I created a library of my own purpose-built shaders (like the one mentioned earlier). I used these for various tasks. Simple colors, RMA (roughness-metallic-ambient occlusion), RMA-tiling shaders and a few others came together really quickly. From this handful of shaders, I was able to increase performance while simplifying my design process. I find it comforting how Stingray deals with shaders… it is just very easy to iterate and save a version. Much better usability than other systems I have tried.
Figure 12 : Shader Library
Well, most game dev is hard work, the fun is at the end when you get to finally relax and see your efforts paid off. But there were definitely some really fun parts of making the poolroom.
One was the clock. It’s a small, almost easter-egg kind of thing, but I programmed the clock fully. Meaning, its hands move, the pendulum swings, and it also rings the hour. So if you are exploring the poolroom and it happens to be when the hour changes in your system clock, the clock in the game rings the hour for you. So two o’clock rings two times, four o’clock rings four times, etc. The half-hour always strikes once. I modeled the clock after one that my father gave me, so I put some extra love into it. It is basically exactly the clock that hangs in my living room.
Figure 13 : Clock Model in MayaLT
Figure 14 : Clock Model in Stingray
I also gave the record player some extra attention, because my good friend Mathew Harwood was kind enough to do all the audio for the project. I felt the music really set the scene, and he even worked on it over my twitch stream so we could get feedback from some people who were watching. So yeah, press + or - in the game to start and stop the record player, complete with animated tone arm. Nothing super crazy, just a nice little touch.
Figure 15 : Record Player in Stingray
One thing I found really neat about this project was that I streamed the entire creation process on my Twitch channel. I have never streamed much before this project, but it made the process much more fun. I had people to talk with, and often my viewers were helpful to me in suggesting ideas and noticing things I had not noticed. It was very collaborative and a great learning exercise for me and for my viewers. We got to learn from each other, which is the dream!
For example, the record player likely would not have been done to the level I did it had one of my viewers not pushed me to make a really detailed player. Because of this push, it ended up being a focus of the level, and even has some animation and basic controls a user can interact with.
Stop by my Twitch channel sometime at twitch.tv/paulkind3d and say hi, I’d love to meet you.
Featured in various magazines and print around the web, here are a few of the images I created using MayaLT and Stingray.
Interested in Autodesk Stingray? Check out the articles here...
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Game ready asteroid.
Interested in learning Autodesk Mudbox? This simple and quick tutorial will get you going on the basics of sculpting and getting used to the adaptive brushes of mudbox.
Interested in making assets for Dota 2? Check out my mudbox to Dota 2 workflow video. It takes you through the entire process starting in mayaLT going through the sculpting process in Mudbox and finally exporting to the Dota 2 Workshop.
Simple Re-Useable Concrete Pillar
Re-Useable Tressle Pillar
Nice little animation of a new E-Cig vaporizer I created.
Ever wanted to learn how to make 3d game assets (items) for Dota 2? In this high quality training video i walk step by step through the process explaining my reasoning, tool choices, and methods as I go.
Part 1 : https://www.youtube.com/watch?v=KQQBUmdQwCM
Part 2 : https://www.youtube.com/watch?v=eu3g-b_qrQI
Part 3 : https://www.youtube.com/watch?v=CSIqx8Zd-5k
Part 4 : https://www.youtube.com/watch?v=TL850Bfsync
Part 1 :
Part 2 : https://www.youtube.com/watch?v=7-6Y3JfcD8c
Part 3 : https://www.youtube.com/watch?v=RjJWogjTLug
Part 4 : https://www.youtube.com/watch?v=ZD7z19JlsIY