Maya :: Photoshop / Unity - Looking For Texturing Workflow
Feb 11, 2014
I'm working on a hobby project for a game in Unity3d. When it comes to texturing my Maya models and bringing everything into Unity, I often find myself lost in a very tedious workflow. How to organize the texturing process between different applications.Here is what I'm doing right now:Â
1. export UV snapshot from Maya and open it in Photoshop
2. use premade textures, photo reference and hand painted images in PS to build a diffuse texture
3. export as an image file and check it on the model in Maya
4. go back to PS, adjust and start building a specularity/gloss map, as well as use premade normal map textures or hand painted bump maps to create all those different maps
5. export layer groups from PS into individual texture file (diffuse, specular, normal, emission etc...)
6. assign everything in Maya and check if it looks ok (I prefer doing this in Maya, so I could change the model or UVs if needed)
7. export another set of texture maps from PS to meet the requirements of Unity (diffuse with gloss in Alpha channel ect)
8. assign and test everything in unity and make prefabs for my developer
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As you can see I spend a lot of time on exporting up to 6 versions of one texture for different purposes for Maya and for Unity. Everytime I want to change something, I have to manually go in and re-export and refresh those textures. I'm trying to use actions in Photoshop and a Mel script in Maya to make that easier, but still it's a lot of tedious work spent on just updating images.Â
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I actually started off using PSD networks in Maya. I would create my material, let Maya create a PSD file with different layer sets assigned to my shader and let it all refresh at once without having to export. That sounds like a reasonable workflow, but I stopped using it, because networks with layer sets only support flattened Photoshop data, so no layer effects and non-destructive editing from within PS. And every once in a while my PSD network would break and corrupt my PSD files, making it impossible to save them or open again.
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Jun 2, 2013
I need to Import Maya blend shapes into Unity without using the bake animation is the blend shapes are needed to be useable in Unity. I have not been successful so fare. The method can be either by FBX with the rig or any other method!
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May 15, 2012
Where is crosswalk 2013?
Is there a new workflow to get files from softimage 2013 to maya 2013?
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Nov 22, 2013
What I'm attempting to do is export a Skin and Morph based rig to test out in Unity. The bone and morph targets come into Unity but the actual morph animation didn't. I checked the controllers responsible and it appears that the curves driven by the Reaction Manager don't get baked when exporting to .fbx.
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Now I suppose I can bake them myself to something .fbx understands before export but I can't seem to find a way to simply take the animation curves for the morph channels and bake it down.Â
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I really would like to get Morph Targets working in Unity but this silly problem is preventing me from doing so.Â
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Jun 29, 2005
if it's possible to do kind of 3D-texturing in photoshop.
The grid looks very ugly as it's just a flat pattern on top of the model. I'd imagine photoshop could somehow do 3D-texturing based on the bevel blending I´ve used in the model.
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Apr 16, 2007
Anyone used/bought this DVD ?
It sounds like it would be interesting, but I don't think I want to spend that much on it unless I had some reliable information.
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Jan 25, 2007
I have a high resolution image for an event we're promoting. The theme/title is "Breaking the Mold" I had a hard time thinking of a concept to go with and have sketched a few things out.
But I really want this to look like a movie poster or a game cover. Anyway the conference is, from what I'm told is to deal with leadership and breaking the way things are normally done.
So I figured I'd try something like a guy kneeling or standing in a business suit, tearing his coat off, like a Superman type deal, but have only half of the image as a statue, while the top half is the man breaking out of the mold (so to speak).
So my question is, once I find a suitable image, how can I take a textured image or background and lay it over the man's body to make it look like he's in the mold itself.
I have thought about creating a brush with the texture and painting over the man and setting layer effects to "pin light" and setting opacity. While this works with paint pretty well, I figured it might work with texture.
But how do I create the brush with the texture for a high resolution image?
Now after I crop the man out of whatever background he's in, and I take a complete huge picture of a statue, plaster, broken concrete, can I just lay it over the man. Because I've tried it with a quick sample I had as a test and set the layer settings to all the ones on there, but the concrete would not wrap around the shadows, and highlights well. The texture would remain flat and not have depth of the man's body.
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Aug 13, 2012
I saw a video of some guy making a texture for a 3d model in photoshop and time to time he switched to a window where he could see and manipulate the 3d model with the unfinished texture and no, he didn't save the project and apply it everytime. I was wondering if that was a plug-in or something like that.
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Jun 23, 2003
Pretty much my main downfall when it comes to working with Photoshop, is my lack-of-expierence with texturing.
For example, I'm trying to figure out how to make a gray-ish type metal texture.
Basically, are their any *general* tips to get me going, on texturing? Using the metal example?
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Sep 3, 2013
We do a lot of 3D texturing for models. While CS6 was doing that just fine, CC has a problem. When we paint on 3D model directly, it has a 0.5-1 second lag. That's acceptable, as it's not used much. However from CC it started to lag even when painting directly on unfolded texture. Which basically interferes with our job.
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It seems that there is no applying step anymore when switching from flat texture to 3D view and all changes are applied on 3D immediately when we paint on flat texture. Release notes say it's a 100x speed improvement, but we don't really see it. We see this behaviour on 2 computers: OS X one and Win8 one.
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So my question is - can we turn immediate change applying on 3D model off?
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Mar 16, 2012
I am currently trying to unwrap a weapon for texturing and some of the faces are flipped only in the UV Editor. I have the option under xView Flipped UVW Faces checked on and they only pop up when I have the Unwrap UVW Modifier highlighted and in use. I've tried to flip them or mirror them under the editor but it doesn't seem to work. Under Edit Poly, Flipped UVW Faces isn't applicable. I even tried deleting a polygon and creating a new one in its place but I get the same result. I also reset x form just to see what would occur and they are still there. I'm to the point that I think it isn't as big a deal as I'm making it out to be but want to get a second opinion before I move on to unwrapping.
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Mar 29, 2012
I have made a cube, and given a basic cube UV map. The material I want is a standard 2D map (say noise). The problem is that each face gets the same pattern of noise. I would have the same result if I had a basic bitmap as the material.
My solution has been to make a Multi-Sub material, and then use a different noise seed for each side of the cube. This works fine, but it makes it time consuming to do something like change the color of the cube (as I would have to edit 5/6 materials).
So, I am asking, is there a way to either make the UV behave as if each face was part of the same "thing" (spread one noise map over the image/stretch the bitmap). Perhaps make an object use multiple materials (or something like that), so that I can have a Multi-Sub for a greyscale noise, and then a basic color that I can change to effect all of the sides at once.
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Mar 9, 2011
I am having a problem when texturing using the viewport canvas. Whenever I activate the brush tool, the light on the texture seems to change. The first image shows what the texture should look like. The 2nd image shows what happens when the brush tool is active. The texture for the body gets washed out. I have my viewport settings on default lights and hardware shading turned off. I've deleted all my lights in the scene but it doesnt seem to matter.
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Jan 10, 2012
I started University a few months back and we are currently doing an assignment with Max. Now we arent allowed to use Unwrap UVWs cos apparently thats too above us at the moment so we have to apply a texture, and then apply a UVW map. However, I know it is possible to apply a texture to selected Polygons but how do I actually go about doing this as every time I try, it just applies the texture to the whole object.
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Nov 24, 2011
I'm using the 64bit version of 3Ds Max 2012 (student licence) and I've been having a bit of trouble with a bit of functionality I'm used to using that doesn't appear to be available in this version.
Basically, I want to add a .mov (or .avi - a movie file) to my alpha map. I've done this before in earlier versions with no issues and it's exactly the effect I'm looking for in this scene I'm working on. When I go to add either of those file types they simply don't appear in the 'bitmap' section while browsing files.
From looking online I've heard that this is an issue only in the 64bit version and it works perfectly well in the 32bit. My questions are:
- Is this an issue that's being worked on, a deliberate product feature (why?), or an oversight?
- Are there other movie file types that do work in the 64 bit version that I can use instead?
- Would uninstalling max and reinstalling with the 32 bit version have a negative effect on the files I've created within my current version?
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Jun 14, 2013
how to texture and render like how they did in the movie: OnePiece 3D Mugiwara chase, here is the link: URL.... If you'll notice the textures aren't that detailed and the characters seem to have a black outline in most places, which changes as they pose differently, also the eyes aren't exactly a seperate 3d object which has been placed in the eye socket, the eyes are somehow just placed in their respective locations and animate as the characters look somewhere else.
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Apr 10, 2011
as you see in the pic, top is blue and bottom is gray.I approached this by applying texture to selected polygons.I don't want to detach the mesh.
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Jul 26, 2012
I'm working on 3d branding, so I need to be very accurate on texturing because of graphic logo and words.Although the model wasn't so complex, somehow texture him so messed, there a distortions on corners.the checker pattern isn't seem correctly on model.I've tried every method (3Ds max 2012):
1. select edges and convert them as seams, and choose the faces for making them planar, or on projection.
2. relax
3. flatten map and stitching
4. simple projection
5. uvw map paste
6. strigthen and so on.
I'm looking for result like this: URL....but I have to say that on my model, the graphic in his sides too, and not a solid color.
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Jan 16, 2013
I have a question that involves texturing multi objects for a single model.
1 - should I texture the peices first and then attach them together
or
2 - should i attach the pieces together and then texture them.
Also, once the model are attached, should I still weld the vertices and if I dont weld them, will it affect the animation when I rig the model?
Rig: Intel Core Quad CPU Q6600 @ 2.40GHZ
8gb RAM
64bit OS
GeForce 660i GTX
3DS Max 2013
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May 18, 2013
I have some textures, and i am trying to pack them into texture atlas. All of them are RGBA png's generated with PIL (Python Image Lib). I am opening all of them in gimp and copy-pasting them into their new place in texture atlas.
But i have noticed something strange, i am storing specular map in alpha channel of my diffuse textures, and emission value in alpha channel of normal textures.
The problem is, that GIMP does not copy pixels with 0 alpha value into clipboard. So, when i am trying to copy a normal map from source to atlas, and if emission value is 0, then GIMP is not copying anything, i am getting empty layer pasted into my atlas, if there are 0 alpha value pixels in diffuse map they are not copied to destination, even selection outline shows that there are no pixels in places where specular is set to 0.
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May 13, 2009
I am designing slides in Photoshop using the DV video preset. Except I want to use these same files for print output as well. So here is my workflow: 1) Created video preset template but resized to 300 dpi2) Create slides3) Output slides to 72 dpi jpg4) Put into Premiere Elements5) Burn to DVD (except my app won't recognize my DVD burner now so I have to use Windows DVD maker but that is a different topic.) Then, I am using the same slides in a printed album:1) Switch the resolution on the 300 dpi to "square" pixels2) Save as jpg for my album template3) Put into a page frame I made out of an 8.5 x 11 doc (plus required bleed) So, my question is, do I need to switch to square pixels? I am not sure which way the picture was originally scanned, but I think switching to square pixels should be accurate...it is just that they are looking wide and I may just have gotten used to the other way. The rectangle pixel document actually fits onto the 8.5 x 11 album page better...but I want to do it the "right" way for print.
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Feb 17, 2013
I shoot Nikon and use Capture NX2 as my RAW converter. I then save my conversion as a TIFF and move into Photoshop CS6 for all of my editing and processing.
Here is my question: I have an Epson 3880 printer and i really like it. Ive started making my own prints and ive found that the ability to tweak the images is really an advantage vs. having a lab print them for me. Ive read quite a bit and seem to get conflicting positions.
Its seems as if sRGB is best for internet whereas Adobe RGB (1998) is best for prints. However, im a bit confused by all of the articles ive read. If i want the best of both worlds would the following be a good workflow?
1. Shoot in RAW
2. Convert RAW image to a TIFF in Capture NX2 with the Adobe RGB (1998) color space (I use Capture NX2 as my RAW converter)
3. Move the file to Photoshop CS6 and fully edit
4. Print the image
5. Convert the image to the sRGB color space and save as a JPEG
6. Post to web (i.e. Flickr)
Does that sound like a good plan or would you recommend starting and ending in the sRGB color space. Ive heard that changing the color space in an image slightly denigrates it ?
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Aug 9, 2013
I noticed that the Workflow Options window in ACR has changed slightly so that it looks more like Export in Lightroom. When did this happen? Is there a way to toggle between the old and new windows for Workflow Options. I noticed that this change is not on all computers with the newest version of CS6. Some have the old window and some the new one.
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Jul 18, 2005
I've got gigs and gigs of image data on my HD, and I'm a bit nervous. I was keeping things in esoteric folders, buring CDs occasionally, and sometimes actually backing up. In recent months, I've decided to take my 'shopping seriously (in a business sense) and started to investigate workflow methods. Right now, I'm concentrating on capture and archiving. Some of the Bridge's new features are quite appealing, but still not all that I want.
What I want from my friends here is a discussion on particular approaches, and why they do/don't work for you.
Here's what I am putting together now... Until today, I would dump my camera files directly into a TEMP folder with a date-based name, something like 2005-17-05, that reflects the dump date, not the actual shoot date. I would then let these sit for quite a while before doing anything with them. Really, the problem was that I got too caught up in details when trying to devise a folder structure, so I didn't follow through and kept inventing new things to confuse me. I'm very good at that.
I've decided on a handful of broad categories that represent my usual work, and have 3 main folders: Stock, Working, Final. Stock is essentially the images straight from the camera, working is a copy of the file saved as .PSD and where I actually do the image work, and Final is a flat, full-res .PSD of the completed image, as well as output-specific formats like web or print.
Within those folders I have subfolders for various things. The philosophy is this; Stock is broken into general categories that reflect the image's intent (Nature/Trees, or Places/Buildings for example). I also have a Projects folder for directed or consigned collections. Working also has folders, but they are based on the intent of a collection of images that may have different subjects, but fall into a project scheme (New Mexico Hikes, Horses, etc) - more on this in a bit. And the Final folder is a duplicate structure of Working.
I'm OK with 'Stock' as-is, but I'm still waffling on the Working/Final folders. An alternate approach is to keep the same structure from Stock in Working and Final, then have a separate Projects folder for collections. The advantage here is that I can work piecemeal and decide on a collection from a gallery of finals. I can also go back and find the layered PSD used in a Final simply by looking in the same-named Working folder. The disadvantage is in the fact that if I decide early on (before the working file) to create a collection, I'd have to make another collections folder in Working folder, which now spreads out my images. Put another way, I'd have thematically similar works potentially in several locations which makes finding them later a real challenge.
I guess I could just make a list of the images I wanted to use and track them through that way...
In any case, I do not rename any files, except in the case of versions, until I get to the final collection (which will have a text file relating the names to the originals).
Now let's throw in DNG! Not all of my shots are in RAW format, and I've not read enough about the Adobe DNG converter to know if it will 'force' the format on JPGs (I would guess not). So, part of the new workflow would be to automate RAW conversion. The question here is whether to save the original RAW file elsewhere, or in the DNG file itself. That's up for debate, but I will probably keep the RAW data directly in the DNG file.
Finally, we come to Adobe Bridge, which can help sort all this out. Mostly...
I spent most of today devising and implementing a handful of keywords/sets, as well as descriptions and applying copyright via the interface. Good stuff. Since I've got a mixed bag of formats in Stock, I've ended up with a LOT of XMP files, and decided to keep the Cache distributed (read up on Bridge if you aren't familiar with this). Doing this helped me sort and shuffle my collections into the scheme I've laid out above. There is some collateral damage since I've not been consistent in my naming or storage locations, but it's a real head start.
Now I'm on to Archiving, and I see a little snag. I can potentially save all my stock files to a fistful of DVDs, then do the same with the working files and finals. Since I'm using single-use DVDs, I can't add files later to fill up. And since I'll be adding stuff randomly to Stock, I've got to decide on an archiving scheme that doesn't just totally waste time creating a new DVD every time I add a handful of images. There is too much info to squeeze it all onto one disc, so I have to break it up somehow (and yes, I've been considering removable HDs).
The other problem here is that Bridge doesn't appear to support cataloging removable media. I may be mistaken, but I've not found it. That means I'll have to maintain some log that tells me what images are on what disc. Sure, I can use another application, but this would be a killer feature for Bridge 2.0 (are you listening Mr. Brown?).
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Jun 29, 2012
I love Photoshop CS6, and my absolute favorite new feature is the Color Lookup adjustment layer. So far, I've been extremely happy with the effects I've been able to pull off by combining that with other adjustment layers, channel work, etc.
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However, I've gotten to the point where I realize that my next step -- much like a user who graduates up from using actions he/she downloads off of Deviant Art -- is to make my own color look up tables. The only tool at my disposal for this is Speed Grade. (I have a CS6 cloud membership -- off topic, but way to go, Adobe, that made it feasible for me to "graduate" from only having Photoshop CS5.1 to having the full suite at a very reasonable price!)
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I've used Speed Grade on video clips I've shot with my Canon 5D MkII to great effect. Nothing I'd post publicly yet (I'm still learning how to shoot motion), but I considered the results to be very positive. I've managed to save several test .look files, as well, both on video footage and still images (JPGs, to be specific).
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I always shoot RAW, and my usual workflow is to start in Aperture (I'm a Mac user), do some basic RAW adjustments, then export a 16-bit PSD and get down to the real work in Photoshop. SpeedGrade doesn't yet seem to support PSDs natively, so in order to create a .look which is appropriate for my image, it currently looks like I need to export a JPG (down to 8-bit sRGB, ugh) from Photoshop, then open THAT in SpeedGrade, do my work, save my .look, go BACK into Photoshop, and use the .look file there.
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I could live with that if -- IF -- the .look file actually gave me my expected results. However, the only time the .look behaves exactly the same in Photoshop as it does in SpeedGrade seems to be if I open the image as a JPG -- thus losing all my layers, adjustments, smart objects, etc. When I apply any of my .look files to a PSD, they come entirely too dark, every time. Many of them have simply turned an image into a large 22 megapixel black rectangle.
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So my question is this: How do I make a SpeedGrade .look file behave predictably in Photoshop, in a 16-bit-per-channel PSD file? I'm OK with changing the color space if I have to (even if it's to sRGB, the bane of my existence) -- but I need to see the same thing in SG that I do in PS. Is this possible today, or am I waiting on the next SG release? Or, and I assume this to be the case -- as I'm a software engineer by trade, and know that this is almost always the case! -- is this a case of user error? And if so, what can I do to correct my user error?
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Or, sacrilegious as it may seem since I have all of Adobe's tools, are there other Mac-based products I can use to create color look up files compatible with Photoshop?
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In case it matters, here's my platform:
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Canon 5D MkII, latest firmware, always shoot RAWApple Aperture 3.2.3. Mac OS 10.7 (late 2011 MacBook Pro 17", 16 GB RAM)Adobe Creative Suite 6 Cloud Subscription (photo, illustration, video tools installed; no Flash nor web tools)
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Oct 14, 2013
After a recent update while working in Camera Raw off of the bridge I noticed that the workflow has changed. I can no longer change the size as easily.
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Aug 26, 2013
I'm developing a workflow and I would like to see how the images of professional photographers look like in PS at the end of the process ... ready for printing.
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Here is my workflow in PS for B&W photo (Hue/Saturation adjustment layer is not needed for a B&W photo as known):
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After making all tone and color adjustments in LR, I open the image as a smart object in PS ... and rest is on the above image, showing my layers panel in PS at the end of the developing process.
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At the end of the work, if I print with PS, I select all the layers and convert them to a smart object together and I apply output sharpening ... but if I print with LR, I save and close the file without output sharpening and I use the sharpening options on the print module in LR.
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Aug 2, 2012
I would like to do a decent calibration of my Epson V750 Pro scanner to achieve a color-managed workflow. I have the latest version X-Rite i1 Photo Pro 2 calibration kit, and although this enables me to calibrate my monitor and printer, it does not support scanner calibration.Â
I do have Silver fast Ai Studio which includes a scanner calibration facility - is that the best available to me or are there any other options, possibly using the i1 spectrophotometer as I know that it used to be possible to carry out calibration with the older versions of that equipment? Other than that, I'm using an Epson 3880 printer, running Vista x64 and using Photoshop CS5.
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Apr 22, 2013
Is there a way to send this individual lower resolution images so he can work on them and then have him send me the metadata from his edits, so I can apply them to the images I have on my system? The reason for this question is because I'd like to minimize the size of the images I'm sending to the editor, but still be able to produce high resolution stills.
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I understand there is a way to work with RAW images and save the metadata, but that doesn't fix the file size issue, and you can only save certain aspects like white balance, levels, etc... I really need a way to capture his history and save that to a file, that way if he were to use a certain filter, or brush on the image, the same results would be applied to my images.
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Oct 22, 2013
Open image in Photoshop as a Smart Object from Lightroom. Double-click to change the RAW characteristics.
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When I return to Photoshop, my image has been changed... Color space is changed, bit depth is changed, size is changed. I believe I know WHAT is doing it - the Workflow Options in ACR are set. HOW DO I TURN THEM OFF?
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I can't find a reset, and I can't get it to stop messing with the image. I've SPECIFICALLY UNCLICKED the "Resize to Fit", but it STILL takes my 2600x3300 pixel image and returns it as 1824x2321 pixels.
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Jul 5, 2013
Is it best to apply the shake reduction filter last, when applying other sharpening, or at the beginning, so I'm working with the "unblurred" image?
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