- #Dreamworks how to train your dragon wild skies how to
- #Dreamworks how to train your dragon wild skies movie
Basically each channel from the splatmap texture (RGBA) is multiplied by the respective tileable texture and, in the end the basemap texture is multiplied by this result. Here I use the 4 different channels of the texture (RGBA) and I paint each one of them with tileable texture that should appear on which area.īelow you can see a graph that shows in a simple way what the terrain shader does. It will give you a nice detail when you are close to the mesh. The splatmap is responsible for giving the correct tile according to the element painted in the basemap. By doing that is possible to paint different elements separately to easily adjust and to reuse the basemap PSD to create the splatmap texture. For that was used another built-in tool from 3DSMax: the Viewport Canvas, where we could paint the texture in the 3d model directly into a PSD file making use of layers. Generally, the terrain’s UVs are messed up, being hard to paint directly on them. The basemap will give the main look of the terrain texture, and the splatmap is responsible to show the correct tile texture according to the basemap. For each terrain I had to paint two different textures: the basemap and the splatmap. Here you can finally begin to see the final result of the terrain. PaintingĪfter unwrapping the UVs, starts the coolest part of the process: the painting. The entire terrain for each environment has basically only one painted texture of 1024x1024, mainly to preserve the game file final size. Once again, it was very important to take care with the resolution of UVs near the walking area, saving more space to do it. To do this the Relax tool was very important. The idea is to connect the biggest amount of triangles possible and avoid seams at least in the more visible areas, without stretching too much the UVs. Once the low-poly model is done, I have to unwrap the UVs to prepare the model for the painting step. The limit of details for each basemesh was of 30.000 triangles. During this process, it was very important to use more triangles in the section of the basemesh where the exploration area will be considering that you will be a lot closer from these areas when walking. The basemesh was made from the separated pieces that I replicated along the base connecting all of them in just one mesh.
#Dreamworks how to train your dragon wild skies how to
Honestly, once you learn how to use this nice group of tools, the process is more boring than hard to do.įirst I made the retopology of the base sculpture and then the basemesh. To build this, the Graphite Modeling Tools from 3DSMax were very useful. RetopologyĪfter the sculpting step, I used 3DSMax to make the retopology of the high-poly terrain, to create an optimized mesh to use within the game. With the sculpture base ready, I could focus on carving the rocks that would be reused in the environment. To begin with, at times I modeled a simple mesh inside 3DSMax. Inspired by the concepts created by the art director, I started my work inside ZBrush, sculpting from primitive objects to the main shape of the terrain using Dynamesh. Seeing that, the solution was to use a mix of different softwares to model the terrain in a traditional way, but saving time and getting great results.
#Dreamworks how to train your dragon wild skies movie
We have to follow the art direction from the movie which has terrains with organic and stylized shapes. From the beginning of the project it was clear that we could not use the built-in terrain solution from Unity, which is based on a heightmap.