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27-04-2015, 06:39 AM   #1
Theiamania
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[Maya 2015] Creating a correct UV mapping workflow (smoothing, retopology, reduce...
[Maya 2015] Creating a correct UV mapping workflow (smoothing, retopology, reduce...)


Hallo everybody,

After modelling, I meet some problem to dal a correct UV mapping, concerning some operation as retopology and reduce, that could be necessary (Often) di improve UV structure and texturing, as well.

Strarting with a high poly model, i think could be a good idea to proceed with this operations:

1 - smooth you mesh, wher is necessary for your shape;

2 - retopology (also via Mudbox, or Zbrush, or 3d Coat) to improve topology (even if you don't have to make any sculpting on you mesh);

3 - (optional) if you need a low poly model, proceed to Reduce mesh

4 - proceed with UV mapping.


What do you thing about it? Shortly, do you thing retopology a great operation to correct topology, BEFORE proceding to UV Mapping (even if you don't have to make any sculpting on you mesh..., of course)?


Many thnaks for a reply!
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27-04-2015, 09:32 PM   #2
jsprogg
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Off the top of my head i'm thinking you could cut a step out by reducing the poly count when you do your retopology simply by drawing less polygons.
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28-04-2015, 04:32 AM   #3
Theiamania
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Quote:
Off the top of my head i'm thinking you could cut a step out by reducing the poly count when you do your retopology simply by drawing less polygons.
Of course, but there are many cases in witch you need both: when you have to frame your mesh in closer, with a high LOD, but in the same time, when you have many shots where your mesh is far or extreme far from camera... Have an high poly and a low poly model is always a good choice...
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05-05-2015, 10:25 AM   #4
Theiamania
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If you are agree, I'd like to go ahead talking about UV workflow.
Reading a lot on web, I would like to confront you about some deeper aspects.

The first step I thing should be to do is to divide UV for Hard surface objects (vehicle, props, architectural, ...)
from UV for organic object, clothes. These latter types of UV have a different way will be created, we have to discuss later.

Second step it should be to decide how to create UV map for every specific meshes (3d Obj or parts of it): we have to know/decide which kind of LOD (Level of detail) we need for every object we are going to UV map. Therefore, we have to check the camera animation and we have to check what items need a high LOD and which do not need it.

Fixed these preliminary things, we maybe should proceed with two main approaches to create UV:

a - UV for meshes textured with painted textures;

b - UV for meshes shaded (so, no texture but only applyin material shader);

c - UV for meshes textured with ready made texture from photos.


So, in this way to approach the UV workflow, we can decide how is the best way to make any specific UV mapping.
If we are agree to it, we we may talk about some specific aspects above mentioned. For example:

1 - how to better make UV for painted textures? I mean, what is important? Which shape we have to give to UV to better apply painted textures we are going to apply to this UV? UV should be many pieces, only few or just one whole piece, for example?

2 - how to better create UV for a material shader? If we don't use textures (painted or from photos), but we use a material shader - as far as I understand (but I could be wrong...)- it is not important how are arranged the UV: shading works good without "checking" UV shape mapping, as well.

3 - how to better make ready made texture from photos? Again, if I understand correctly, we should conform to the shape of the photo tho the shape of the UV, or vice versa, create UV shaped to conform the orientation of the photographic texture (bricks, woods, marble, concrete...)

What do you think about? Is it a good approach? Alternatives? Any suggestions?

Many thanks for a reply!
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