I wasn’t planning on covering the process for porting this model over to Blender, but I thought I’d share how to get Subsurface Scattering working in Blender using textures created for UE4, as said engine seems to handle SSS differently to Blender.
So this is something I did a better part of 2 weeks ago, but didn’t get around to posting it as I wanted to try an idea that I have since shelved - but I just want to showcase Glamrock Freddy fully ported into Blender!
This just quickly shows the “eye skins”, including the addressable RGB variant (and how you can turn of the glow accidentally), as well as a quick showcase of the IK Rig working.
I’m going to be moving onto the other character I’ll need for the artwork idea I have, but it’s gonna be a “rinse and repeat” thing that I’ve shown off here… ^^”
So I’ve begun getting the included rig functional in Blender, and one of the modifications was to have a central ‘control’ bone for the rotation of the eyes. So I created a driver on the rotation axis of the left and right bones and pointed it to the positional data from the control bone. This technique hasn’t been tested on “texture eyes”, but for eyes that actually use the mesh for their rotational data - this is a very good way on doing things! =)
So the saga of porting Glamrock Freddy into Blender continues with the eyes. Specifically for this post is about the glow around Freddy’s Irises…
A little update from my post 2 days ago - I have got the Specular map of the main body in a place I’m happy with with all 4 skins. I have colour-coded each skin that the model uses so I can easily refer what one I am modifying.
The eyes are coming along nicely, and I should be able to finish that soon, then I can move onto the final 2 textures before I get the IK-rig operational in Blender. A surprising amount of progress considering how little time I’ve put into this port so far! ^^”
So in between everything am working on right now, I have managed to squeeze in the beginning of porting the Glamrock models into Blender so I can use them for a poster idea I have.
I have created groups for each skin the model will have. The specular map is being difficult as it is “glossinessing up” the dirt which I don’t want, and the UE4 textures the the model uses doesn’t come with a specular map - so that’s fun trying to hack in a proper specular map (Google is more then useless to research)! ^^”
Ending the year with something happy :')
Got around to finishing up some stuff cos why not, and this one was so far along already and those two need all the happy content they can get.
While I work on stuff behind the scenes, here is some cute Little Nightmares 2 artwork! =)
So here’s some news I wasn’t expecting to make; but it is noteworthy given the current climate - I have managed to upgrade my workstation (New Octane) with a GeForce RTX 3060 from a non-scalper source… I just happened to be at the right place at the right time!
I have updated the parts list on my FAQ to reflect this upgrade. The benchmarks and test render I’ve done today is promising for both the stability of the system, and the overall performance benefits. The card also features double the framebuffer of the previous GTX 1660 Ti (now in my gaming PC) I was using, so if nothing else the 3060 will cure the “out of memory” error I sometimes get in Substance Painter when trying to bake the AO map.
So I don’t just “blueballs” you - here is a snippet of the texture library I’ve been building up over the course of the month. ;)
I didn’t expect to be posting so much here this month, but to conclude the trilogy of posts regarding the “material editor” and procedural textures: yesterday I talked about getting to grips with normal and displacement maps and that I would try to create to create a wood texture test today… Well I decided not long after publishing that post I decided to do it that night instead!
So today during my lunch period I created a test scene in Blender with an elongated plane and 2 lights with a cube to test out the roughness/specular maps. I’m extremely happy with the results over all - changing the UV map to be bigger and wider then the standard preset scaled the texture exactly as intended (eliminating the need to change such settings in the material itself), the flow on the edges of each plank is visually appealing and the subtle bump map does sell that this is wood pretty well.
moringmark
