Autodesk Maya 2018 - Stylized Turret Tutorial

hello everyone so this video is gonna be a little bit different from my usual videos that's obviously not a speed modeling video is more about tutorial so it's also gonna be a little bit different because it's not so it's going to be me but I'm actually collaborating with Jana so you don't know him he has a really awesome YouTube channel so basically jenna is a indie game dev he's been doing work as an indie dev for years now he has a lot of experience with the blender especially he's do check out his channel he's gonna show you a lot about how to do things in blender tips tricks and just overall awesome information that you wanna learn if you learn them learning how to use blender and not just that but he also have some other tutorials on a real floor and he has tutorials on unity and not only focuses on art stuff but he also goes over more technical aspects of things so he goes over the coding as well so yeah so check out this channel he's going to be taking the model that I make through this video and he's going to import it into either unreal or unity and he's going to show you how to set up the little import and set up the model I don't sell out the material now how to set up the animated model because in this video I'm also going to show how to rig and animate a pretty simple prop but he's gonna show you how to take that and set it up in a game engine so anyway yeah go ahead and check out James Channel he's has some awesome stuff and so yeah let's go ahead and get started with our with our model so okay so first things first I'm going to create the model so I'm going to play the video so what speed modeling style but that's Molly mostly because the model itself is gonna be really simple really geometric so I don't think you guys need me to explain every single step of modeling this majority of people who are watching this channel I know are already experienced in the modeling process itself usually do more help with the sculpting and bake settings in substance painter as well as and down I'm sure you're probably interested in also learning how to set up the model and bring it and animate it as well so so here what I'm doing is mostly creating simple shapes and doing some extrusions usually what I do is I use the most simple tools I guess if that makes sense like extrude multi cut tool to insert edgeloop sand stuff but I don't try to keep it complicated I usually just extrude duplicate things so here I used duplicate special so that whatever I do to one piece happens to the others so this is going to be a really simple turret model my peeping I keep in a relatively low poly just because I think because it's gonna be a stylized so it's not going to need to be high poly or anything like that so just doing extrusions moving things and keeping it simple I think you don't need to overly complicate models sometimes unless you're making like a film or anything or like a really high detail video game or something like that but if you're making stylized stuff I think usually when you look at stylized models they're they're really simple they're not super complicated and the details always come from the textures so really I'm thinking about possibly using some gears to make it rotate so making it a base year for tomorrow and for reference here um I was looking at some torque like two turrets that they have in that game I think they were they're kind of cool so I was just gonna like you start at my reference I wasn't really going to replicate one of those but just make one that looked similar to those so here I just decided to lower it a little bit inch into design instead of having like here at the bottom just have a base so again just keeping it super simple having some gears that when they my plan is that when I when I have those gears rotate the turret itself is going to move from left to right possibly tap as well and then this is meant to be a props that's mostly static that's going to be in the ground and it's going to animate and possibly shoot something out of it that I'm just going to trying to break up the shape a little bit so the base is not just a square just trying a few things and I'm just adding a brain just to see what's what's gonna be above the ground and then for these Peas I just want to clean it up a little bit so they makes more sense and then I'm just using the merge vertex tool I mean that well too then I think I was relatively happy here with the design and I'm just gonna make an extra piece here or the back of the turret and again just super simple shapes it's nothing complex about the model itself so I think at this point the model is pretty much ready that's ready for UV so what I do is usually I just apply a planar map to the entire thing and then I cut them the edges and use the own fault too and then that gives me a bunch of pieces here for this piece I decided to use a cylindrical map itself and then just kind of clean it up a little bit by moving some of the new piece I also like to keep some of the UVs straight as straight as possible so it's not because we have weird shapes the usually those shapes take a lot of space in your UV also you still I have to just to get an initial layout so here I'm using the same technique a bit at planar map then I just cut some edges then use deep on fault too then that's what I get same technique I'm using the same technique for every piece basically for this one I'm going to cut it in the middle then we're going to mirror it so that I'm using less UV space stay with this piece planar Mac cut pieces and then just unfold using the same technique I'm not changing anything I'll just use my save to us they're gonna cut that him in half because some parts are just gonna be symmetrical and if talking a bit metric for that they might as well only use half of the UV space and then here for these pieces I'm just gonna use one and then duplicate it so I just need to use v1 then everything else I'm going to duplicate later then here simply week claim a map for everything first and then cut edges and then unfold and then they are finally also I always they need geo that's not going to be invisible can't say picnic just cutting edges unfolding and they up then this one gave me a little bit of a weird piece but I think I'm okay with it then usually I select everything and use it to layout too and then what I do is I just by hand basically decide to also here I'm setting those business to decide because I'm gonna make them smaller because those are gonna be like inside the crown so they're not gonna be visible and then they're not gonna need no that's why I scaled them down because they're not gonna need high resolution anyway they don't need to so basically what I do is that just play yeah I just played that race here and then just place everything goes because when I used a layout tool for Maya it gives me a good start but it's usually not what the best layout so I just have to go through the whole thing and just place them by hand just to make sure I use the space more appropriately and I'm not wasting too much space and there's always like in the area here and there that it's kind of wasted but anyway that always happens anyways but I tried to get that not get too much so after that I just scaled it back and used the third quadrant and then what I do is I mirror back my pieces and I merge the center by vertices oh I hear what I'm doing is going to and setting my normals correctly so by normal correctly what I mean is um make sure that where you have UV cuts your edges or heart and then where you don't have that your edges are smooth then I'm also renaming everything so everything with underscore roll but that's going to use it's going to make sure that the that I can bake by name when I get to substance painter and you'll see what I mean by them and then what I do is I duplicate that folder with the lobe stuff and then I make a high so I name everything from low to underscore high so that this is gonna be my high poly and I'm adding just extra details in my yeah just because I don't want to let them in see but just I'm just doing my anyway and so it's mostly just bevels and adding extra edge loops do you keep it so that new geometry holds up once you get it to ZBrush so it's just making the high poly version as long as you keep the same pieces with the same names that's super important because once we get to substance painter you have to make sure that the names match so between your low poly in your high poly so the same pieces at the same vein but there's the high poly shouldn't have on the skull high then the local is gonna help underscore know so what I'm working right now is just a duplicate of the hello poly and this is my high poly mostly just doing pebbles and an excellent here sending you up correctly for seekers obviously I don't want to change the that apology too much because if you do that you might get some artifacts in substance painter once you get your baking your normal map and other maps so I reminded that once we're done with our model make sure you once you're done with this tutorial make sure you follow Jane on his channel he's gonna have a follow-up video on how to import and set it up into a game engine I think that's super important information especially for people who are interested in making game models it's always important that you know how to set that up and in a game engine like unreal or unity so yes mostly just an in details here and bevels and a few edge loops just like the shape holds up and so that the resolution across the whole model is consistent and then once I'm done what I'm going to do is go to export the group so I'm going to export it as to it on the floor hi and choose FBX when you export and then we're going to import it into ZBrush as an FBX as well don't use obj because if you use an obj format your models not going to be saved as separate pieces it's gonna be a 1 so make sure you do that when you export so I'm gonna stop here okay so in ZBrush what I'm going to do is I'm going to import my model so because I export it with that px with the FBX file type I'm going to use the sleep plug-in and use the FBX export import and then just click on import then that basically import my models and as you can see here under the sub - it imported them a separate object with the same names that are assigned to them in Maya so that's why I imported doesn't a px if you just hit the import button it is key under tools that's just for our BJ files and you don't want to do that if you want to keep your model separate so after that obviously I just dragged in see I usually prefer to change the material maybe I like this one the white clay let's use that one so obviously now I can just start doing the a scope link probably not gonna have too many details to this maybe I just bent it up a little bit so let's start with let's see that piece probably disabled smooth for the first defy and then I'm able the back just so that it keeps the shape a little bit better the big tile set it to 1 million and the nice thing with that bringing in your pieces or separate models is that you can click on the solo button and then you can pretty much just see it isolate it like this so I'm going to use the first ibiki used project window term dynamic just turn that up a little bit give it a little bit of variation here this is like a metal I'm gonna pretend this is tomato metal so maybe it's just like a hammer type of metal I also like to use a different brush one of the old pal when the or brushes deep or platen H you can download this from the app you just google it the old brush back then you should find it and you just be able to download those it's basically afternoon dynamic but more strong it's really nice especially for like sculpting metal surfaces in stone as well this is going to be a stylized finished so I'm like I'm not going to go too crazy with desk okay I'm not gonna pay too much attention to the bottom just because I don't know we might not see it too much anyway I wonder what it would look like with like her we may be dead like a panels or something or so let's see so I'm asking that to get the shape of the panels that I want and then I'm going to use the let's see deformation and I'll try to inflate balloon first and do three point three or so just to sing like that you can use can you do more than that maybe point seven how do more than that that's the one point do you I think that looks nicer maybe we could potentially do more than that then I could do something like this on the edges well we still have it masked maybe our scope can follow the shape of the panel to make it look like it's like a separate piece or so you know Syd the way of making panels or you could just model those in Maya if you made them if you model them it'll probably be cleaner because then you're up to you really subdivide your model here in ZBrush to get nice details but so that it doesn't look pixelated mine looks a little bit pixelated here if I get close to it but I guess it's up to you you guys you probably speed this up a little bit more some think you get the idea I'm making this okay see what it looks like without okay let's try the standard brush track selection do that increasing density just too small maybe I go backwards first and then like this now let's do that sadder in some places here I should probably divide this model more so it's not pixelated but I think it's fine maybe if I switch to this one slow down rounder I can you maybe just model these in Maya and bring it as part of your high poly well you could also use the answer tool okay okay let's see but then let's uh it's called the first piece done let's focus on this dude see it's guru geo divided that should be fine I'm not gonna do much do this you just stand it up a little bit and that should be it okay let's leave it that way you called that one gun for now do this please it's divided this one I the u-visa Maya work mirror so we want to make sure we're using symmetry here so if you press X you enable symmetry this is the wrong symmetry is not correct so if I go to transform loosen this axis and this is totally off so I'm gonna click here on local symmetry so that should fix that and now whatever I do to one side happens to the other side as well I don't have to dance to the edges but now I'll be about it of this piece right now up here oops both teams I'll leave that one is this doesn't really need too much I don't think let's do the piece at the bottom I think this one was also mirrored let me double check can't remember yeah I think it was mirror on the same axis yes okay yes I'm going to press X to label mirroring change this to the z-axis okay so now I divide it let's story 500,000 and sisters there might be too much I mean not enough see I think that's what I'm getting expect that resolves Safiye dance to the edges this business should probably have made separate or it was to make it easier to sculpt I'm gonna use the this is another one of the or brushes is the bulb extreme polish which is basically like a smooth brush it's nice for adding details to flat surfaces well you can do stuff like this on a flat surface just do it extra noise in there so that it's not completely flat so sometimes it just looks kind of weird when you have something that's way too flat with no detail at all and also when you buy texture it in substance Boehner you don't have enough there to know but not details there to bake like curvature and stuff like that or al but then I'm switching to the extreme polish brush just to connect it up a little bit more and this is like not too much detail but it's just a little bit and you could potentially add these details in substance painter tool material but I I don't have a problem doing it here so I sometimes like they were here okay we may have to call this piece down to maybe looking out of you go back to the standard brush notice how I'm not even using that many brushes just using a few do that yeah that looks cool I guess a little blurry pixelated but that I think that's fine don't know if I should add it to each one of these if I should skip one I think each one is fine FK maybe the bottom two I don't know maybe power to just deal okay I guess that's fine let's see I'm going to use oh I'm going to use the another one of the old brushes duty or crack super useful just to make this look more like a knob like that it's super pixelated I should probably increase my resolution okay let's go back he's done let's do this one I think this one I'm just going to divide it and you still check Titanic a little bit on that will be it just like that I might probably get some things when they bake the slept with in substance banner just because maybe this is a little bit extreme as far as changing the shape now I'm not really going to be top of this you're going to use the low poly that I made in Maya and then put it so sometimes you don't want to change too much like a shape that should be good maybe we should add the details with the polish one ad they do two flat surfaces like that and then I switch to extreme flatten probably hard to see I'm like you guys can see that awful it's not a small enough and it translates when I bake probably not too much it's to have this idea by the way I'm making and doing this as quickly as I can here just because I don't want to spend too much time but if I was making this for reals I would spend a little bit more time by for real Simon like I was making this for a portfolio piece or something I would really make sure that it looks good and stuff but I'm mostly rushing this well not rushing it but not spending as much time as I would if I was making this for a portfolio piece or a legit game I guess okay and it's now I kind of don't like these pieces too much I'll keep a kid not looking good especially this one doesn't make too much sense so I'm just gonna be bath probably oh by the way if anyone's wondering where I got the idea for this model I was looking at some of the props in torch light touch like - and this was it's super similar to one of the son of a perhaps in there so in case this is something somewhat familiar that's where I got this wrong oops have to divide that usually by the way I've known was looking at my total poly count here right now so almost 5 million when they get past eight million my computer just starts to go a little slow so I try not to go past that and if I absolutely have to what I do is uh I sculpt the stuff one by one and then once I get past the eight million mark I go back to some of the other pieces and like reduce dia I'll use decimation master to reduce the poly count in that scene so that mine and maybe it's just my computer can slow sometimes but I do that in case anyone's wondering because they went anyone was wondering of a good way to go about making super high poly models that's kind of how I do it after the 8 million mark probably and also when I export to a substance banner maybe this is also one of those six days maybe it's just my computer but I tried to export models that are less than five million so I still do that designation Oh perhaps to get my my total count to less than five to import to substance painter just because if I'm for at a higher resolution than that it just takes forever to bake my normal Maps and they are especially so the lower you probably count the faster substance painter takes to bake so I'd recommend you decimate your models before you a spot to focus better you don't have to destroy your your original scene you can just save it as a separate copy in ZBrush then you start the best made everything in there and it goes export that takes more time but I think I think that's probably what most people do anyway to make it just pointing out the obvious and also if anyone's wondering yes I'm using a tablet and the plan is sometimes young people get people are asking me from using a tablet and kinda night for sculpting attica absolutely meet it I got not people who use the mouse to sculpt in they get the resource but at the end of the day I don't know I guess if you're into that sure but eventually you're gonna need a tablet anyways and you young you have to buy the expensive ones you can buy cheap ones like I'm using a really cheap one using one of the wake of bamboo ones which particulars like 50 bucks so you don't have to spend you have to spend too much for a good tablet by the way for you over to do stuff like this what are your own doing this and then it's affected the other side what you do is basically you just go to brush auto masking and just check back face mask so that way if I do this again it doesn't do anything on the other side even in the middle oops take this in the middle super big so leader and stuff that's a little good the death parts are nice doing a little bit on the ground as well that's fine it's fine for what it is I guess I wouldn't say yeah I would never come in to do to keep it this way so do as I say not as I do that can looks fine for far away I think this is the last base oh wait now this right here this is not gonna need much other than subdividing it this was a symmetrical that you're not gonna call that done basically okay so last piece you can see their boobs some of that is because there were there weren't any supporting a troop down there um now what the heck let's do that I recommend you add a match look down there before you uh we doing with this Oh panels maybe let's see Stu [Music] this this thing should line up with that it doesn't line up right now so maybe if I change the panel let's break down and go in this way instead this bro not gonna make too much sense so these are panels I'm gonna do the same thing that I did up on the other piece the formation start one look like okay I guess that's not too bad we're trying more than one let's try 1.5 okay and now oh that's just the extreme polish again I used this one to add details to flat surfaces okay so passages with other brushes it can be a little hard to uh details and then I use the or flatten extreme again you can download this brushes if you just google it or brush I think my co-presenter who made this yes looks up listen I believe on heroes of the storm the guys super dude as you probably had a half Dalek acuity for this video so that I was called probably answer questions so anyway this is usually the process that I do that I use for sculpting models especially styling stuff it's I make stuff separately Maya and I sculpt in ZBrush sometimes I changed the shapes a lot and then just by just decimate I know people who can model completely within zbrush that's not something that I have too much experience with but I'm definitely something I'm gonna look into see we're almost done here okay so no no flesh it kind of scratches with this maybe I mean it is my loss so maybe has a few scratches here and there maybe even this one has a few scratches I try not to Adam everywhere cuz then it just loses the the appeal of having those okay so we are officially done here in ZBrush you can always take it further of course and make it better than this so as I said before mine I got almost to the eight million mark but before I export to paying her I prefer to lower that to maybe like four million just thought it takes less time to bake so actually let me save this verse so it's done saving so what I'm going to do to reduce the poly count I'm going to the sleep plugin and I'm going to the decimation master let me click here to open it on the side so here we are and I'm going to go one by one and click on pre process you can do a quick process all but it just takes longer so I'm just going to do it one by one and yeah I'm going to pass the video actually and this usually takes a while so I'm going to pre-process each one and then I'll come back once once that's done okay so we are back so I did the pre process all so now I should be able to decimate each one so I'm on this one right now which is 1.6 mill then 20% it's Besame correct and I'm always looking at the model just to make sure it doesn't lose any detail because if you go too low then interest this is way too much detail so now it's at 300 which i think is fine i already teach this one I just do that day 4 which is 20% in just estimate current I think that looks fine this please it's good this one doesn't make kind so essentially I'm just going to decimate all of these by the way when you decimate it it changes to your on this one again changes your geo so it's you know it looks different so it basically it's deepen more geo in that more detail areas so it's always good to decimate before you export just because it's nothing way less time for a substance painter to bake I think I got all the pieces good so now I stand at 1 million one point one point five and that should be good I think to export so when you export you don't want to use the export that's on the tool you want to use the seed clogging from the seat clogging menu and use the same import export FBX that you used to import and what I do is I I think these are the defaults which is visible normals just export that sort of makes that's gonna keep all your high quality models or separate pieces with the correct naming so that's why I do that so let's see how long it takes to export so the nice thing about decimating the models too is that when you export it's going to take less time to so if it's really high Polly's gonna take a while obviously it depends with your computer but I'm using a laptop so that helps okay so that's not sweet I'm gonna come back to Maya and X for my low poly because I have an exported it so I can make sure in my app to set your smoothing groups correctly so basically where you have hard edges I mean where you have UV cuts you want to have hard edges so here on this plane I I click here to enable my heart edge visibility so the thick ones here should be hardened edges and then everything else to be a southern edge then in Maya 2018 I'm using 2016 right now but in 2018 under the mesh display there's a normal hardened soften and if you click that that's going to do it for you so I'm going to export my low poly and I'll see you in substance banner okay so we are in a substance painter here so I'm going to file and I gotta click new set yours and choose from your low poly okay so here's my low also make sure in Maya you only had one material assigned to everything in my case everything was using Lambert one so under texture set settings you want to click where it says base mesh maps and here what I do is I dis elect all these and start with my normal map and wallspace normal gonna set this to 1024 and I'm going to under High Definition meshes I'm going to click here and add my high poly which I exported from ZBrush and I'm going to keep the max and rear distances as defaults which is point zero one and I'm going to set my anti-aliasing to four by four and under match this is the important part and the reason why we name things with what we made things separately pur separate pieces and we name them underscore low for our low poly and underscore high for a high poly and which is we want to bait by mesh name if we did not name our things correctly it's not gonna work by the way so you have to make sure that you set that correctly and I'm going to click bake okay so as we can see here we baked our high poly details on to our low poly and because we baked by machining our pieces don't really intercept what I mean by that is that if you if you don't they by mashing in this area for example will look a lot worse wouldn't look like parts of these piece will be making - this will be because we did by machining everything is perfectly fine and you'll see that resource if you test for yourself you can just deselect the by night by mentioning under the big settings and you'll see what I mean by that so I think it's to find so after I confirmed that my normal map and wall space normals look good what I do is I go ahead and make the other maps in this case a curvature is usually the one that takes the lease I like to disable these settings and I go with my details as well for position and thickness I think on the thickness you also have picked a lock only thing about mesh name so do these three now I'm leaving the ambient occlusion for last because it usually takes the longest okay so I'm gonna pass this and come back to you once it's ready you okay so now we are ready to animate and lick our model so back in Maya what I did was I merged everything into one model and I applied our material well as texture to our Lambert and then under color I added the texture that we exported from substance painter so first things I'm going to do is I'm going to break my detach my edges here touch component just because I want this to be separate because I want to be able to move this part from left to right and if I don't touch that I won't be able to smoothly do that so I'm going to add a new display layer here they met mesh save it then I'm going to add my model to it so right click I'll select it once you can see now I can change the visibility okay what's going to delete all by type history so we are ready to start creating our joint so on the rigging so switch to rigging go to skeleton create joint click anywhere press ENTER and set this back to 0 also such this radius to 1 and if you want to change the size of the display down joints go to display animation joint size I set mine to 30 so what I'm going to do is now so I'm going to press control D and duplicate it also I want to be able to see through the mesh so under shading x-ray joints I'm going to hold down V and snap it to this edge go to press control D and control I mean just fall down V to snap it here you now hold on X snap to the grid in the middle and now I'm going to ctrl T and snap to our gear here remove it in a little bit control D so I mean along V and now move this into snap as you can see we have our joints that we're going to use so this one at the bottom is going to be our main joint so I'm gonna need that mean J for me enjoyed this is going to be our to rep for one J this one at the top is going to be a turret Oh - J this one's going to be our gear or one J for Jo and then this one's going to be our gear - now on the parent our joints to our main joint here so I'm going to click this one hold down shift click that press P to parent now this one and this one press P this one and this one P in the same with this so now our parent controls all the rest of the joints so that's that so now what I want to do is create controllers so basically when you animate model you don't want to be animating the joints themselves you want to animate using controllers so go to create NURBS circle this is going to be it or main for main control that controls the best joint at the bottom control D then come and hold on V and snap it to this one oops then control D then snap to this one right here probably going to rotate this one then control-d then snap here I'll rotate it to control D and snap with the V key this is gonna be our gear this is gonna be our small gear okay so now that we have that we have to make this so this is going to be controlling it our main joint so it should be called something probably like the main control this is our to that one so this should be our turret one control and this should be to a control two then this one's gear one and should be controlling to be controlled by this one then this one should be here to controller and you have to make sure that you twist information on new controller so modified recent form so there should be no transformations here and I'm going to place all the controllers inside the main one so the main controller controls everything I also want to have turret to controller be under two at once so that when I moved to r1 to r2 comes with it okay and now I want to create a connection between the controllers in the Jones so let's start with that main controller so click the main controller hold down shift click on the main joint I go to constraint parent option spots and make sure your settings are set like this then in your supply now I'm going to click this one goes on ship on that why is this do the same and this one in this one and then the gear so now our joint our controller should be controlling our joint make sure you test it to make sure this is working okay so that's good so now we are ready to skin or joint to our mesh so click on all the joints and then the mesh hold on control v and match they go to skin bind skin options box use these settings which I take other defaults so now if you click on one of the controllers and move it you can see that it's influencing our model obviously it is not the way you want it to be but so now what we're going to do skin this correctly so when you start with the bottom put the parts touch not don't move it should be controlled by the main controller so select those faces and then hold on control the liver disease then open skin paint skin weights buttons box this is going to be opening this if you click on our main joint what we wanna do is we wanna click on flat and as you can see now it's completely white which means that our main joint is fully controlling these are those pieces and then you can also see that he has so some influence over some of these pieces here but that's gonna change once we start fixing it so let's do this is q1 I believe open that so give one plot let's do the single gear to give two news for that then the turret so that's two red one and then finally glass pieces which is you don't miss anything so that's - OH - okay so you can see now if I cycle do these no gear one fully controlled killed one but it does doesn't have any influence over anything else so I really that's black it means it has no influence over that so press Q and exit that and as you can see now if I move our joint a controls exactly what I wanted to control then this one controls this piece and then this controls the tears I don't want to see the change because I'm not going to be any meeting those so hide out because you always want to be an amazing new controllers so basically our model is ready now for animating it's completely ripped and you need to be able to select the model so we can start to animate it so first things I'm going to select all the tools and go to frames one here I'm gonna press s and as you can see it's a highlight thread which means that's a keyframe I'm gonna keep this as a really simple animation just gonna make a real page a little bit so let's go - maybe I'm afraid 20 and have it move that way 5:45 but let's see how far can remove it this way okay that's right okay so I've been moved by negative 45 so the press ass on that then let's see what we want to get see I'm going to switch my access orientation to object then maybe move this one out by 15 or so you press s on that but you're gonna put stress on everything so I play this you see that it goes up like that maybe that happens because the gears moved so this moves the gears by whoops crowd out here okay so maybe the gears move by 90 so s and that this let's see how that looks again I'm I'm not claiming to be an expert in animation then you can click the play button does super click so probably select them all and then cut this and then placed it under let's see [Music] here think of the playback playback speed think this should be set to real time I believe that's true okay yeah thankfully super slow look at it let's cut this maybe set it to frame 30 see how that looks okay so maybe looks like that in there and then by frame sixty moves back this time like negative 45 to the other side maybe this guy falls back down then these pieces keep going to 180 so setting undoing that the wrong way it should be going this way then this one okay we're gonna press s see what that looks like again I'm not planning to be an expert in animating determine obviously our Kirsten to be this is public para modeling wrong you see here the gears like a toss-up at one point don't even seem to be working correctly sturdy I wonder if maybe this gear should go slower or faster actually let's see let's try that maybe this one goes this speed yeah actually looks better now like it doesn't intercept too much so if I play levity okay yeah that's kind of cool and then when we get to here it's moving slower so then do 360 mm yeah I think the smaller must has to move faster than that in the large one so that it doesn't intercept let's see nothing it's gonna need actually let's see mainly when it gets to here see going to cut this so that it's in memory you know I get paste a later but see maybe wanna get to do here kind of like bumps a little bit so I don't like this then it goes back you hear oops no one disabled my snapping okay no see what that looks like well that's a lot that one so this is a 45 and then there goes to our 41 then he goes back to 45 see what that looks like now this let me have to happen faster they make paste back the holes I cut let's see splitter I notice this is not real treating anymore these are not rotating so I think I set this one to 360 wait a sec okay then this one should have come all the way here and then this think I went to 180 like them all okay then maybe finally goes back to its original spot so it's back to zero this look like 0s that oops so the gears are hot I don't know if you will be able to look this Oh think so this one has to be back at 360 to be back to its starting point then this one's already there let's see thank you for instance so maybe if we handset this one back to this one that's a crazy 720 spin I mean it's not too bad and maybe it's tux from this in the beginning again okay so good window UI page light so I'm going to this to like 90 okay so now if I plays let's see if they actually loops in a reasonable way okay very states I wonder maybe when it goes from this side to this time maybe the gears spin the other way but I'm gonna keep my face right now to do that in New York one time anyway so yeah that concludes basically the modeling that's sculpting and texturing and animating of the model so make sure you go to James Channel because he's gonna have a video on how to set it up and import it into either unreal or unity it's gonna be up to him but anyway yeah make sure you go check out his channel he's got some really awesome stuff there nice tutorials on not just art but he also has a lot of technical tutorials on learning how to code as well so yeah go check out Jan's channel and you'll learn a lot on how to set this up in a game engine and set up the animation and importing of the model and importing with the materials and setting all that stuff up so yeah go ahead and go to this channel make sure you if you like to see stuff make sure you also subscribe like his videos so for me this is it that if you want to check out the next part on how to set it up in unreal or unity go check out jan and channel his it's gonna be a link in the description so you can follow him there so yeah thank you for watching

Channel: 3dEx

Views: 77,848

Keywords: Autodesk Maya 2019, Autodesk Maya 2018, Autodesk Maya 2017, Maya 2016, Maya 2015, Maya 2014, 2013, 2012, 2011, how to, learn to, simple, step by step, tutorial, instructions, course, education, 3d, modeling, texturing, materials, Substance Painter, Designer, Pixologic, Zbrush, 4r7, 4r8, latest, PBR, physically based, rendering, stylized, Jayanam, Blender 3D, guru, hermes, uv, mapping, unwrapping, complete, steps, rigging, animation, rig, skin weights, painting weights, Marmoset Toolbag

Id: fjNkts56t3A

Length: 103min 16sec (6196 seconds)

Published: Tue Oct 02 2018