Unwrapping in 3ds Max: 04 The Unwrap Process

[Music] hello and welcome back to the unwrapping in three studio max video tutorial series in this particular video titled the unwrapped process we're gonna focus on the step by step process you need to go through in order to properly unwrap in three studio max now obviously everyone approaches things differently so this isn't to say that there are no variations or exceptions that would be perfectly acceptable also but rather this is a personal approach that I've found works the best that I want to share with you and while the video does run a bit long be sure to use the timestamps posted in the video description below to bounce around as needed so with all that being said let's just jump right into it alright so the first thing you typically want to do is to clean up your model before you begin unwrapping this can entail such things as deleting any unneeded polygons Welding all of your vertices resetting the xform and clearing your existing UVs if it's necessary so let's talk about each one well the first one of course is deleting any unwanted Polly's that's pretty simple you just kind of go around your model and check for any areas that don't look right check to see if you have any holes that need to be closed check to see if you have any hidden polygons that don't need to be there and so on cuz obviously the less Polly's the less you have to unwrap so if you don't need them take them out so there's actually a few Polly's on this model that I want to get rid of so I could demo it to you guys and how it works so what I'm gonna do is I'm gonna select my object go into element mode and grab this pill-shaped object here I'm gonna hit Z then to zoom up on it and then rotate around into the interior of the model as you can see the model itself is actually a separate piece of geometry clipping through so that means there's a couple of polygons completely hidden to the player that we can get rid of so if I select polygon mode here and then I say grab this polygon and zoom up just a little bit more with Z again we can check out what Polly's are completely encased in this other piece of geometry now these Polly's right here you can tell are still clipping through to the other side even this one down here just has a little bit of it coming out and of course we can shift the geometry in a little bit to delete it but I'm just gonna leave it in for the purposes of this demo now this poly I'm gonna add to my selection this one this one up here the one on the bottom and then of course the same pause on the other side are also having issues so I grab those click on hit delete there you go I've deleted all of those unnecessary polygons and now we can move on to the next thing alright so the next part of cleaning up your model is welding your vertices and it's pretty easy we're just gonna come over here and click on the vertex mode we're gonna hit control e on the keyboard to select all of our vertices at once and we're gonna come down here to where it says weld and then settings on this box here and open up the settings as you can see up here I have the settings set to point zero zero one at the moment and the reason why I'm choosing a number so small is this actually prevents us from welding any vertices that we don't intend to by leaving it so low there's pretty much no vertices are in a weld unless they're actually literally on top of each other now you're gonna see a before and after on the settings in this case they're exactly the same so I don't have any vertices on top of each other but either way we're gonna come down here and we're gonna click check to complete that part of the process alright so the next part of the cleaning up your model process is resetting your X form anyone familiar with Maya it's very similar to deleting the history on the object so before we do that it's pretty good practice to make sure that our object is in the center of the world so I'm gonna grab the object here and I'm gonna hit G to bring up my grid down here now we can tell if we're really kind of in the sand in the world as you could tell with this black X right here our Plus that our object and our pivots are not in the same spot it's pretty easy to do just make sure your move tool selected you come down here for XY and z and make sure you zero out all of these zero here zero there and so on and now we should be exactly in the middle of the world based on our pivot now if our pivots flying off into space or it's not where we want it you can also affect your pivot by coming over here clicking on the hierarchy tab click on affect pivot only you can send her to an object you can move it manually whatever you need to do once you have all those things done we can get back out of the hierarchy tab and actually go over here to the last tab which is our utilities tab and choose as we can see here reset xform click the button on reset xform and then click again down here where it says reset selected if you did it right you can come back to your modify panel and find an X for modifier on the object at this point you can just collapse the xform modifier but going over here right-clicking collapse all yes and now this part of the process is complete now typically at this point you would be done with cleaning up your model however in some cases if your UVs are really messed up and things are not working the way they should you can actually clear your existing you v's if you need to so if you're looking to complete this optional step the first thing you need to do is actually change the object into an editable mesh in order to do that we're gonna select our object right-click go convert to and choose convert to editable mesh now we can see over here that we're now a mesh if we go back to the utilities tab and actually click on more there's an option down here in this dialog called uvw remove if we select this and then hit OK now if we look over here we have a couple of buttons including UVW and materials the uvw button will remove the UVs on the object and the materials button should be pretty obvious it will remove the material or any materials that are on the object at the time including but not limited to any checkered materials that might have been added to the object once you're done you can go back to the model right click on it convert to and set it back to an editable poly now the second step of the unwrap process is to select the Poly's that you want to unwrap now be mindful if you actually want to unwrap the entire model you can just skip this step and go to step 3 however if you're only looking to unwrap one very specific location on the geometry you can go in there select your polygons and then select whatever it is that you want to unwrap before you add your unwrap UVW modifier so this of course leads us to our next step number three which is add a unwrap UVW modifier and open the UVW editor this is pretty simple we can come over here with our object selected choose unwrap UVW which can also be found in the modifier list found here and then scroll down and choose open uvw editor which we can now see here so the fourth step of the unwrap process is to add a checker material video to of this series covers that pretty much extensively so if you want to watch that click the card in the top right corner here just keep in mind that my personal preference is to actually manually add a checker material to the object as opposed to using the drop-down in the UV editor found here so that the checker material doesn't disappear off the object every time I shut it off or collapse a UVW editor either way just add a checker material to the object before you move on to the next step now the fifth step in the unwrap process is to create your UV Islands and pending on how you approach it this could also be one of the most labor-intensive steps of the whole process there are also a lot of options to go about this just be mindful for a lot of these steps to work you need to be in the polygon mode of the editor for these options to not be grayed out now there are two ways of creating your UV islands initially you can either do it automatically or manually first I'm gonna show you a couple ways of doing it automatically those buttons can be found here under the explode tools the first option found here which is flattened by polygon angle will flatten your object by 45 degree angle selections if you click on it as you can see here the next option is flattened by smoothing groups which will actually cover in a moment the one following is flattened by material ID so if you've actually set up your material idea and your object you can just press this button no flatten your object based on which polygons are which material ID finally we have flatten custom which if you click and hold the mouse down you can choose its settings here after changing things around to whatever you want you can just hit OK and commit to those settings but I'm going to cancel this so I can quickly show you how to manually create your UV Islands before I get into the smoothing group method which is my personal preference so you have two main options when it comes to manually creating your UV Islands the first is the old-school way which is your UVW map modifier you can also find in this drop-down menu here you start by selecting polygons in this case I have a little group of polygons already selected and then you put on the modifier which will automatically turn that into a UV island you have other options here but I'm not really gonna go into depth on how to use them as I find the current method within the unwrap UVW editor more efficient but either way if you're using the UVW map modifier once you've got your island created you can just collapse it down and then create the next island and so on doing that method but I'm gonna show you what the unwrap UVW modifier will click on this open up the editor move the editor here and you will see the UVs that were created from the other method I'm gonna actually just move them off to the side here and we're gonna select a different set of polygons here as our UV Island we simply select them and then click on this button right here which is our quick peel which will automatically section off that UV Island then we can move it off to the side grab a new set of polygons that we want to UV island and so on and so forth so now that we covered all the different ways that we can create UV Islands I want to show you my favorite the smoothing group method and to be fair having a checker material on our object is gonna make it hard for us to see our smoothing groups so I'm gonna change that real quick so let's start by shutting off the editor then clicking em to open up the material editor as you can see here this is actually my checker texture material on the object I'm gonna come over here where it says scan line and standard and drag out a standard material then I'm just gonna attach this material to the object over here by pulling out that note now we have a nice kraid texture I can always go back and apply in my checker material later I'm gonna shut off the material editor and now if I flatten down the unwrap editor and click off of the object and then hit f4 to remove the wireframe on the object so that we can see on this very particular model every one our polygons is actually faceted so we don't really have any real smoothing groups going on in order to add smoothing groups I'm gonna click the object then come over here and choose the modifier smooth which can also be found once again under the modifier list here if I click on the smooth modifier I'll bring up these parameters down here Auto smooth does a pretty good job right off the bat so we're gonna turn on Auto smooth and immediately you can see a huge difference on the curved surfaces of the geometry the default threshold is set to 30 degrees so that means any polygons that are angled 30 degrees or less from the adjacent surface will automatically become smooth now from here we're gonna want to rotate around our object to see if our smoothing is appropriate as we can see here there's some faceted edges here and some hard edges on this tubing that we'd like to fix now we can manually come over here and increase the amount but holding down our mouse and lifting it up in order to pop in different smoothing groups unfortunately you'll notice that as I move it up certain objects may be smooth like this tubing but unfortunately smooth other areas of our geometry that we might not want including if I rotate around the front this large area found here so typically you don't want to increase the threshold too high or too low by its default or you're gonna get issues where you're not happy with the overall smoothing of the object now to be honest with you I found in most situations that default 30 degrees and maybe slightly more than that tends to work the best in most situations so as a result what I'll typically do is I'll flatten down the smoothing by converting it to an edible poly again and then choosing the locations I want to smooth manually so in order to do that I'm gonna grab our polygon mode I'm gonna select the polygon here and then hold down shift to grab the entire set of polygons on the side of the cylinder I'm gonna do the same thing for some similar objects as we find back here I'll hold down control and then shift to grab the whole thing and then again control and then shift around the whole object at this point we can add our smooth modifier add auto smooth and then increase it until we see it pop and right about there is where we see it smooth out now we can double check to make sure it works everywhere before we flatten it down but I know it works so I'm gonna collapse all hit yes and you'll actually see the smoothing on all of those objects from here you'll continue to rotate around the model and find other areas that you'd like to smooth and then manually do each of them collapse them down and then do another one and so on until you have all of the smoothing groups the way you want them so from here I'm speeding up the video so you can see all of the different areas that I smooth now on the rest of the geometry and as a side note in the case of the tubing use element mode to select it instead of polygon mode but either way circle around your object smooth everything that you need to manually and then move on now it's also important to make sure that any areas that got smooth that we didn't intend to or undone so as I was rotating around my geometry I found an area down here that I didn't want smooth it's pretty simple to fix it in polygon mode we just grabbed these three polygons add a smooth modifier which by default will make them hard just right-click collapse that down and you'll see that they are now faceted so once you've got your smoothing groups to where you want them I'm gonna show you a little trick that helps you preview how your UV islands gonna be broken up even before you use the flattened by smoothing groups tool in edge mode go to the graphite modeling tools then choose selection select and finally hard doing this will now display all of the hard edges on the geometry in red this also helps you to better understand why I use smoothing groups to control my UV Islands remember that the outer edges of the UV island created texture seen on the gr now in real life when an object is made of several parts or multiple materials the transition between them is naturally going to be hard as one part of the material ends and another begins furthermore even if the same object or material does have a hard edge within it the transition is going to look harsh similar to the seam you're gonna see in a texture if the object or material is smooth looking then we expect to see the surface material transition continuously throughout the entirety of the object as a result texture seams will visually be in the areas that hide them the most giving the best visual results possible all right so now all that's completed we can finally create our UV island so the first thing I'm gonna do is add our checker texture back to our object by clicking on am putting the texture onto the object adding an unwrap UVW and then opening up the editor from here we could finally just push this button right here which is flattened by smoothing groups and there you go our initial UV eyelids have been created now this leads us to our sixth step which is check your current new v's for proper seams and distortion note that this process is an ongoing effort until the entire unwrap is complete so what that means is no matter where we are in the current UV process we're gonna continue to check for proper seams and for distortions and our UVs ensuring everything looks the way we intend it to so one of the first things you'll notice once you've created UV Islands or green lines all over the object these are the outer edge seams of the UV island you'll see them both on the model and in the UV editor itself now to play around with those seams we can come all the way down to the bottom here and you can see that we can either make them thick or thin visually or shut them off completely by clicking on this map seams here but one of the first things we do want to do is check to see if those seams are in the right places now technically speaking because we use the smoothing group option to flatten our UV s the step where I showed you how to reveal the hard edges on the geometry are gonna be in the exact same place where our seams are right now until we change them so at this point we're gonna want to rotate around the geometry to check to see if there's any needless seams that can be stitched and where there's new seams that should be cut and at the same time we're also looking for any obvious areas of de store such as stretching and skewing like we can see here here and here and while some areas of distortion are obvious max has an awesome tool that helps us reveal all the areas of UV distortion on the model this tool can be found in the texture drop-down menu here in the UV editor you can access it by clicking on the button here and choosing area Distortion you'll notice on the geometry that we have areas of white red and blue the areas that are greyish white or ideal and have no distortion but the areas in red are stretched and the UVs in the blue areas are compressed so by simply rotating around the model we can easily find all of the areas that are in need of correction and before we move on I want to show you one last useful visualization tool and Max and that is this button right here which is the display only selected polygons well this allows us to do is to select a certain set of polygons on our geometry that may be obstructed by another part of it we press the button here and it will hide everything but the selection if we press the button again everything will return so all of this now brings us to our next step which is weld stitch or break any UV Islands is needed as we can see here right obviously we have different issues of distortion throughout the geometry and in most cases that we find distortion on this particular piece of geometry is in cylindrical or rounded areas that's because since they're smooth and they continue throughout the object we have one smoothing group on them however if we don't cut them in any single place they're going to have distortion it's kind of like thinking about a pair of pants if we are to try to look at the back in the front of the pants at the same time it would be impossible unless we were able to cut down the seam of the pants and flatten them completely out so a perfect example of this would be this cylindrical object that we smoothed out in a previous step what we need to do here is choose where we want to put our seam and as a rule of thumb we typically want to put them in places that are hard to see so being that this is the inside of the object a good place for the scene might be right here so we can easily come in grab our edge subcomponent click on the object here and choose break over here in the options this will actually break apart that edge and now separate it so that it can be completely flattened out now we can grab polygons element mode grab that entire element which is found right here and press the quick peel button now the result is creating a much larger UV than we need but we could just move it off to the side and we'll fix that a little bit later now if we click off of it we'll notice that there is zero distortion around that object so in order to see our edges better I'm going to hit f4 and we're going to rotate around we're gonna try to find some more issues so right here we could see on the outside of this object we have both stretching and compression now an easy place to hide the seams would be probably right around here and so we're gonna go and grab the edge tool again select off of element grab these two edges here and then once again use the break tool found here after doing so we can come over here and grab polygon and element mode and grab one of the polygons on the element over here so we can locate it inside the UVs select our object up here and then press quick peel once again we'll see our object has been flattened out over here we can move it out of the way in the meantime and click off of it and now we'll see as we rotate it around there is zero distortion now those two were pretty easy we're gonna find one that's a little bit more complex like this pill shaped object here and I'm gonna get out element mode again go back to edge and we're gonna double click this edge right here so it wraps all the way around to the back and then grab these other parts by holding down control all the way through the bottom so what we're basically do is just cut off the cap on both sides here and because we deleted the polygons on the inside as we saw here we don't have to worry about making a cut lengthwise we can then do the same thing over here and grab all of the edges that go around this edge down here and so on and once we're done with that we can then press explode one more time at this point we can then grab all of those different elements so let's try that again by grabbing our polygon and selecting element mode grabbing each one of these objects here or at least one polygon in each object finding them in the UVs which are up here selecting all of them as we can go like such and then pressing the quick peel one more time this will actually break them into a bunch of different UV Islands based on our selection and we can move it off and we can see that right there so now you might notice that this one object still has a little bit of distortion so let's go in with the edge tool shut off element mode again and come down here and actually just click on all of these edges that cut through the object this is actually gonna give us our best cut and then we're gonna click on once again right here break we can then grab polygon mode element make sure we grab these two elements here and then press quick peel one more time this point will zoom out move the object off and we'll see that we're doing a little bit better now we're not perfect but to be honest with you if we want to see what our distortion looks like it's gonna be hard to see so in order to fix that we're actually just going to shut off the UVs and there you go you can now see your checker boards again on the geometry and while our Texel density is a little off we'll fix that a little bit later we can't barely tell that the distortion is there so we can probably get away with it so from here I'm speeding up the video so that you guys can see all of the other parts that I fixed where the UVs had some major distortion in most cases I need to make a couple of cuts but in a couple of the cases when the initial UVs were flattened they just weren't relaxed properly and that's why there was a little distortion so certain areas actually won't need to be cut but you'll see how that works as you go through the geometry and you've ease yourself but either way continue this process to where you find all the places you need to create new seams select them break them and then use the quick peel tool to reef Lattin them out move them out from the center and then repeat this process until the distortion is minor or gone completely so at this point things are starting to look a little bit better but of course they're still not perfect as we still have some work to do now what we want to do next is actually the opposite of breaking similar UV Islands now we want to weld in stitch UV Islands that should be together so what does that mean well we can look at our geometry and see areas that could potentially be stitched together and create one larger island instead of a bunch of smaller islands an example of that could be right here if we notice there's actually different polygons consistently being broken based on their smoothing groups so we can easily actually attach these together so what we're gonna do is we're gonna select the polygons that make up all of these objects here and we can move them aside so that we could take a look and stitch them together let's start by picking just say this one right here if we go in and we switch back to edge mode and take off element select this particular edge right here which of course is the edge lined up in this area and click on this last button right here which is stitched custom it will take the object that's next to it and weld it across we can do the same thing again here stitch here again and stitch one more time now you'll see the green lines have been replaced by white lines meaning this is one long piece of a UV island instead of four different UV Islands now we have introduced a little bit of stretching and compressing but that easily could be fixed in a different step so at this point we want to go around the model and continue to find areas that we can stitch together now keep in mind areas such as inside little frames can easily be stitched kind of like this area right here alright from here I'm actually speeding up the process so you can see my entire workflow what I'm doing is searching through my UVs for small UV Islands or basically anything that is made up of one or two Toula Poly's I cook in these small islands in the UV editor and search the model in the 3d viewport for where they're located once I find them I check the area around these small UV islands for ideal connection points to adjacent UV islands and a lot of cases you can find a good fit though there will be times that leaving them alone is the best bet on the flip side you don't want to get too crazy and create UV islands that are too large or it becomes impossible to avoid distortion this is just the game of balance that will take time to learn but the more you do it the more it will start to become second nature to you the goal here really is to just condense the amount of UV islands and your unwrap to make things more efficient and practical now once you're done with that step the next step is to relax the UVs basically what that means is it takes the shapes of the UV islands and makes them closer to the shapes they are on the geometry the mismatch of shapes in the UV islands versus the shapes that they actually have on the geometry is what causes distortion in the first place so there's a couple easy ways to relax your you've ease the way I prefer is they use the quick peel you basically grab all the UVs in your scene by hitting ctrl a and then press the quick peel button it'll snap them all inside the box though not very efficiently but now if you actually take a look at the geometry it's pretty good we do have some small areas of distortion still and if you'd like to go in and say fix a couple of these areas you can go in and break those UVs into smaller parts and then try it again now if you find yourself having potential issues with quick peel or you'd rather just use a different relaxed method you can come over here to the relaxed custom tool if you click and hold the mouse down you can choose this option here now once again you're going to want to select everything you want to relax with ctrl a and then you leave most of these default the only thing I find I want to change is the amount and I'll put that to one then I'll hit start relax once you've hit stop relax the calculations finish whoever I did notice and I'll zoom up on it right here that we had one issue with this particular UV island now if I hit start relax again we can see what it's doing now when it freaks out like that you have a potential couple of issues going on it could mean that the UVs need to be cut somewhere or it's just kind of messed up and it needs to be unwrapped in a different way in this particular situation let's search for that object and let's fix it so I'm gonna cancel out of this here I'm gonna rotate around the object and there is our particular issue now because it's a perfectly flat plane a planar unwrap can fix it with little to no effort what I'm gonna do is gonna come over to the side here and I'm gonna click on this button right here which is quick planar map zoom out and we can see now that our particular object has been fixed now of course the last option that we have when it comes to relaxing you ve just to manually do it ourselves so we can grab any of the sub components such as vertices edges and polygons and move them to try to get rid of the dust Orson so we can see that we have some distortion here on these two Polly's both obviously in the UV editor and on the model so if I go in and grab say vertices here and we can grab these 2 verts here in this case we're getting a little bit of stretching so in order to fix that if I pull out you can see right here we're fixing that issue now in this case we're getting compression which if we go grab all of these verts right here all four of these or that entire poly and move that and you'll see that will slowly fix that so you can obviously manually go in and move any kind of objects or sub components you want in order to fix the last of your distortion on your geometry and this brings us to the next step which is straightening line UVs on hard surface models now an example of a hard surface model is of course the object I'm using for this demo and the reason why this particular step is important is because by straightening your UVs you allow for better normal Maps on your objects depending on the way you bake your normal maps in the size and resolution of the normal map texture image you might get artifacts when the U V's aren't perfectly straight and because the tools and Max make this pretty easy it's actually not that hard to do so let's look into a couple of tools to see how it works I'm gonna zoom in here I'm gonna grab these two different objects here and here I'm gonna move them off to the side now right off the bat you can notice a couple of major differences between these two curved UV Islands this one is made up of nice parallel quads the other one has a lot of tries and misaligned edges now there's a tool over here in reshape elements known as the straight and selection tool and this works perfect for objects like this however it doesn't work very well in objects like this so let's see it in action if we select this object here and click on this button right here we'll get a nice perfect straight set of lines unfortunately if we try to do on an object like this and press the button we're gonna get some weird results now of course this kind of object right here it can be manually straightened out using sub components but the other thing I wanted to show you is the align to edge tool which will actually make lining up a lot of these other objects very simple so objects say like these little pointy sides here we can grab one of the edges he and then straighten it using this tool right here which is a line to edge click that and I'll line that edge perfectly you can continue to do that and all the little objects the same can be said with any of these this will be the longest line in the object so I'll straighten it there and so on you can even do this with larger objects such as this one grab it right here and straighten it and after doing that I continue by speeding up the video and showing you a bunch of the other UV Islands that I straightened out throughout the project once again the goal here is to find as many of the UVs that are slightly slanted and straighten them to the best of your ability once you've finished straightening out your UV select all the UVs again and click on the quick peel button one more time and you might notice that some of the objects you have straight and have been curved again such as this object right here I'm gonna move it off to the side just reak lick it on straighten selection and keep it off to the side so it's a good practice to take those types of UV islands and push them off to the side while you're working so that when you're done you can select all the other UVs and use the quick peel to only affect them the next step of the unwrap process is to pack your your V's and while quick peel technically did pack them it isn't very efficient so we're gonna use some of the cool tools that automatically pack it for us now of course you can always manually select your you've ease and move them around for full control of their placement but I find that the group selected tool which is found right here it helps you keep you v's together the way you want mixed with the automatic tools to fill in the rest of the UVs is the most time efficient method of packing so let me show you how that works first you select the UV z you want to keep together so let's just say I want to keep these two particular UVs together in this exact order like this we're gonna grab both of them like this click on the group button and then we can do it again would say objects like this one maybe we do this one here and then we just mirror it and so they're lying together just like that we grab both of them and we also press the group button now we can select all of our UVs come over to the pack button found here click hold it down and then select the settings when this pops up we want to make sure that we look at certain things including the padding which is the distance between each of the UVs I'm gonna keep it low on purpose but if you want it to be a little bit higher you can but make sure you don't have rotate clusters selected otherwise it may rotate your you've ease that you straightened out before use fill holes to make sure that holes inside of you V's also get used and then rescale clusters to make sure that your Texel density is one to one and then hit OK and as you can see it's packed it pretty nice including keeping the UVs that we want it together such as this that looks like a ninety six and then these two u V's right here in exactly the order we left them the next step in the unwrap process is to check and fix your Texel density now technically speaking we already did that in the last step however if you manually moved any of you V's around or tried other methods to pack your u V's you might have some Texel density issues now once again the Texel density just basically means that all the squares on this object are exactly the same size and as we rotate around it looks pretty good now once again if you've done it manually you might want to rotate around your object to make sure there aren't any issues but we know it's perfectly scaled because it was part of the settings we used in the automatic pack itself however if they aren't perfectly scaled you can always grab your you V's and then come over here and press this button right here which is rescale elements I'll click it what you'll see nothing happens because we already have perfect Texel density now of course you can always scale your objects up and down manually to give them the view that you want but using the automatic tools keeps it exactly perfect one-to-one now the next step of the unwrap process is the check and fix any inverted or overlapping Poly's in order to do so we want to make sure that our polygon mode is selected then we go up to the top and click on select and then choose selected inverted polygons now in this particular case we see this particular object be selected because you saw me mirror it in one of the previous steps and of course if I was a ramier it again and then go back up select and then select inverted polygons we no longer have that issue now if i go up to the top and click on select we're gonna choose select overlapping polygons and we're going to get this over here now of course the reason why we're getting this is I literally just mirrored it and now this particular object is overlapping everything else and so I move that off to the side and then I files to say try it again select select overlapping you'll see there's nothing there of course we'd want to repack it to make sure that the object in there you get the point now the reason why you don't want any inverted polygons cuz like I said it's mirroring them so if you want to have text or something recognizable it'll be inverted and then you don't want to overlap polygons because it really could potentially ruin any light based Maps such as ambient occlusion normal Maps and light maps the final step of the unwrap process is to render and export out your UVs now while you're technically done with the unwrap at this point you need to create particular files in order to begin your texturing process in another program such as photoshop and substance paint now in order to render out your UVs for Photoshop we're gonna go up to the top here we're gonna choose tools and then render UVW template when this dialog box opens up we can change any of the settings we want one of the most important of course being the resolution and then when we're done we can click on render UV template this window will then pop up with our template we can then click on the Save button here we can call it whatever we want maybe just UV and then choose the format we want which in this case we're gonna choose Targa and then just hit save and I'll save to my desktop and then hit OK now I'll shut this off and have our object prepared for substance painter we need to collapse our UV s so we're gonna do so by going over here collapsing all and yes and then when they're object selected we're gonna go up to file export and export select it from here we're gonna name our object leave the default FBX and then hit save and that concludes the unwrap process now I do realize that this video was a bit long-winded but technically speaking it's still much shorter than a lecture I've ever given on a topic in class so yeah there's that but either way if you made it this far you're a trooper and it really appreciate it so with that said I hope you learned a lot and I'll see you in the next one

Channel: Matthew Marquit

Views: 1,275

Keywords: 3ds max, 3dsmax, max, max 2019, 2019, game development, texturing, texture, unwrapping, uvs, uv's, uv, uv packing, packing, texture sheet, tiling texture, tiling, seamless texture, seamless, texel density, texel, pixel density, checker, checker texture, applying textures, uv distortion, uv island, seams, padding, wrapping, relaxing, relaxing UVs, game, game texturing, textures, videogame development, game art, game production, texturing pipeline

Id: 2M9kzej80PI

Length: 35min 7sec (2107 seconds)

Published: Wed Mar 20 2019