My third and final project to showcase my skills in 3D modeling, unwrapping and texturing is my microphone. I used the following reference for the modeling process:
Session 1 - Modelling
Starting with the base, I extruded a cylinder over the top and bottom before scaling edge loops as I usually do. I made the cylinder transparent with the ALT + X shortcut and also going to the object's general properties (from the outliner tab) and changed the visibility from 1 to 0.5. This is so I could see the reference behind better.
Once I had the base done, I moved onto the two buttons on the side, scaling the edge loop on one side before chamfering it to get those smoother edges.
Session 2 - Unwrapping
Once I'd finished modeling, I reset the X-form that was causing distortions in the UV editor which eventually gave me this result which, judging by the circles in the center not being oval or cylinders, I was certain I had no more distortions.
And of course, after doing the usual smoothness flattening, normal mapping and relaxing method I've spoken of in previous blog posts, this was the final unwrapping of the Blue Yeti microphone
Session 3 - Texturing and Renders
I took the Substance Painter once more to make use of their pristine materials I could apply to my model. Finding metal textures to match that of the Yeti was no problem, however, what did trouble me was how I'd go about texturing the head of the microphone. I first just painted it on before discovering a chainmail texture which, when scaled by at least 8 times, begins to resemble the original in the reference:
The head of the microphone being black over white was a personal preference.
As for rendering, the first I did was in Substance Painter using the iRay renderer they have built in.I added some effects to the color and this is what came of it:
The second was achieved quite similarly to the hatchet and glass models I renderer prior in Unity. After exporting the textures I'd made from substance, I created an additional map in Photoshop for an emission map they'd appear on the tallest button.
I had issues getting the metal to show which was being caused by using the wrong shader, the standard default material doesn't let the user add metallic or roughness maps which can be added through the roughness version:
Again, after applying post-processing effects to the virtual camera in the scene, I rendered the result which looked like this:
Summary
This is certainly the model I'm most proud of due to the fact that it came out so well looking exactly like its real-life counterpart. Of course, there are some features I'd wish to add granted I had more time and understanding of how to details from a higher poly model onto a normal map but this works for me.
Session 1 - Modelling
Starting with the base, I extruded a cylinder over the top and bottom before scaling edge loops as I usually do. I made the cylinder transparent with the ALT + X shortcut and also going to the object's general properties (from the outliner tab) and changed the visibility from 1 to 0.5. This is so I could see the reference behind better.
Once I had the base done, I moved onto the two buttons on the side, scaling the edge loop on one side before chamfering it to get those smoother edges.
Once I'd finished modeling, I reset the X-form that was causing distortions in the UV editor which eventually gave me this result which, judging by the circles in the center not being oval or cylinders, I was certain I had no more distortions.
And of course, after doing the usual smoothness flattening, normal mapping and relaxing method I've spoken of in previous blog posts, this was the final unwrapping of the Blue Yeti microphone
Session 3 - Texturing and Renders
I took the Substance Painter once more to make use of their pristine materials I could apply to my model. Finding metal textures to match that of the Yeti was no problem, however, what did trouble me was how I'd go about texturing the head of the microphone. I first just painted it on before discovering a chainmail texture which, when scaled by at least 8 times, begins to resemble the original in the reference:
As for rendering, the first I did was in Substance Painter using the iRay renderer they have built in.I added some effects to the color and this is what came of it:
The second was achieved quite similarly to the hatchet and glass models I renderer prior in Unity. After exporting the textures I'd made from substance, I created an additional map in Photoshop for an emission map they'd appear on the tallest button.
I had issues getting the metal to show which was being caused by using the wrong shader, the standard default material doesn't let the user add metallic or roughness maps which can be added through the roughness version:
Again, after applying post-processing effects to the virtual camera in the scene, I rendered the result which looked like this:
Summary
This is certainly the model I'm most proud of due to the fact that it came out so well looking exactly like its real-life counterpart. Of course, there are some features I'd wish to add granted I had more time and understanding of how to details from a higher poly model onto a normal map but this works for me.
Asset Development - Model 3: Blue Yeti Microphone
Reviewed by Ben Roughton
on
June 29, 2018
Rating:
Reviewed by Ben Roughton
on
June 29, 2018
Rating:
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