DDD 1-2 회차 수업 녹화본 - 돌 아치 더미 모델링 만들기

Summary

The lesson demonstrates how to build and prepare a stone arch-and-pillar structure for use in a game engine. The instructor emphasizes a staged workflow: establish scale and large shapes first, refine the structure, prepare UVs and materials, and repeatedly check the result in Unreal Engine.

Main Ideas and Workflow

• Check scale in the engine

  • Compare the model with the scene and camera view rather than relying only on its appearance in the modeling viewport.
  • Use the game view and free camera to judge whether the structure feels appropriately sized.
  • Treat this as an early check, not a one-time step; return to the engine throughout production.

• Build from large forms to smaller details

  • Begin with the overall structure, then progress through medium-sized forms and smaller features.
  • The instructor compares this process to drawing: establish the broad shape first, then refine it in successive passes.
  • The detailed modeling in this exercise is still relatively simple “dummy” or blockout modeling. The goal is to define the structure, not finish every surface detail.

• Create arches and openings in 3ds Max

  • Create a circular spline and increase its interpolation to provide enough segments for a smoother, more workable shape.
  • Convert it to an editable polygon and adjust its vertices to shape it into a ring or arch.
  • Use the arch or other geometry as a cutter with a Boolean operation, such as ProBoolean, to create openings.
  • Make backup copies before destructive operations. For windows and other cuts, the instructor also demonstrates slicing and capping geometry before applying the Boolean.
  • Adjust thickness and positioning to keep the structure visually consistent. Inspect the result for overly large openings, awkward overlaps, or intersecting parts.
  • Check normals and smoothing groups after Boolean operations to clean up shading. Auto Smooth may help, though the appropriate angle depends on the mesh.

• Think modularly

  • Separate useful parts—such as columns, arches, stone walls, and window sections—so they can be reused and assembled later.
  • Modularization can be simple: keep components as separate pieces rather than making one inseparable asset.
  • Reusable components make later assembly and reuse across projects easier.

• Prepare UVs and textures

  • For a quick UV layout, apply a box-shaped UVW Map, then use Unwrap UVW to refine the layout.
  • Relax and pack UV islands, adjust their orientation, and use planar mapping where a box projection causes distortion.
  • Aim for reasonably consistent texel density across pieces.
  • With a tiling texture, UVs may extend beyond the usual 0–1 area because the texture repeats. This can help maintain texture detail on a large structure.
  • The instructor finds a similar stone texture online and discusses using AI upscaling to improve its resolution before applying it.

• Set up materials and export to Unreal

  • Apply the texture in 3ds Max and export the mesh, including its UV information, to Unreal.
  • In Unreal, organize assets into appropriate folders and create a material and material instance for the static mesh.
  • Applying a material to an actor is not necessarily the same as assigning it to the static-mesh asset. Assigning it to the mesh allows newly placed instances to inherit the material.
  • After moving assets between folders, use Unreal’s Fix Up Redirectors function. Redirectors preserve references to moved assets; leaving them unresolved can cause broken references, especially in shared projects.

• Keep checking and revising in the engine

  • Alternate between modeling, preliminary sculpting or texturing, exporting, and checking the result in the engine.
  • Engine lighting, post-processing, materials, and texture tiling can change how an asset reads. Evaluate the work in context before investing too much time in further detail.
  • Compare the result against the original reference and periodically check that the work has not drifted from the intended direction.
  • The number of review passes is not fixed; check at meaningful stages and revise as needed.

Additional Concepts and Advice

• Static versus skeletal meshes: A static mesh is a fixed mesh, commonly used for environment assets. A skeletal mesh has a rig and is generally used for animated objects or characters.
• Reuse and variation: Repeated details can become conspicuous if only one or two versions are used. Creating several variations can make repetition appear more natural, though time constraints may affect how many are practical.
• Scope and efficiency: Concentrate effort on the main stone structure. Other environmental elements may be sourced externally when building them from scratch would take too long.
• Portfolio guidance: The instructor says the student’s hand-painted work is a strength, but suggests that adding a 3D PBR asset could broaden the portfolio and improve its appeal. The advice is to work efficiently without rushing past the fundamentals.

Speakers and Sources

• Instructor: Leads the modeling, UV, material, Unreal Engine, and workflow demonstrations, and gives portfolio and career advice.
• Student (“Hunbi”): Briefly responds and asks questions during the lesson but does not give extended explanations.
• Visual references: Pinterest is used to find a similar stone texture. ArtStation is mentioned as a reference for observing how moss may be implemented as an engine material effect. An AI tool is discussed for upscaling a texture.