When is patch 1.0.8 going live

Skip to Main Content Skip to Footer. Overwatch League. Log In. Try Free Now. Log in now to enhance and personalize your experience! Content loading…. Patch 1. Stay Connected. Later I realised adding a lot of the skin detail was a waste of time, as adding this into the texture later on was a faster process. I have a love hate relationship with this process. Usually, a simple Zremesh to do the retopology would yield good enough results for something to be used for good texturing and a render, but for game development I need the character to deform nicely once I attach it to the armature for animation.

I use the decimation master in Zbrush and bring it down to a comfortable , polys. For the retopology I use Retopoflow, which has sped up the process significantly. The topology around the face was particularly important, as a new addition when the new characters make it into the game is the ability to morph their faces with sliders so the player can adjust their appearance as they like.

For reference, the older characters were about 15k, so the new models are more economical. This is why retopology by hand can go a long way. The next step is to UV unwrap the character.

The next step was the texturing in substance painter. My workflow for this is simple: I paint all my height information first wrinkles, freckles, moles, pores. I build up colours slowly, working from a base colour, and gradually add in the detail bit by bit with layers using a brush with low opacity, using one of the dirt alphas that comes with substance as default to break it up.

I could have sculpted the clothing, but I wanted to make this workflow as efficient as possible, and sculpting realistic clothing is time consuming. For this, I use Marvelous designer, which is mindblowing. I take advantage of the baked curvature map to draw attention to the folds and creases to add aging and wear.

Again, good reference is absolutely crucial with this. Finally, I bring everything together in blender and begin the process of weight painting everything to my armature. I use baked texture sheets of individual strands simulated in Blender for the texture, normal and opacity maps. S: A sneak peek at a very good boi in the works:.

The feedback has been extremely helpful so far, and we apologise for the frustrating experience that some of you seem to be incurring. Sheltered 2 will only get better from here. An experimental branch is now live, testing new improvements and fixes!

If you'd like to opt into the branch, the option is there for you to play with new changes. Sculpting allows me to bake the high poly details down to the low poly later on. The first step is to create the basic shape of the skull and face. Later I realised adding a lot of the skin detail was a waste of time, as adding this into the texture later on was a faster process. I have a love hate relationship with this process.

Usually, a simple Zremesh to do the retopology would yield good enough results for something to be used for good texturing and a render, but for game development I need the character to deform nicely once I attach it to the armature for animation. I use the decimation master in Zbrush and bring it down to a comfortable , polys.

For the retopology I use Retopoflow, which has sped up the process significantly. The topology around the face was particularly important, as a new addition when the new characters make it into the game is the ability to morph their faces with sliders so the player can adjust their appearance as they like.

For reference, the older characters were about 15k, so the new models are more economical. This is why retopology by hand can go a long way. The next step is to UV unwrap the character. The next step was the texturing in substance painter. My workflow for this is simple: I paint all my height information first wrinkles, freckles, moles, pores. I build up colours slowly, working from a base colour, and gradually add in the detail bit by bit with layers using a brush with low opacity, using one of the dirt alphas that comes with substance as default to break it up.

I could have sculpted the clothing, but I wanted to make this workflow as efficient as possible, and sculpting realistic clothing is time consuming. For this, I use Marvelous designer, which is mindblowing. I take advantage of the baked curvature map to draw attention to the folds and creases to add aging and wear.

Again, good reference is absolutely crucial with this. Finally, I bring everything together in blender and begin the process of weight painting everything to my armature. I use baked texture sheets of individual strands simulated in Blender for the texture, normal and opacity maps.