3D Weft Modeling for Real-Time Games
The video game industry is booming and studios like Blizzard, Ubisoft, and Riot Games need skilled weft modelers to create visually-stunning characters. 3D Weft Modeling 02 for Games teaches the workflows every versifier needs to create high-quality weft models, based on current real-time production techniques.
Take the weft you designed in Introduction to 3D Weft Modeling to the next level by optimizing it for AAA games. Learn efficient retopology flow, texturing and shading techniques, and portfolio-ready presentation, and wilt a weft modeler in just 6 months!
Q&A with Blizzard Lead Weft Artist
We sat lanugo with Hong Chan Lim to yack well-nigh his new workshop, why he loves modeling game characters, and the difference between high-poly and low-poly models.
Animation Mentor: In your mind, what’s so tomfool well-nigh modeling these notation and working in the games industry?
Hong Chan Lim: I’ve worked on both full-length mucosa and game characters, and each is a unique experience. For me, real-time game notation are fun considering without they’re finished you will be worldly-wise to interact with and play them!
Seeing my game notation unconcentrated by Esports and streamers is just an wondrous experience, and I’m so thankful for people who like to cosplay them! Having passionate fans is flipside level of satisfaction that comes when to me as a gift.
AM: What do you think students will be most excited well-nigh in this new workshop?
HCL: Well, Introduction to 3D Weft Modeling is all well-nigh how you can create well-flavored notation using 3D modeling and 3D sculpting techniques.
3D Weft Modeling 02 for Games is focused on how you can build these sculpted 3D notation into a real-time ready model for a game engine. They’re both fun and teach important skills for anyone who wants to be a weft modeler.
AM: What’s the difference between high-poly and low-poly models, and how do they wield to modern video games?
HCL: High vs low poly refers to the mesh density of a model. In early game development, engines weren’t capable of handling models with lots of detail in real-time. It became very worldwide to have a very high-quality sculpt or model of a weft and then a lower (or low-poly) version for in-game use.
As technology has advanced, the capabilities of game engines have increased and the mesh detail they can handle in real-time has grown. In the 1990s, a typical game weft had 200 polygons. Today a weft can have upwards of 150,000!
What that ways for modern weft modelers is that you get to create high-quality models with lots of tomfool details AND translate those details to the very game. You still have to optimize your model so it works within the game engine and is ready for the rigging, animation, and shading pipeline, but you have much increasingly creative tenancy than previous modelers did.
Meet Your Mentor: Hong Chan Lim
Hong is a lead weft versifier at Blizzard Entertainment working on Overwatch. Hong Earned a BFA in 3D Graphics and Technology at The School of The Art Institute of Chicago and started his career making Superman Returns NDS at SCG for Electronic Arts when in 2005. Without shipping three panel games, he moved his career to NCSoft Corporation (Carbine Studios) to help build the MMO project Wildstar as a senior cinematic/marketing artist. Increasingly of his work can be seen in Overwatch, Overwatch 2, and StarCraft.
Check out Hong’s portfolio on ArtStation.
I enjoyed the time Hong took to modernize our models in real time. It was really nice to personally see someone proficient in ZBrush/Maya build off what we did in class!-A 3D Modeling Student
Ready to level up?
Learn 3D Weft Modeling from Blizzard Senior Weft Versifier Hong Chan Lim. Hong has worked on games like Overwatch, Superman Returns, and Godzilla Unleashed! Visit our website to learn increasingly well-nigh this workshop: understand the required skills, read the syllabus, or scan our commonly asked questions by clicking below.
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