Assignment 04 - Surfacing for Real-time PBR

The theme of this assignment is to practice concepts of physically-based shading to surface assets in current industry-standard applications for real-time, interactive applications. Maya will be used as the digital-content-creation (DCC) package (3DSMax is a common application in this industry as well). Models should be finalized with basic material assignment and a texture layout in Maya. Substance Painter will be our 3D painting application, as it models physically-based attributes in its painting and rendering tools, and we will ultimately bring our assets into Unreal Engine, currently one of the leading game engines used in AAA games as well as many other interactive, real-time applications.

Per our recent class discussions, read the following to prepare conceptually:

• Microfacet Models for Refraction through Rough Surfaces discusses the concepts of microfacet models, the bi-directional scattering distribution function (BSDF) that is the sum of a bi-directional reflection distribution function (BRDF, most commonly seen in shaders) and a bi-directional transmittance distribution function (BTDF), the idea of a shadow-masking function, and the idea of micro-normal distribution. In addition, the index of refraction and Fresnel effect are considered. These are discussed in the development of a new micro-normal distribution function, GGX, that has been quite popular in recent years, and is also used in the renderer for Substance Painter that we’ll be using for surfacing.
• Using microfacet models and the related concepts in rendering leads to more physically accurate images. The Substance Guide to Physically Based Rendering Volume 1 demonstrates these concepts at an intuitive level and also how they affect ideas for shading with this workflow. Volume 2 goes on to discuss more detailed ideas of workflow that you may find useful.

Minimal goals for Assignment 04:

• Create a believable, aesthetically pleasing scene that has detailed surfacing by Monday, March 6.
• Choose 2 or 3 assets from “The Animator’s Starter Pack” linked in a previous post; these should be sufficient to create a scene (think floor, wall, and asset or something similar) that can be rendered for a cohesive composition.
• Choose a directed artistic style that fits with the models that you have chosen and design ideas for surfacing your assets with this in mind.
• Add materials and complete texture layout to be able to export fbx files from Maya.
• Import your fbx files into Substance and paint detailed, layered maps that fit the materials and your chosen concept.
• Paint your maps with physically based concepts of roughness and reflectance difference for conductors and insulators, following the concepts from the linked material.
• Export your various maps to prepare them for Unreal Engine.
• Create a New Project (Blank, No Starter Content) in Unreal Engine 4. Build your scene with your chosen surfaced assets.
• Link your maps to the materials on your surfaces.
• Light the scene within Unreal Engine.
• Submit screenshots of your models in Maya, your UV layouts, your working space in Substance Painter, your materials in the Material editor in Unreal Engine, and a render of your scene in Unreal Engine. Also submit a short movie file of camera movement within your scene in Unreal Engine. (Feel free to export to your phone or investigate the HMD plugins to walk around in your own scene).
• Submit your Unreal project folder. (This should be small if you chose the blank project with no starter content).
• Submit a short written description, possibly with images, demonstrating your decisions and workflow.
• Come prepared to present and critique on Monday using all of your screenshots and movie file.
• Submit a lastname.tgz or .zip file to Canvas.

Possible extension (similarly documented):

• Investigate and apply procedural materials “Substances” developed in Substance Designer.
• Surface multiple or more complex models for a more intricate and aesthetically pleasing scene.
• Use Matinee within Unreal Engine to create a short film showing-off your scene using cinematic camera movement.