Super Easy Scan 3D Objects Photorgrammetry | Substance Sampler Tutorial
Summary
TLDRこのビデオでは、3Dアートの基礎を学ぶための「バレル」モデルの作り方を紹介しています。2015-2016年にメキシコで小さなビジネスを始めた制作者が、MayaやSubstance 3D Samplerを使い、学生にUV、テクスチャリングの基礎を教える方法を探求した物語です。特に、Photogrammetry技術を使ってSubstance 3D Samplerでバレルを立体化し、リアルタイムレンダリングで高品質な結果を生み出すプロセスを解説しています。この技術はゲーム開発や3Dアート制作において、リアルなテクスチャリングを実現する鍵となると同時に、スキルアップにも大きく役立つと言えます。
Takeaways
- 😀 スクリプトは、MayaやSubstance 3D Samplerを使って3Dモデルを作成する方法を紹介しています。
- 🎨 樫のバルコニーは、3Dの基本を学ぶための良い教材として使用されています。
- 📸 フォトグラメトリーは、多くのスタジオで使用され、3Dアーティストのスキル向上に役立つ技術です。
- 🛠️ Substance 3D Samplerを使って、写真から3Dモデルを作り出すプロセスが解説されています。
- 🔍 AI技術を利用して、特定のオブジェクトをマスクアウトすることで、3D再構成をよりクリーンに保ちます。
- 💻 高いグラフィック性能とRAMが必要な処理で、古いコンピュータではうまく動作しない可能性があります。
- 📈 メッシュの精度を調整し、必要に応じて法線や高度なテクスチャ情報を生成することができます。
- 🎭 テクスチャの調整には、色替えやブライトネスコントラスト、色相飽和度などのフィルタを使用して視覚的な興味を加えることができます。
- 🔄 フォトグラメトリーから得られるメッシュは、通常、法線情報が不十分なので、他のチャンネルから推定する必要があります。
- 🌐 最終的な3Dモデルは、Marmosetのようなリアルタイムレンダリングソフトウェアで使用可能です。
- 🎓 Substance 3D Samplerは学生向けに無料で利用可能で、非常に低いコストでサブスクリプションが利用できます。
Q & A
ビデオで紹介されたバーレルは、どのような役割を持つ教具ですか?
-ビデオで紹介されたバーレルは、3Dモデリングの基本を学ぶための教具として使用されています。メイバやUV、テクスチャリングなどの基本的なことを学ぶために、シンプルな球体や箱よりも良い選択肢として選ばれました。
ビデオの作成者がなぜ、メイバを学ぶ際にバーレルを使うと言っていますか?
-バーレルは3Dの基本的なことを学ぶ上で非常に良い方法であり、多くの基本的なテクニックを学ぶことができるためです。バーレルは教師にとっては標準的な練習として使用されています。
ビデオで使用されたテクニック、フォトグラメトリーとは何ですか?
-フォトグラメトリーは、多数の写真から3Dモデルを作成する技術です。ビデオでは、この技術を使ってバーレルを再現し、リアルタイムレンダリングで非常に良い結果を得ています。
ビデオで紹介されている最終的なバーレルの結果はどのようにして得られましたか?
-最終的なバーレルの結果は、Substance 3D Samplerを使用してフォトグラメトリーを実行し、リアルタイムレンダリングソフトウェアであるMarmosetで表示することで得られました。
ビデオで言及されたSkillshareとはどのようなサービスですか?
-Skillshareは、アートやデザイン、ビジネスなど様々な分野のコースを提供するオンライン学習プラットフォームです。ビデオの作成者は、Skillshareですべてのコースをアップロードしており、1か月間の無料トライアルが利用可能です。
3D Sampler 4.0で新しいプロジェクトを作成する際に、データセットとは何を指しますか?
-データセットは、使用したいオブジェクトを撮影したすべての写真を指します。ビデオでは、バーレルの写真を使用して3D Sampler 4.0で新しいプロジェクトを作成しています。
ビデオで説明されているマスク生成の目的は何ですか?
-マスク生成は、AI技術を使用して各画像からオブジェクトを特定し、3D再構成をよりクリーンにするためのマスクを作成することを目的としています。これにより、周囲の環境からの不要な情報は除外され、バーレルのみが再構成されます。
ビデオで言及された「ハイ_PRECISION」オプションとは何を意味しますか?
-「ハイ_PRECISION」オプションは、3D Samplerで使用される設定で、より高精度のメッシュを生成するために選択できます。ビデオでは、このオプションを使用してバーレルのメッシュを生成しています。
ビデオでバーレルのメッシュが生成された後、何を修正する必要がありますか?
-バーレルのメッシュが生成された後、バウンディングボックスを調整してバーレルの外れているポイントを除外し、地面プレーンを正確に配置する必要があります。また、下のキャップがないため、バーレルの下部分を撮影する方法を見つける必要があります。
ビデオで使用された「カラー_スイッチ」機能とは何ですか?
-「カラー_スイッチ」機能は、1つのチャンネルの情報を使用して別のチャンネルの情報を影響づける方法です。ビデオでは、この機能を使ってベースカラーからROUGHNESSチャンネルを作成し、テクスチャの詳細を追加しています。
ビデオで言及された「ブライトネス_コントラスト」調整はどのような目的を持っていますか?
-「ブライトネス_コントラスト」調整は、ROUGHNESSチャンネルにのみ影響を与えることで、テクスチャの明暗やコントラストを調整することを目的としています。これにより、リアルな見た目のテクスチャを作成することができます。
ビデオの最後に、作成者がどのようにしてMarmosetにモデルをインポートし、どのようにテクスチャリングを適用しましたか?
-ビデオの最後に、作成者はSubstance Samplerからメッシュとテクスチャをエクスポートし、Marmosetにインポートしました。その後、テクスチャを適切に接続して、最終的な結果を表示しています。
Outlines
📚 3Dモデリングの基礎学習:バーレルの作り方
この段落では、講師が2015-2016年にメキシコに帰国し、小さなビジネスを始めた時のエピソードを紹介しています。3Dモデリングを学ぶためのプロップとして、球体や箱ではなく、バーレルを選択した理由や、バーレルを使った基本的な3D知識の学びについて語られています。また、バーレルを用いた3Dモデリングの教育方法として、Photogrammetryを使ったSubstance 3D Samplerでのバーレルの作り方と、その最終結果について説明しています。
🎨 Photogrammetryを用いた3Dサンプリングの基礎
この段落では、Photogrammetryの重要性と、3Dアーティストとしてそのスキルを身につけるべき理由について説明しています。さらに、Skillshareというサイトを紹介しており、そこで提供されているコースを通じてスキルを向上することができると呼びかけています。その後、3D Sampler 4.0を使用してバーレルの3Dオブジェクトを作成し、画像データの取り扱い方やマスクの生成方法について詳しく説明しています。
🖼️ 3DリコンSTRUCTIONのプロセスとテクスチャの調整
この段落では、3D Samplerを使用して3DリコンSTRUCTIONを開始し、メッシュのスケーリングや境界の設定方法について説明しています。さらに、メッシュの処理時間や、システム要件について触れ、メッシュの完成後に行うノーマルマップやアンビエントオクルージョン、カラー情報の調整方法について詳しく紹介しています。
🛠️ テクスチャの仕上げとエクスポート
最後の段落では、テクスチャの仕上げ方とエクスポートプロセスについて説明しています。カラーチャネルからROUGHNESSチャネルへの情報継承方法や、ブライトネスとコントラストの調整、メタルネスチャネルの追加など、テクスチャの詳細を調整する方法を紹介しています。最後に、Marmosetにインポートし、使用する準備を整える方法についても説明しています。
Mindmap
Keywords
💡3Dモデリング
💡Maya
💡UVマッピング
💡テクスチャリング
💡フォトグラメトリー
💡Substance 3D Sampler
💡リアルタイムレンダリング
💡スキルシェア
💡マスク
💡ポイントクラウド
💡メッシュ
💡法線マップ
💡ラフネス
💡エクスポート
Highlights
使用photogrammetry技术在substance 3D sampler中创建3D模型的方法介绍
barrel模型作为学习3D建模基础的典型案例
photogrammetry在游戏和其他3D应用中的实用性和流行度
使用marmoset实时渲染引擎展示最终3D模型效果
barrel模型的非优化状态和多边形数量讨论
通过photogrammetry技术实现的纹理质量在游戏开发中的应用
Skillshare平台课程推广和一个月免费试用介绍
3D sampler 4.0版本新特性和3D对象beta功能的介绍
导入照片集并使用AI技术生成遮罩以优化3D重建过程
遮罩在控制3D重建中的错误信息和提高精度中的作用
系统硬件要求和处理大型3D模型时的注意事项
使用高精确度设置进行3D模型的网格重建
3D模型重建过程中的等待时间和处理时间讨论
模型重建后的处理和优化,包括缩放和对齐
使用不同的多边形数量重新处理模型以获得不同细节级别的讨论
模型在substance 3D sampler中的显示问题和解决方案
使用color replace和switch channel技术创建粗糙度贴图
通过调整亮度和对比度来增强粗糙度效果的方法
使用substance 3D sampler的过滤器和功能来创造视觉趣味
将3D模型和纹理导出到其他引擎或软件的步骤
substance sampler对学生和设计师的经济实惠订阅选项
视频结尾对观众的感谢和对频道增长的期望
Transcripts
[Music]
hey guys welcome to the next video in
this Channel today I'm going to tell you
a small story back in 2015 2016 when I
came back to Mexico and started my
little business over here I was trying
to come up with a like like something a
prop or something that my students could
do in order to learn Maya in order to
learn seabush how to do proper UVS how
to do uh texturing and all this stuff
and I didn't want to do a simple sphere
or a simple box so after doing a little
bit of research I found the barrel the
barrel is a prop that has been used a
lot of times and it's a really really
good way to learn a lot of basic things
about 3D so ever since then the barrel
has become kind of like my my staple
exercise and every single time I started
a new software I teach my students how
to do a barrel inside of that software
or using the techniques for that
specific software and that is exactly
what we're going to be doing today today
I'm gonna show you how to bring this
little Barrel right here to life using
photogrammetry inside of substance 3D
sampler this is the final result we're
inside of marmoset right now which is a
real-time rendering and as you can see
we get a really really really nice
result yes this is not optimized it has
quite a bit of the like a lot of faces I
believe I can show you the wireframe
here it's not super super optimized but
it's it's quite good like for just a
very basic acid it's quite quite good
and the cool thing about this is that uh
if this was a game for instance we could
have multiple of these guys and you can
see the textures look really really
really good so photogrammetry is one of
those things that has been really
powerful in the last couple of years a
lot of studios are using it nowadays and
I do believe that if you're going to be
a mother artist or a character artist or
any kind of uh like 3D artist knowing
about photogrammetry and how to
implement it in your pipeline is going
to give you a huge huge boost in your
skills so I'm gonna show you how to do
that after this very brief skillshare
promotional
hey guys Abraham here I just wanted to
remind you guys that we upload all of
our courses to skillshare skillshare is
this amazing site where you can access a
ton of different content to learn
improve and grow as an artist we have
all of our courses available to watch
and learn from right now in skillshare
you can check the description down here
and skillshare is offering one free
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with this membership you're going to be
able to access all of our courses and
watch and learn all of the amazing
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softwares so what are you waiting for
check skillshare down here below
there we go so we're inside the 3D
sampler 4.0 and this is a like at the
time of this recording this update
happened two days ago so there's not a
lot of new information things will be
improving and will be changing as these
things uh keep on going and but right
now we have as you can see here this is
a new project and we have this 3D
objects beta so I'm going to click here
I'm going to create a new 3D object and
it's going to tell me to import my data
set your data set are of course all of
the pictures that you took of whatever
object you want to use in this case I
want to use this little Barrel right
here
um the images should be in jpeg Target
pngs like normal files I made the
mistake of taking them with an I wasn't
an iPhone I think it was an iPhone so I
had to convert the images make sure
they're in jpeg it's easier targets
um because it's it's the way that this
software works now once you import your
images you're gonna get this you might
get this thing called photo groups and
photo groups are like a very basic way
in which substance sampler
divides the groups of photos thinking
that they belong to is the same objects
as you can see here it took like I think
18 photos into one and then the next
photo Group which is this one has ad1
photos so this is the set that we're
going to be using we're going to be
using photo group number
um number two now before we just hit
submit which you could and it's going to
give you a nice result but before we do
that I'm actually going to go to masks
and I'm going to generate a new batch of
masks what this will do is it will go to
each individual image and it will create
a black and white image using AI
technology to find out what the object
is that you're looking for and it will
generate The Masks that's going to make
your 3D reconstruction a lot cleaner
because if you don't use mask what's
going to happen is you're going to get
information from all over the room
especially if you're not in a control
environment you're gonna get for
instance this back table right here the
walls the windows and we don't want that
we only want a little Barrel so that's
why we're focusing on that specific
object and that's what we generate to
check your mess you can go here to the
image and as you can see it's now linked
to a mask this is temporary very file
you can just click this one right here
and look at that we got a very very nice
mask right there now the generation of
the batch masks is relatively fast as
you can see it's almost done it's like
three quarters of the way but after we
do this after the masks are done and I
hit submit that's when things are going
to be a little bit slower with this kind
of Technologies since there's a lot of
processing things that needs to happen
make sure you have enough space and make
sure you have enough like computer power
to do so if you're trying this on a very
old computer you might be struggling
actually the recommended settings are a
graphics card that has at least I
believe six gigabytes of Graphics memory
at least 12 gigabytes of RAM like you do
need a little bit of a beefy computer uh
but it should be done it could
it should you should be able to do it uh
regardless so now I'm going to hit
submit I'm going to say high precision
and default under further ordering and
this is where the actual processing is
going to begin
I'm gonna pause the real the video real
quick it's just gonna be a quick jump
for you and in the meantime what the
well yeah just it's just gonna be a
quick boss I'll be right back
I was gonna say that on my computer I've
done this a couple of times I've
actually recorded this like three or
four times because it was crashing well
not crashing I was having issues with
the recording but it usually takes about
five minutes three four minutes
depending again on the complexity of the
object depends on the amount of images
that you have and the quality of the
images just be patient and went for the
wait for the whole process to to finish
uh there's not going to be any like
window or something it's just gonna
straight it goes straight to the mesh
reconstruction okay you're not going to
get any sort of like uh check mark or or
anything
there we go so as you can see we
finished the processing and it's gonna
jump straight to the mesh reconstruction
which is going to give us the point
Cloud information which by the way if
you're familiar with other ways to
process Point Cloud information you
could export that specific information
out of um other substance sampler for
use in other like pipelines so there we
go as you can see here is the
Reconstruction for a little Barrel this
is the point Cloud we're not seeing the
model just yet and the first thing I
want to do here what I want to do here
is I want to click this little show
bounding box icon so that we can scale
the bounding box and constrain it to
only where the little Barrel is you can
see it got or it captured a couple of
extra points outside of the barrel and I
really don't want that I want to keep
this thing close close to the barrel I'm
even going to grab the ground plane here
and get it right there so it cuts the
barrel right at the border unfortunately
we're not going to have a lower cap for
this Barrel we would need to find a way
to photograph the lower parts of the
barrel sometimes they like usually like
elevated platform or something I've seen
people for instance for food they would
poke the object like imagine a donut
what they would poke the the donut with
a little uh like long wooden stick and
that way the connection point is very
simple and they can just clean it up
later on so there's a lot of ways to do
it but for now we're gonna keep it
simple for this one
there we go and I hit submit there's
going to be another process and this is
the one that usually takes a little bit
longer again it depends on your memory
your system and everything but this is
when it is actually processing the mesh
so that you get something
um that's going to be working okay now
we're going to be able to see the actual
mesh after this process I'm gonna
possible click again wait for this to
finish and I'll show you the result
and here we go so this one took about 10
minutes roughly to um to process and
this is what we get now uh here's a
little bit of an interesting thing that
I found you could immediately add this
to your project however this is actually
not like prepared with the normal base
and the height base that we need which
uh like messes up the whole pipeline
really so even though you don't have to
process a new version I do recommend
that you do
um and it can be at the same like sort
of like amount of faces you can even go
like higher if you want like let's try
75 000 faces I'm not going to move any
of the options here but you're welcome
to explore them there's a couple of like
little tweaks and things that you can do
usually by default you're going to get a
really nice result again I'm just doing
a very Pro like a new process version
here with seventy thousand seventy five
thousand uh polygons okay it's pretty
much like decimation inside of C brush
so you cannot get a specific Target
count there we go now again uh this is
in be there so it has a couple of issues
I noticed that there's this sort of like
weird look and the whole thing like it
looks like the normals are like messed
up don't worry once you have this like
version one and you're happy with a bass
I'm just gonna say add to project I'm
gonna hit OK
what's gonna happen is we're gonna get
it here and as you can see it looks
perfectly perfectly fine so even though
it looked really weird on the on the
display that's what where I got stuck a
couple of times while doing this process
uh it's gonna look fine right here okay
so look at this I mean this is amazing
it looks really really really freaking
good and not only that but if I go over
here and I change to 3D and 2D view I
can change the information and there is
normal information right now there's
very little normal information why
because we don't need as much normal
information because the object is quite
heavy in its um in its uh phases right
however we can go to this option right
here open the properties and let's bring
them down here there we go and what we
can do is we can reprocess this for
instance if I switch from 75 000 to 7 uh
or 7500 and I hit enter it's gonna
reprocess the whole thing but now with
10 times less the amount of faces that
we have okay and look at this this thing
pretty much the same thing but now
there's way more information on the
normal map because we're going to be
needing it for everything that we are
out doing here so yeah this is this is
great and you could technically export
this as is to any software and you're
ready to go we have normal information
we even have hide information if you
want to do some displacement later we
have ambient occlusion which is great to
get an extra little punch there and of
course the color which is really really
important you can change the
um the texture projection here you can
change things as like for instance here
on the normal page number where I said
Advanced General baking you can add
anti-aliasing so we can add like a two
by two anti-aliasing effect and this
should give us slightly better results
just be careful with this it's a slow so
every time you do it you have to wait a
little bit for it to process and as you
can see the the ubis yeah right here I
mean they're not perfect but they're not
that bad like we could work with this if
we had to do something inside of
Photoshop for instance and yeah now I'm
gonna show you one thing that's really
really cool and that is the roughness
because we don't have any roughness
channel right uh unfortunately
photogrammetry cannot capture roughness
but if you have seen any of my series
when I talk about textures roughness can
be kind of like inherited from the color
okay so I'm gonna add I'm gonna go let's
close I would like to
dock these things but it's not letting
me let's just knock it right there there
we go so I'm gonna go here to layers and
what we can do is we can add a custom
filter not custom filter sorry a layer
and there's one called color replace
okay so
switch channel switch channel switch so
Channel switch is a way in which we can
use the information from one channel to
affect the information of another
channel so right now as you can see this
is set to base color and base color so
pretty much copying one color to the
same layer what I want to do is I want
to use the base color and switch this or
move this to the roughness Channel look
at that so now we can use the base color
to a factor of this Channel and we can
use blending modes such as multiply or
overlay and play around with the opacity
to modify how this thing is going to be
affecting the overall elements uh if we
go now you can see that we have a
roughness channel here look at that we
have roughness information that we can
use now usually this or this little
Barrel was a little bit um
when rougher than I wanted to so again
no problem like switching these things
around and finding something it looks a
little bit better overlay is quite nice
let's try and multiply multiply is not
that bad
and what I want here is I want the metal
bands which are the dark ones to be a
little bit rougher than uh or a little
bit less rough which means darker than
everything else the wood should be a
little bit darker now on top of this I
can add another Channel such as say uh
levels
it's not the levels it's over here this
brightness and contrast I'm going to add
this on top and this brightness and
contrast thing I can say hey I only want
you to affect the roughness Channel it
works very similar to how it works
instead of a substance for instance and
we can crunch this up as you can see
right there crunch this down and play
around with the values until we find
something that gives us a little bit
more of an interesting look
okay
this is something like this not bath
you can go back to the channel switch
and play around with the opacity
get to get the general effect of how we
want this thing to be brightness and
contrast again only affecting the
roughness
and there we go now I'm not a huge like
I'm not a master user of this 3D sampler
there's people that do a lot more stuff
with this and they they can generate
really really cool looking elements
let me see if there's another filter
like levels
you can go here to filters
sure let's see what else can we do color
replace no color temperature no
but yeah you can use all of these
filters and create like different
variations some of them are are more
oriented towards like textures like
people who want to do like a
let's try this
Hue saturation over here again we only
want to affect roughness
we can affect
like a general lightness or Darkness
over here there we go something like I
just want to create like a visual
interest on the texture as you can see
right there
um I wish we had levels that would be
really really cool
and I guess we can do it with this thing
there we go
looks a little bit better let's go back
to channel switch
a little bit there
that's it we can generate some
interesting and complex things over here
seems like it's actually
am I invert anything it kind of looks
inverted doesn't it
it's the overlay
uh now let's do divide there we go
let's go divide let's go brightness and
contrast
and adjust these things right here
that's a little bit better
there we go
so I wonder at least I want the crevices
to look a little bit like less less
sharp look at that now that looks more
like like a realistic effect now we
could do the same thing with metalness
like I I don't have a metalness or this
thing is very rusted so it's not as
shiny as it could be but we could do
like similar features with metalness to
obtain uh what we want finally the last
thing that we need to do to get this
into uh into marmoset and use it if we
need to is to go to this button over
here which is the share button and let's
clear this queue we're going to export
on the mesh settings you're going to
cite the format which in this case could
be fbx and in this one you're going to
check for what engine do you want or for
what a specific preset you want to
export let's say I want to do Arnold I
can select which Maps I want to export
um let's do like um again on real Engine
4 here jpeg the texture size you can
export this a higher at a higher uh like
size even though we did the bakes at 2K
it's gonna resample them and create like
a 4K texture which is really really cool
and uh yeah once you do that we are
ready to jump into marmoset just connect
our texture our textures like I did
right here by the way if you don't use
Marvel set I do have a course really
really good about marmoset all of the
stuff uh down here on the links as well
but uh yeah this is the final result my
friends like once you do this you can
get any object
scanned from your phone directly into
any engine or anything that you might
need so hopefully this whole process has
been helpful to you guys again it's
really new information so there might be
a couple things that change in the
future if you're watching this down the
line make sure to check the latest
updates on the software usually on the
documentation you're going to find like
anything that changed from the process
that I'm showing to the newer processes
that you might find uh but it's a game
changer guys like this is really really
easy to do substance sampler is free if
you're a student and enrolled in a like
a a proper University or a authorized
University it has a really cheap
subscriptions just 20 bucks for sampler
designer and painter so I do think it's
worth it to be honest and yeah you can
get this very cool looking results
really really fast so that's it for this
one guys thank you very much for hanging
around and I'll see you back on the next
couple of days make sure to leave a like
share subscribe if you like this tip it
could really help the channel to hit uh
33 000 subscribers we're really close to
our our goal so uh every every little
bit of support helps thank you very much
guys I'll see you back on the next one
bye
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