Uv Land is just as dangerous as zombie land and sometimes I feel like a zombie bill murray when working on uvs but its definitely a necessity to have assets with proper texel density and properly aligned uvs to get good detail in my next stage of my workflow. Zbrush. In the past I used to toss some surface noise and let my material and lighting tell the story, and while it does work, it no longer pushes me in a way I feel is productive to art.
What I did differently: Broke down assets into modular level pieces in which I could toss both tileable surface noise as well as individually sculpt details. Some pieces will have general alpha stamps in their normals as well but for now it's onto zbrush, then doing most of the heavy lifting in Substance Painter before finally exporting out everything into Unreal and doing decal work and then a cinematic flythrough. I'm really excited to move beyond the modeling stage as I often get so caught up in storytelling that I am left with hundreds and sometimes thousands of props but an unfinished scene due to having no desire to uv thousands of pieces. With that said, this new workflow should clean up those inconsistencies and it should also be much easier on engine with cinematic limitations since I will be instancing much of the foliage such as the ivy growing in attached screenshots (maya has 50k super high poly blockouts, it's already in engine properly lod-ed out and with appropriate poly count =)). Enjoy and happy weekend guys!
General house with uv pieces Kitbashed together for concepting in Unreal.
General wireframe breakdown with tileable uv shader to check for stretching and seams. Screenshots that follow are of same parameters.
General house and street asset breakdown for uv-ing as well as test kitbash assembly for unreal 4. All assets are mine.
Final screencap in maya hopefully. Onto Zbrush and pretty Unreal Engine! Happy weekend all!