Game Boy Colour Cartridge - 3D Model + Cinematic
Created In Maya | Photoshop | Substance 3D Painter | Unreal
Model Statistics
Vertices: 2454
Edges: 4706
Faces: 2266
Triangles: 4415
Uv's: 4108
Download Size: 190kb
(FBX File Type)
Sketchfab 3D Viewer
This is a 3D model consisting of the 1998 Gameboy Colour game cartridge. The model is comprised of various attempts to pursue “clean” topology and ensuring it is exportable into various game engines like Unreal Engine 4/5 and the Unity Engine, without any issues. I set it up onto Sketchfab to preview what it would look like in multiple platforms and to show there aren't any issues regarding the topology.
Screenshots - Wireframes + Renders - Maya/UE5
Below are some screenshots of the model within Maya with the Wireframe on/off.
Overview - Development
Modelling In Maya
This model of a GBC Cart was created within Maya 2020, this model consists of only one cube and a cylinder with a round cap added. During the modelling stage, these techniques/skills were used:
-Booleans (Difference)
-Extrusions
-Manipulating/Transforming Normals
-Correct use of Multi-Cut Tool
-Target Weld Tool (Cleaning up and optimising Topology)
-Chamfers / Mirroring Mesh
-Understanding the use of Clearing History
-UV Mapping (Setting up UVs for texture mapping)
-Understanding importance of Modular Construction
After that I Automatically made the Uv's and ensured history was cleared. After this first stage I exported the Uv's as a PNG then decided to go straight into unreal before I go further by manually designing things like, material roughness, a normal map, base colour and much more within photoshop.
Unreal Engine
Unreal engine was the stage in which I setup a showcasing scene in the form of UE5. Within the default scene that Unreal gives you. I imported in my FBX and added these things below:
-CinecameraActor
-2 Point lights
Within this scene I added various post processing effects to the camera view and aligned it to the asset, one thing to also note is that during the cinematic, I enabled actor tracking to ensure when it moves around, it stays locked on.
When regarding the point light settings, I had to alter intensity, things like source size and even ray tracing samples to ensure light rays look as realistic as possible.
Regarding the cinematic, I tested with a red metallic material that I made from scratch to see how light is reflected. This also helped when I used the level sequencer to key frame the camera moving around and constantly changing aperture and focal distance.
Photoshop
Photoshop was where I started to experiment with the model's UV's. I imported the UV's in as a PNG and started creating a Basecolour layer to serve as the overall colour and as a place holder for the sticker section.
Things like Normal Maps and roughness maps, were also created manually within Photoshop. I found a simple normal map to experiment with at first and duplicated it multiple times until It filled a 4096x4096 space, the bigger the file the more clean the final result will be.
When it came to Roughness, I had a place holder for the sticker and filled both the sticker and the rest with a different shade of grey, different shades of White-Black holds information for how shiny something is. This stage was trial and error.
Once these PNG files have been created, within Unreal I made a material and applied it to the GBC model. The way I setup all the PNG's, is to ensure they perfectly wrap around the model which means this material is unique to that model only. Down Below contains a gallery containing all of these assets and what they all look like within the engine.
Substance 3D Painter
Photoshop was where I started to experiment with the model's UV's. I imported the UV's in as a PNG and started creating a Basecolour layer to serve as the overall colour and as a place holder for the sticker section.
Things like Normal Maps and roughness maps, were also created manually within Photoshop. I found a simple normal map to experiment with at first and duplicated it multiple times until It filled a 4096x4096 space, the bigger the file the more clean the final result will be.
When it came to Roughness, I had a place holder for the sticker and filled both the sticker and the rest with a different shade of grey, different shades of White-Black holds information for how shiny something is. This stage was trial and error.
Once these PNG files have been created, within Unreal I made a material and applied it to the GBC model. The way I setup all the PNG's, is to ensure they perfectly wrap around the model which means this material is unique to that model only. Down Below contains a gallery containing all of these assets and what they all look like within the engine.
Diffuse Map - UV's - Normals - Roughness - BaseColour
Post Processing Within Unreal - CinecameraActor
Adam Caar
Developer
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Adam Caar
Developer
I'm a paragraph. Click here to add your own text and edit me. It’s easy.
Adam Caar
Developer
I'm a paragraph. Click here to add your own text and edit me. It’s easy.
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