Graphics Programs Reference
In-Depth Information
The Realities of High-Poly Modeling
Here are some things I'd like to say about high-polygon mod-
eling. First and foremost,
do not
throw a TurboSmooth on an
object and call it a high-polygon model. It's not high-poly
unless you made the proper edge loops. Take time to look at
the model. Compare it to those in other games or movies. If
you can look at a game cinematic or high-polygon source asset
and say, “Hey, my character doesn't look so bad next to that
guy,” then you've got something. However, if you smooth a
model and it's a big blob of polygons, then you need to go back
and refine all of your details.
Remember, it's good to rough things out. What does this
mean? Make a lower-polygon counterpart of each piece that
you don't TurboSmooth at first. Make all of the pieces that go
on the character and then take a step back and look at the
whole thing. This will save you so much time if you need to
make some overall changes to the character. Now you won't
have to change hundreds of small details if you just need to
change how the torso and the legs meet up. Work low-poly to
high-poly — not just in one area but the whole model. Make
refining passes on the whole character. Finally, remember that
even a square can be nearly turned into a sphere, so you don't
need hundreds of loops to get a rounded shape. In fact, it's
easier to get a round shape out of fewer edge loops than too
many.
Hyperfocusing, or going insane with surface details, is a
production speed killer. Don't get hung up on the small stuff!
Most of the time the camera isn't going to be on the charac-
ter's belt looking at all the pretty little details you've added to
some 1 inch by 1 inch section of the model, so quit adding tiny
details like that!
If the camera is going to be close to a portion of the model
at some point, then add the appropriate amount of detail there,
but don't make more work for yourself than there needs to be.
Also, for you game development folks, details in games tend
