A 12 MP, 32 Bit HDRI panorama was then used to create a more realistic
light setup. The panorama used was created using multiple images with
different exposures and stiched with the PTGUI stiching software. Missing pieces where added by mirroring and cloning. The resulting panorama was used for environmental mapping and part of the background. As
this map was primarily used to create the lighting conditions, the
exact content of the parts do not really matter, as long as the general
brightness and color is correct.
The model rendered with the HDRI environmental map.
Same model with rendering set to smooth faces.
UV map of the model projecting the faces of the model into the texture space.
As it is difficult to gather high quality texture from a cylindrical surface (distortions, shading, etc.), some other, rectangular game objects from the same game set where used as a photographic base for texture creation.
Using Photoshop, Levels and Saturation where equalized.
Under heavy use of the photoshop clone stamp tool, the different texture segments where combined into one texture.
Some low frequency noise (clouds) was multiplied with the original
texture in order to create a more dynamic texture. This is the texture
used for the albedo channel in the final render.
The same texture was desaturated and leveled to create the base for
the bump map, which represents the wood grain and dirt. The bump map
will provide the 3D model with the small scale surface details which are
not captured by the model's vertices. Except for the cylinder caps,
only the part on the left side of the 1024x1024 image is actually used
as texture (See UV Map displayed above).
Some scratches where added using the pencil tool.
Again, a layer of low frequency noise was multiplied with the base bump texture.
A layer of high frequency noice was added as a "soft light" layer.
This texure is actually an albedo texture of a cement surface.
Finally, five different types of dents where manually created,
duplicated, distorted and distributed on a multiply layer. The differnt
dents where created by using the photoshop gradient tool (grey to black)
and then cut out using the lasso selection tool.
Same render as before - model with phong shading and no texture maps applied.
Render with the fine detail (wood grain, scratches) bump map applied.
Render with the fine and coarse detail (low freq noise, dents) bump map applied.
with an additional specular map. Following the old premise of the lazy
3d artist, that surfaces tend to be less thrashed and cleaner (and
therefore more shiny) at the smooth parts, the same texture as for the bump map was used, with different offset and multiplication factor).
Final render using bump-, specular- and albedo texture.