Videogame Prop Modeling: From Beginner to Advanced

Organize reference planes by creating front, back, top, and bottom layers and assigning objects, delete alignment box, disable the grid, show the ribbon, and ensure each layer has one object.

Block out the body of a low-poly camera by creating a cylinder on the low layer, converting to editable poly, refining with vertices and extrusion, and using an x-ray material.

Create a high-poly version of the low-poly viewfinder cylinder, block in a green, shiny metal strip with material mapping, bake textures, and align both models in the same space.

Create a low-poly object with a plane primitive, cemetery modifiers, and shell adjustments, detach a clone, align edges, and apply a high-poly normal map from a reference image for texture.

model a low-poly shutter release button in 3ds Max by creating a hollow cylinder, inserting a hole, extruding and bridging edges for a clean portfolio-ready form.

Build a low-poly camera dial by aligning to a reference image, punching a hole with booleans, adding knobs, and refining with imprints, vertex edits, and snap-based alignment for high-poly work.

Create a low-poly dial by matching a 48-sided cylinder to its high-poly form, using precise edge loops, bridging, caps, and quad conversion, then copy to the high-poly layer.

Learn to model a low-poly camera by cutting a window through the body and a viewfinder hole, clean up geometry with edge-loop removal, snapping, and bridging.

Create a low poly camera lens by drawing a profile line, using the lathe modifier, then converting to an editable poly with bevels and a diffuse bitmap.

Finish the low-poly camera lens by modeling with reference planes, using dart loops and bridge operations, detaching parts into independent objects, and refining with local aligned coordinates and edge constraints.

Model a low-poly camera dial by forming cylinders, extruding and shaping edges, detaching components, and applying a shell modifier with x ray material to create a window, aligned to reference.

Finish the low-poly camera by adding side viewport windows and glass lens, aligning parts with the camera, cloning high-poly materials, and separating transparent glass components for a clean low-poly render.

Build a high-poly version of the front piece by adding support loops and rounding edges with swift loop and connect settings, aligning to the low-poly model to prevent baking errors.

This lecture demonstrates high-poly camera knob and lever topology, beveling, and applying a shiny metal material with a green accent. It guides you through adding support loops with insets, turbo smooth and swift loops, set flow, and careful extrusion to preserve sharp edges and clean topology.

Build a detailed button and clip in a high-poly prop model by detaching faces, adding loops, and applying turbo smooth for crisp highlights.

Finish a high-poly prop by welding vertices, deleting internal faces, and bridging to create quads, then duplicate three rotated segments with a cemetery modifier and apply turbo smooth.

Create the high poly knob by adding support loops, extruding the lip, applying turbo smooth, and shading a shiny metal material; align pivots and copies for symmetry, following the reference.

Master a high-poly camera prop by building with editable poly, using shell and turbo smooth modifiers, mirroring, extruding, bridging, and vertex matching for a precise symmetric model.

Create a hyperbolic prop by modeling a high-poly camera knob, adding edge loops and divots, and using texture helpers and color variation to prepare for normal maps.

Apply a high-poly workflow to finalize the camera body, adjust topology with loops for support, switch between high and low poly layers, and prepare for unwrapping and texturing.

Continue UV unwrapping with unfold versus flatten by polygon angle. Apply planar projection, then refine with peel and quick peel to reduce distortion, and align to edge for better packing.

Apply uv unwrapping techniques to game props by using help mapping, seams, pelt map, relax, straighten, and unfold with pack to create a clean, even texture layout.

Master uv unwrapping techniques for video game assets, prioritizing distortion-free text areas, controlled seams, and efficient layout using unfold, pelt mapping, and cylindrical projection.

Learn to unwrap models with UV unwrapping, seams, and pelt mapping, adjust edges for a clean normal map, and use unfold mapping and quick pack for efficient textures.

Master advanced UV unwrapping techniques to unwrap, unfold, and pack videogame prop geometry, ensuring clean seams, minimal distortion, and uniform tiling in the main UV space.

Learn to unwrap the glass by applying a planner map on the correct axis, adjust padding, fill holes, rotate clusters, and reassign the camera_glass material for export.

Export low poly and high poly assets, convert to editable poly, unwrap, and bake normal maps and a color ID map in Substance Painter for accurate texture results.

Bake ambient occlusion along with world space curvature, position, and thickness maps from high to low poly models; adjust output size for quality and performance, then preview results.

Texture the camera prop using fill layers, masks, and UV chunk fills; adjust color to black, roughness and metallic values, refine with color selection, blur, and levels to reduce aliasing.

Learn to add subtle details to a game model by creating film layers, applying masks, and adjusting color, roughness, and ambient occlusion for realistic texturing and rendering.

Master practical texturing and rendering by adding small knob ridges, a red detail line, and a light sensor using color mapping, masks, height adjustments, and material tweaks.

Place metallic and black screws on a prop by using a regular layer, adjusting metallic, roughness, height, and color channels, then use orthographic mode for precise placement.

Apply a normal map and bump map in 3ds Max to texture a knob, overriding gamma. Overlay reference photos in Photoshop, then type on a path and unwrap UVs.

Create a curved window texture in Photoshop by tracing a reference with shapes and paths, filling and colorizing, then exporting for Substance Painter.

Add a white fill layer on the bottom layer to restore ambient occlusion and reappear colors during render in Substance Designer 7.4.