I also used the following software: 3ds Max, Fusion 360, MOI, Rizom UV, Substance Painter, Figma, Photoshop, and Davinci Resolve.
Omniverse makes it easy to visualize dramatic lighting, simulate gravity, and handle collisions. Real-time rendering options allow for seamless adjustments to complex scenes with minimal latency. Once the scene is prepared, switching to interactive or accurate rendering produces a realistic image.
Step 1: References
I use Figma for every project because it's a versatile tool for moodboarding, graphics, and illustrations, and it's free. When creating a realistic prop, I start by gathering numerous references. With Figma, I can copy and paste images into my moodboard, allowing me to manipulate, rescale, and collaborate with others in real-time, which is especially useful for team projects
Step 2: Modeling
I employed a combination of CAD and SubD modeling for this step. I chose Fusion 360 for CAD modeling because it was ideal for intricate shapes with small holes. After completing the CAD model, I used MOI to convert it into a polygon model and integrated it into my 3ds Max scene.
Pro Tip: In Fusion 360, you can access the McMaster-Carr library, offering a wide range of free CAD models for industrial parts, such as the Ethernet port and jack, which I used in this project
I employed a combination of CAD and SubD modeling for this step. I chose Fusion 360 for CAD modeling because it was ideal for intricate shapes with small holes. After completing the CAD model, I used MOI to convert it into a polygon model and integrated it into my 3ds Max scene.
Pro Tip: In Fusion 360, you can access the McMaster-Carr library, offering a wide range of free CAD models for industrial parts, such as the Ethernet port and jack, which I used in this project
Continuing with the phone, I employed SubD modeling in 3ds Max. This method was particularly useful for achieving an organic look for the phone dock and simplifying the wire modeling. After completing the modeling, I assigned a distinct material to each object requiring its own UV mapping. Finally, I exported the project as an .FBX file
Step 3: UV’ing
I opted for Rizom UV for most objects, creating 8 UDIM tiles for maximum detail without much concern for optimization. I organized materials in 3ds Max, making it simple to allocate each material to its own UDIM tile. This setup facilitated the process of importing my single FBX file into Substance Painter. However, I encountered issues with unwrapping the cable, so I used Houdini's Labs Auto UV node for that specific part.
I opted for Rizom UV for most objects, creating 8 UDIM tiles for maximum detail without much concern for optimization. I organized materials in 3ds Max, making it simple to allocate each material to its own UDIM tile. This setup facilitated the process of importing my single FBX file into Substance Painter. However, I encountered issues with unwrapping the cable, so I used Houdini's Labs Auto UV node for that specific part.
Step 4: Texturing
I completed the texturing process in Substance Painter. The materials I used were straightforward and required minimal adjustments. Additionally, I created custom decals in Figma for adding numbers, letters, and imprinted text to the phone's surface.
I completed the texturing process in Substance Painter. The materials I used were straightforward and required minimal adjustments. Additionally, I created custom decals in Figma for adding numbers, letters, and imprinted text to the phone's surface.
Another great aspect of this step was that, thanks to the Omniverse connector I had already installed, I could export my model and textures with a single click and have everything instantly formatted for Omniverse. It saved me from having to set up materials manually.
Step 5: Omniverse
Finally, the most enjoyable part was bringing everything into Omniverse and setting up the rendering. It's worth noting that I used Omniverse during the modeling and texturing phases to check the progress. I made use of the free V materials provided by Omniverse for setting up the wood and stucco floor/walls in various scenes. Additionally, I harnessed Omniverse's physics capabilities to make the phone a rigid body and the cable a deformable body. The real-time capabilities of this software are powerful, providing instant feedback and real-time rendering, making scene animation immediately rewarding. I was also impressed by the rendering speed, and for all the final renderings of this project, I used the RTX Interactive setting. Stay tuned for more Omniverse content in the future
Finally, the most enjoyable part was bringing everything into Omniverse and setting up the rendering. It's worth noting that I used Omniverse during the modeling and texturing phases to check the progress. I made use of the free V materials provided by Omniverse for setting up the wood and stucco floor/walls in various scenes. Additionally, I harnessed Omniverse's physics capabilities to make the phone a rigid body and the cable a deformable body. The real-time capabilities of this software are powerful, providing instant feedback and real-time rendering, making scene animation immediately rewarding. I was also impressed by the rendering speed, and for all the final renderings of this project, I used the RTX Interactive setting. Stay tuned for more Omniverse content in the future