UV MAPPING

What is UVMapping?

Unwrapping a 3D model onto a 2D representation is essential today for applying

textures.

When is UVMapping done?

It depends on the company's pipeline, but generally, once the model is finished, UVs
need to be created. We're referring to basic modeling; you can create UVs before
sculpting details with ZBrush. It's better to have UVs done before moving on to
rigging, grooming, etc.

A) Modeling... B) UVMapping... C) Textures... D) Rigging... E) Grooming...

In a highly efficient studio with a good pipeline, some processes can be done in
parallel.

Who is responsible for UVMapping?

This can vary by studio, but usually, it's the modelers. Sometimes, in certain studios,
texturizers may handle it (though it's important to note that ALL of them should be
proficient in UVs). A texture artist must examine the model initially and ensure
everything is correct before starting to texture, especially the UVs. In summary, both
modelers and texture artists need to know how to perform UVMapping.
GENERAL CONCEPTS

OVERLAPPING

Overlapping is the superimposition of UVs in the 2D space of UV Mapping. (It's done

in video games, but never in VFX). Software provides ways to indicate overlapping
(using colors), and it needs to be checked frequently.

In VFX, overlapping is absolutely prohibited because symmetry is a rare and

unnatural phenomenon (a scar on one side of a face with the same symmetrical scar
on the other side... doesn't look right). There might be some exceptions, such as
background characters that are so far from the camera that it might go unnoticed.

Overlapping can occur between two different patches (poly islands) or between UV
points of the same patch. Overlapping can also happen between patches that are in
between two UDIMs (extending beyond the square of their UDIM and encroaching on
another). Everything needs to be reviewed before proceeding.
BLEEDING

It's the margin between patches within a UDIM. The separation between patches is
crucial and is measured in pixels.

This separation is vital to prevent artifacts between seams. When we paint a patch,
the texture tends to expand slightly beyond the patch boundaries. If different patches
are too close, the texture bleeding can invade adjacent patches. This effect is
particularly noticeable in displacement maps!

The amount of bleeding can vary based on the distance from the camera. A good
rule is to apply 10 pixels of bleeding for every K (thousand) of texture resolution:

1024x1024 --- 10 pixels of bleeding // 4096x4096 --- 40 pixels of bleeding

This parameter can be easily adjusted in UV Layout and Maya.

It's preferable to increase the number of UDIMs instead of eliminating bleeding. In

other words, it's better to create another UDIM than to have patches too close
together, thus avoiding potential future issues.

Mari allows exporting textures with or without bleeding, depending on your

preference. Like the image above, No bleeding / 10 pixels bleed / 100% bledding.
SEAMS

Seams are the lines or junctions between different patches (UV Shells) and different
UDIMs. We can use colors to paint different parts and better visualize the seams.

Seams cannot be avoided (you have to cut

somewhere to create UVs). We'll try to place
seams in the least noticeable areas, for
example, where they won't be visible in the
camera view.

With 3D painting tools like Painter, Mari, etc., this has ceased to be a significant
problem. In the past, when we used Photoshop for texturing, it was a real hassle.

We need to find a good balance between seams and stretching (distortions in

patches due to poor stretching). It's good not to have many seams, but it's much
better not to have stretching.

Seams need to be fixed (simply using tileable textures won't suffice), but with tools
like Mari and Painter, it's not so difficult.
STRETCHING

These are stretchings that occur when there is some type of distortion in the 2D UV
space, affecting the textures and their proper application. UV Layout and Maya have
indicators to alert us when something is wrong.

Sometimes, it's beneficial to sacrifice some stretching and have fewer patches,
especially with organic textures like skin, soil, etc. Sometimes, it’s necessary to
create more seams and get rid of the stretching. It’s a balance we have to seek.
Using texture checkers is very helpful to ensure that everything is okay.

PACKING

Packing is how we organize the UV Mapping within the 2D space.

In complex characters with many UDIMs, it can become challenging to organize it

optimally, requiring efficient planning.

Schematics can be created to plan how many UDIMs we'll need, how to distribute
them, and so on. Organizing becomes crucial once all the UVs are laid out.
Ways to organize:

​ Material-Based: Grouping UVs based on material types (metals together,

plastics, leathers, etc.). Randomly distributed UVs can result in a lot of mouse
mileage. Organizing this way makes everything much more structured and
logical.
​ Spatial Organization: Arranging UVs according to their real spatial position in
a 3D environment. For example, in the case of a spaceship, the nose in the
first UDIM, the middle section of the fuselage in the second UDIM, and the rear
area in the third and last UDIM.
​ Grouping Small Objects: Putting small objects together (buttons, screws),
even if they don't share a spatial position.

Always remember to use bleeding.

There are two options for packing: manual and automatic. The manual method is
more precise, while the automatic one is faster, easier, and more enticing, The Dark
Side.

Scale is crucial: Always use the same scale, texel density. Failing to do so would
require scaling wooden textures individually, which is inconvenient. With a consistent
scale, you can use a generic and tileable wood texture, and it will work well on all
planks. Another advantage is having all UVs oriented the same way. If the wood grain
is vertical, lay out the UVs accordingly. There can be exceptions, as we'll see later.

Texture checkers act as indicators and assist in this process.

SYMMETRY & MIRROR

If we have an asset with fully or partially symmetrical parts, it's beneficial to reflect it
in its UVs. This is vital for reusing textures, which is common (the base of human skin
can be the same, and then we can add variety).

We can copy the right side to the left.

Mirrors or symmetries must be placed and aligned precisely, not by eye. Achieving
symmetry may require more work than mirroring or cloning; personally, I prefer
mirroring. I distribute mirrors vertically and symmetries horizontally.

UDIMs

We organize different parts of an asset in various UV spaces. This is ideal for highly
detailed assets, providing a high texture resolution. It is the standard UV Mapping
approach in the VFX industry, where it's common for all UDIMs to have equal
resolution.
Sometimes, color maps are at 8K resolution, while SPCR (specularity, reflection)
maps are at 2K, saving space. The UDIM range is from 1001 to 1010, then 1011 to
1020, and so on.

It's not a good idea to leave gaps, as they can cause issues in reading the texture
sequence, especially in software like Nuke.

It's better to have many UDIMs with small textures than a few UDIMs with large
textures; this improves memory usage and file management. (A character like ours
with 6 UDIMs works more than sufficiently).

SUMMARY

● Orient the UVs by emulating the object's orientation.

● Hide the seams (if possible).
● Avoid stretching whenever you can, but don't lose sight of the bigger picture.
● Maintain straight lines for inorganic objects (be cautious with unfolding).
● Be organized.
● Sometimes, the scales of UVs can vary if circumstances require, but not as a
general rule.

THE 7 STEPS OF THE UV WORKFLOW

Talk to the Texture Artist (we could say the modeler works for the texture artist, who
works for the look dev artist, who works for the lighter, who works for the comper, who
works for the colorist, who works for the director of photography or cinematographer,
and finally, they all work for the Director :) ).

​ 1- Check with the Texture Artist.

​ 2- Verify the model (Geometry).
​ 3- Plan the layout (make sketches on paper if necessary; this is crucial for
complex assets).
​ 4- Start from top to bottom (head, neck, ears, bald skull, chest, back...) and left
to right (left foot, right foot) (group nails together, teeth together, leather strips
together).
​ 5- Unwrap: This is the process of unfolding the model (UV Layout is the best
software, but Maya also handles it well). At this point, everything is
disorganized but well laid out, look for the stretching.
​ 6- Check UVs: Ensure everything is correct, with no overlapping, and with the
right scale and orientation.
​ 7- Organize & Pack UVs (UDIMs, UV Sets, etc.): Try to group UVs by real
materials, either in UDIMs or UV groups.
​ 8- Drink a Dry Martini cause you have done an incredible job.
​
​ Last tip: Differentiate between hero assets, mid-level, or background assets
(texture resolution, number of UDIMs). Consider whether the character needs
to endure close-ups or special shots.
​ If necessary, create a special UV mapping for that close-up. Use all available
UV space intelligently and leave enough room for bleeding (space between
patches).