APEX Clothing

APEX Clothing Artist Guidelines

February 2011

APEX Clothing Artist Guidelines (APEX 1.0 beta)

Clothing Artist Guidelines ......................................................................................................................... 3 Overview ................................................................................................................................................... 3 General...................................................................................................................................................... 3 Folds ...................................................................................................................................................... 3 Uniform 100% Scale .............................................................................................................................. 3 Scene Scale ............................................................................................................................................ 4 Frame Rate ............................................................................................................................................ 4 Underlying Geometry............................................................................................................................ 4 Mesh Criteria............................................................................................................................................. 5 Uniform Quad Topology........................................................................................................................ 5 Balance .................................................................................................................................................. 6 Mesh density ......................................................................................................................................... 6 Mesh Ornamentation............................................................................................................................ 8 Multi Layer Cloth Mesh ......................................................................................................................... 8 Simulated Vertices vs. Non-Simulated Vertices .................................................................................. 12 Vertex count........................................................................................................................................ 13 Collision Criteria ...................................................................................................................................... 14 Backstop .............................................................................................................................................. 14 Bone Collision Shapes ......................................................................................................................... 18 Animations .............................................................................................................................................. 19 Animation Sampling ............................................................................................................................ 20 Common Attributes used for Clothing .................................................................................................... 21 Paint Channel Attributes ......................................................................................................................... 21 Tips, Tricks, and Notes ............................................................................................................................ 23 Tutorials .................................................................................................................................................. 26

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APEX Clothing Artist Guidelines (APEX 1.0 beta)

Clothing Artist Guidelines

Overview
The APEX Clothing module for DCC tool allows for artists to create a variety of cloth and clothing types with minimal effort and a fast turnaround. This document is intended as a quick start guide to get an artist up to speed in a timely manner. After going through the following tutorials and having a properly prepared model, an artist should be able to make clothing effects in a production environment in a relatively fast and effective.

General
Simulated clothing and the graphical clothing are 2 different components that together can create a fluid and realistic cloth effect. To make cloth simulate physically correct the following items should be considered.

Folds
Traditionally, folds are modeled into a characters clothing. With cloth this becomes unnecessary, as the simulation will create natural folds as the character animates

Uniform 100% Scale

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APEX Clothing Artist Guidelines (APEX 1.0 beta)

It should go without saying that anything in 3d should be at 100% uniform scale in the x, y, and z directions. Scale and rotation dont always play nice with each other and can sometimes cause non-uniform scaling or skewing. Always reset your x-forms and set your pivot point where you want it before skinning a character. Resetting bone scale after setting up a character hierarchy is also extremely important. Every bone in the chain should be at exactly 100% uniform scale. If it is not, once the animators get a hold of it, there will most likely be skewing artifacts and it will take a significant time out of production to go back and fix it. If scale is not managed properly before Cloth is applied, the negative and unpredictable artifacts of skewing may also take place. There is also no guarantee that the game engine that is used for your particular production will handle scale very well either. And if it does, it may handle it differently than other engines/software. The best defense against skewing and the best way to protect the art pipeline is to avoid scaling!

Scene Scale
It is crucial to work at the scene scale that is appropriate for your productions end product. For the tutorials related to this doc, the PhysX DCC tool is set to a centimeters scale in anticipation of exporting the assets to Unreal 3 Engine. A character in Unreal 3 averages about 100 unreal units tall. Upon exporting from content packages such as 3dsMax/Maya, a 1:1 conversion takes place. So, that means that our Crash Test Dummies are about 90-100 cm tall. In the real world this is half scale, but in Unreal, we can say that they are about 180cm tall or about 6ft. Multiple scene scales are acceptable; make sure the scene scale is correct and consistent for your specific project!

Frame Rate
Cloth is meant to be authored at 50Hz. To an artist this means, the DCC tool should be set to play at 50fps. It is common for animators to work at 30fps however. Just keep in mind that to get the best feedback and to export correctly set it to 50fps.

Underlying Geometry
It is important to remove any geometry on the underlying character model that the moving cloth will not reveal during simulation. If it will never be seen, it shouldnt be there. Artists generally follow this guideline for many reasons in production, speed, authoring time, render time, etc. Clothing is no different and should be treated the same way. It also has the added benefit of not needing to have as precise of collision volumes since you are just implying the underlying character with the ragdoll. Only leave the geometry that can be seen when the simulating clothing reveals it. Dont build what you never see.
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APEX Clothing Artist Guidelines (APEX 1.0 beta)

Mesh Criteria
Uniform Quad Topology
There are many reasons in the 3d pipeline to maintain uniform quad topology where possible. It is easier to manipulate and iterate on models due to many of the advanced ring and loops tools built into modern DCC applications. Quads also UV easier and deform better and more predictably. Ultimately clothing is solved as triangles and that is important to note for behavioral reasons that well get into later. The reasoning behind the importance of quad geometry is because it is, again, easily editable and results in even and consistent triangles at solver time. Its important to note that the density of the simulated quads doesnt need to be the same as the rest of the mesh. It is acceptable to use triangle to blend to a different density of quads, so long as they remain as uniform as possible. The more consistent the uniformity, the more predictable the cloth will be. Keep in mind that by the time simulation rolls around, along with rendering, all quads are broken down into triangles.
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APEX Clothing Artist Guidelines (APEX 1.0 beta)

Balance
It is important to strike a good balance between simulated and animated portions of a mesh. If cloth is tight fitting, it is usually best to just use the animated mesh. If the mesh is a little more loose fitting, therefore giving it the ability to move more freely, the allowing this portion of the mesh to simulate is desired. There is a balance that can be struck between these two scenarios as well. If there is available compute power, then sometimes painting a small max distance on areas such sleeves and have very good results. Use cloth in areas of the character that will be bold and obvious to the user. Skirts, trench coats, and dresses are good examples of utilizing cloth on the lower half of the body. Areas such as the shoulders arent as noticeable since clothing generally fits this area fairly tight.

Mesh density
Mesh density can influence the aesthetic of cloth through bendiness and stretchiness. A lighter density mesh can be made to behave stiffer than a high density mesh can. Therefore knowing what material you want as far as the modeling stage is beneficial to the overall production.

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APEX Clothing Artist Guidelines (APEX 1.0 beta)

While in the above picture the coarse mesh on the left behaves like leather, the mesh on the right will produce silk like behavior. As fine resolution meshes take more simulation time than coarse ones, the mesh should be uniformly subdivided only in regions where fine detail is desired.

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APEX Clothing Artist Guidelines (APEX 1.0 beta)

Mesh Ornamentation
Any ornamentation on the mesh should be simplified. Items such as buttons and zippers may look nice on a model, but they dont work to well with cloth. It is difficult to get ornaments to behave properly on cloth, and in most instances its best to just remove them. Cloth can handle basic pockets with ease, but when the pocket become a bit more complex; cloth can have issues, including unwanted penetrations and artifacts. Its recommended to use simple pockets as much as possible.

Multi Layer Cloth Mesh

Simulating the graphical mesh one to one as a physical mesh can yield visual artifacts and undesired behavior. The following image shows a problematic case where the artist designed a two layered mesh to create the effect of a cloth with a certain thickness. If those meshes were simulated directly, the two layers would intersect. This can only be avoided by turning on selfcollision handling, which is computationally very expensive. A better way to handle those cases is not to simulate the additional interior geometry (shown in white), but passively move it together with the underlying base mesh using mesh-mesh skinning. For this to work properly, the artist needs to create a connected single-layered base mesh that captures all of the physical behavior. In the above example, the base mesh is the outer dress mesh all the way to the bottom (excluding the ring shaped, down facing border and the interior surface). The artist can simply paint the interior dress topology as Latched using the Latch to Nearest channel. These vertices now will Latch to the nearest simulated vertices on the simulated side of the cloth (outer dress), therefore simulating both layers in concert with one another while maintaining its thickness.
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APEX Clothing Artist Guidelines (APEX 1.0 beta)

Simple pockets and features can also be achieved by using Latch to Nearest as seen in the right side of the following image. The feature meshes are then put on top of the base mesh. This means that there needs to be a non-visible part of the base mesh below the pocket mesh. If this is not the case, the simulation would even out the sharp edges around the pocket. Now the artist can simply paint the feature meshes as non-physical using the Latch to Nearest channel and turn on simulation for the base mesh only.

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APEX Clothing Artist Guidelines (APEX 1.0 beta)

For this to work properly, the artist needs to create a connected single layered base mesh that captures all of the physical behavior. It is also important to note that the non-visible, diagonal triangle edges on the quad topology need to have the same direction on both the simulated side of the geometry and the latched side of the geometry, or else visible artifacts will take place.

If edges are not turned the same direction on the interior and exterior, then the interior cloth can penetrate through the exterior due to crossing edges as seen in the following image.

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APEX Clothing Artist Guidelines (APEX 1.0 beta)

When working with thick or 2-sided cloth, its convenient that the vertices on the inside of the cloth line up with the vertices on the outside. When simulating the cloth, youll be turning the Latch to Nearest feature on on the inner or outer vertices, depending on the mesh. These turned Latched vertices will be projected to the nearest triangle then on its simulation. In practice, lining up the vertices, your mesh will be better organized and edits can be done in a more efficient and clean manner. This also allows for the edges to line up better and for the inner mesh to simulate more accurately along with the outer, therefore enabling results that do not penetrate one another.

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APEX Clothing Artist Guidelines (APEX 1.0 beta)

The red vertices are part of the inner surface and the yellow vertices are part of the outer surface, the blue line shows how the inner and outer vertices have been lined up. Ultimately when a vertex is marked as latch to nearest, it is projected on to the nearest triangle. So it is not necessary to line up the vertices to for Latch to Nearest to work. However, planning the interior geometry to line up with the exterior, both the vertices and the edges, allows for a more fluid workflow.

Simulated Vertices vs. Non-Simulated Vertices

Only the subsection of a model that is designated as cloth counts as simulated vertices. A vertex is designated as simulated if it has a max distance not equal to zero. In addition to these, any vertex that directly shares an edge with a non-zero max distance vertex is also simulated (see picture below). If Latch to Nearest is applied to a given vertex, it overrides any max distance applied to it, therefore turning its simulation off.

Any vertices that are marked as latch to nearest are not counted as simulating cloth vertices during the simulation. The number of cloth vertices that are simulating can be a useful statistic when trying to analyze performance. Any vertices on all adjacent triangles to a vertex marked Latch to Nearest is also removed from the simulation mesh.

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APEX Clothing Artist Guidelines (APEX 1.0 beta)

It is important to note that any border vertices are also counted as simulating vertices, despite the fact that visually they remain in their skinned positions.

Vertex count
Before diving into production, its important to know your target platforms and budgets. Ask yourself some questions about the production before you get too deep into design and execution. For example:

What are my target mediums, PC games, Playstation 3, Xbox 360, etc..? How many characters do we need on screen at any one time? How many will have simulated clothing? How stiff or flexible should the cloth be? What other effects will be in the game and how should the cloth be balanced against them? Typical Vertex counts for clothing asset are: o 250 for consoles o 1020 vertices for 200 based GPUs o 3000 for Fermi based GPUs

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APEX Clothing Artist Guidelines (APEX 1.0 beta)

Collision Criteria
The cloth on a clothed character is often in close proximity to the characters skin. To handle this situation properly, the simulator would have to perform collision detection and handling between two dynamically deforming high resolution triangle meshes in real time. This task is too expensive computationally even on todays fastest computers. Therefore, APEX provides three simplified techniques for collision handling, backstop, capsules, and convex. Backstop is the most efficient, with capsules slightly more expensive and convex shapes being the most expensive. A convex collision shape consumes up to 6 times more computing than a capsule shape. As described above, high resolution cloth meshes produce more interesting cloth behavior than low resolution ones. Therefore, the collision process is accelerated by simplifying the underlying representation of the character. This can be achieved with two different methods, which can be used discreetly or in concert with one another. Note Only the parts of the character that will interact with the cloth need be addressed.

Backstop
Use case: Backstop is generally used in areas with small max distance and minimal twisting motions. Areas such as the arms or upper back are ideal for backstop. A technique provided by APEX is Backstop, i.e. collision of the simulated mesh against a simplified version of the animated mesh. Note that the cloth mesh is not tested for collision against a separate mesh for the skin but against the animated configuration of itself! It is crucial to understand out this works so that an artist can reliably use backstop in the correct situations. The following schematic shows how backstop is computed:

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APEX Clothing Artist Guidelines (APEX 1.0 beta)

This technique is valid and useful when the cloth mesh is a good approximation of the body underneath it and the simulated vertices are expected to stay close to the animated mesh. It produces better results on bones that are not rotated drastically during animation. Places such as the upper back, arms, or even pants are ideal uses of backstop if they fit the character tight enough and have a short max distance applied to them. Hips and the lower torso are notoriously bad cases and usually cause artifacts. The lower torso generates a lot of twisting motions during game play, this can yield unwanted artifacts. In this example the upper cape is a good case to use Backstop because it prevents the cape from going in front of the character, acting as if there is a wall which prevents the movement of the cape from going in front of the character.
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APEX Clothing Artist Guidelines (APEX 1.0 beta)

Backstop is much faster than collision volumes because all cloth vertices have to be tested against all collision volumes while in the Backstop case, each vertex has to be tested against one single sphere centered around its animated position only. This sphere is only valid as a collision shape as long as the simulated vertex stays close to it. If this is the case, Backstop represents the body of the character much more accurately than convex shapes. The top of the cape/torso is ideal for using Backstop because the cloth is not expected to move substantially away from the animated positions. When a small max distance is chosen and Backstop is turned on in that region, the simulator will generated small features such as wrinkles as expected in a real world scenario. Larger max distance also allows the vertex to move tangentially; therefore the approximation of the underlying geometry gets worse the further away a vertex is from its normal. When the max
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APEX Clothing Artist Guidelines (APEX 1.0 beta)

distance is large, Backstop might still work, but legs are a very good example where collision volumes are the better choice. The strong bending of the hips and knee joints will strongly change the normal of the vertices, leading to unpleasant results with Backstop.

The left image shows a good combination of collision volumes (all capsules) for the legs and feet, and Backstop for the torso. The right image however shows that when Backstop is used offset behind the knees it can fold so much that neighboring vertices have opposing normals and thus get opposing backstop forces (notice the blue Backstop rendering at the knee). The artifacts are also clearly visible for the cape above the left foot. The Backstop collision is far off because the simulated vertex moved a bigger distance in the tangential plane. Backstop collision approximation becomes worse and leads to wrong collisions. Below is the same scenario but with normals turned on for visualization feedback.

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APEX Clothing Artist Guidelines (APEX 1.0 beta)

Bone Collision Shapes

Use case: Bone Collision shapes should be used in areas where the cloth has a lot of movement, such as dress, trench coats, skirts, or other loose fitting cloth, especially on the lower torso. Capsule collision shapes are the preferred method since they are 6 times faster than convex collision shapes.

Another technique is to create collision shapes for certain bones. In contrast to Backstop described earlier in this document, collision shapes can handle situations where the distance between the characters skin and the clothing varies greatly during the simulation. In such cases, the relative velocity of cloth with respect to skin gets high as well. Also, cloth and skin are not in constant contact but collide only at certain points in time. In many cases, accurate representation of the underlying geometry is not essential and can be assumed by use of simplified collision shapes. Whenever possible, capsule and sphere collision shapes should be used if it approximates the body close enough. Convex, or custom collision shapes are much more computationally expensive, but represent the silhouette of a character better if the situation calls for it.

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APEX Clothing Artist Guidelines (APEX 1.0 beta)

Animations
When properly set up the simulation is providing all the correct clothing behavior. Less time needs to be spent on the actual animating of Cloth parts, since they are going to be simulated anyways. But a few things should be kept in mind. 1. If not enough resources are available for all clothing that the game requests, some further away clothing actors will be turned off. In this case they will fall back to pure animation. Thus animation should still satisfy some quality standards. 2. If the animation is causing penetrations by itself already, it will become more difficult to find the correct settings to have a non-penetrating clothing simulation at all times. The better the quality of the animation the easier to configure the simulation. 3. Animation should avoid doing any extremely fast accelerations. Any hitching or popping in the animation will cause problems. Anything that causes big accelerations even only on some of the bones is a potential source of clothing being entangled with itself or causing jittering. 4. Self intersection of geometry should be avoided if possible, not just for the simulated mesh itself, also within the whole character. Sitting animations for example can force two
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APEX Clothing Artist Guidelines (APEX 1.0 beta)

collision volumes to intersect, putting any piece of clothing into a sandwich case. This can lead to high oscillations and jittering. This can be very difficult, since areas of a typical bipedal character such as the hips, shoulders, knees and elbows typically have some degree of self intersection due to the resolutions of geometry used, bone influence counts, and bone limits themselves. The more this can be reduced the more reliable the cloth simulation be.

Animation Sampling
In order to get smooth simulations it is important that animations are sampled evenly w.r.t. time as in this time sequence:
0.0 - 0.1 - 0.2 - 0.3 - 0.4 - 0.5 - ...

An uneven sampling like this produces artifacts:

0.0 - 0.1 - [0.1] - 0.3 - 0.4 - 0.5 - ...

The reason is that the velocities in the first case are constant:
0.1 - 0.1 - 0.1 - 0.1 - 0.1 - ...

While in the latter case, they change instantaneously:

0.1 - 0.1 - [0.0] - [0.2] - 0.1 - ...

Sampling typically happens at run time in the game engine rather than in the content creation tool. Still, the artist has to make sure that there are no abrupt velocity changes in the trajectories before sampling. Abrupt velocity changes do not refer to a restriction of typical game moment, but rather hitches and pops in the animation.

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APEX Clothing Artist Guidelines (APEX 1.0 beta)

Common Attributes used for Clothing

Density Friction Bendiness Ortho Bending Dampening Higher values cause the clothing to be heavier (basically a multiplier of gravity for this clothing model) Values between 0.0 and 1.0 control how the clothing slides when rubbing against rigid bodies, super-slipper no friction vs rough and sticky, respectively. The (inverse) amount of force applied to counter bending. A value of 0.0 is full force (less little bending), while a value of 1.0 is no force (allows the clothing to bend as much as needed). Enable a more complicated and expensive bending algorithm that is more stable for large angles. The amount of force to constrain the movement of vertices. This does not damp absolute velocity, but rather situations like oscillations at the edges of the clothing. Should not be set to 0; we recommend values above 0.2. Dampens the simulated mesh by its center of mass as opposed to the vertices. This gives the cloth a stiff, putty like behavior. It does not work well with clothing over a value around .7 and higher. Typically, it is not used for clothing, but rather other cloth effects. This also comes with added expense. The amount the vertices are allowed to separate beyond the skinned distances. A value of 0.0 indicates stiff, a value of 1.0 indicates fully stretchy. For maximum stiffness, also enable AntiStrecth (see below). Check this option to use additional code to enforce stricter limitations on stretching. A value of 1.1 allows vertices to stretch 10% of the original distances, while a value of 2.0 allows them to stretch twice the original distance. A value of 1.02 to 1.05 for many common non-stretchy clothing materials is recommended. The distance that the clothing will stay away from rigid bodies in the scene. If you are seeing rigid bodies penetrate clothing, increase this value. Cause the clothing to collide against itself, attempting to stay apart by the amount specified by the Self Collision Thickness parameter. Self Collision Use the Self Collision and Self Collision Thickness (below) to cause clothing to collide against itself in addition to rigid bodies. However self collision is quite expensive, use only if really needed.

COM Dampening

Stretchiness

Anti-Stretch

Thickness

Self Collision Thickness to be used by of the self collision. Self Collision is represented by a sphere at each Thickness simulated vertex. Simplification Solver Iterations Simplifies the clothing mesh up to the specified edge length. This can be used to help make stiffer cloth. This is achieved since there are less simulated vertices after simplifying the physical mesh. NxCloth solver iterations. Higher values can reduce stretching, but at a cost to performance. Typical iterations are set at 5.

Paint Channel Attributes

Max Distance Backstop Represents the distance that each vertex may move, represented as a sphere around the skinned location. A value of 0 prevents the vertex from moving away from the skinned location, disabling simulation for that vertex. Represents the distance that vertex may move backwards along the skinned normal. A value of 0

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APEX Clothing Artist Guidelines (APEX 1.0 beta)

prevents the vertex from moving backwards at all from the skinned location, basically chopping the sphere of Max Distance into a hemisphere; a value of 3 would allow the vertex to move backwards 3units from the skinned location; a value of -1 forces the vertex to stay at least 1 unit forward from the skinned location. Any value greater than or equal to the Max Distance value for that vertex will cause the Backstop to have no effect for the vertex. Latch to Controls whether the vertex is simulated or latched. There are only two valid values for this channel: Nearest A value of 0 (the default) indicates that the vertex should be simulated if a max distance great than 0 is applied to that vertex. A value of 1 indicates that the vertex should latch onto the nearest simulated vertex and move along with it.

For more detailed information on all the APEX Clothing attributes, please see the corresponding documentation in the Max or Maya documentation.

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APEX Clothing Artist Guidelines (APEX 1.0 beta)

Tips, Tricks, and Notes

Painting Max Distance

Paint variations in Max Distance to influence folding

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APEX Clothing Artist Guidelines (APEX 1.0 beta)

Com Dampening enabled at high values, such as .9 -1.0 may be have unexpectedly for clothing. Com Dampening is only appropriate for clothing at damping values up to around 0.75 or so depending on the asset. Typical use case is not using it on cloth. Friction at high values ( > 0.6 ) can cause some unexpected results when Stretchiness and/or Bendiness have higher values. Stretchiness and Bendiness are related attributes. Higher Stretchiness values (approaching 1.0) cause bendiness to be less noticeable. This is due to how the internal springs work on each attribute, as seen in the image below.

Turning on Ortho Bending overrides Bendiness and removes the spring relationship with stretchiness. Ortho Bending measures the angle for each edge and computes a force that
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APEX Clothing Artist Guidelines (APEX 1.0 beta)

is proportional to the angle error. It is more accurate; however it is slightly more expensive. Stretchiness values approaching 1 with high density topology are more likely to fall around a collision shape. This is due to the vertex collision against the collision shape and the vertices themselves being allowed to stretch. It is recommended that higher density meshes use lower stretchiness values to keep the mesh tighter. Backstop (also referred to as a-collision) is the cheapest method of controlling cloth collision. However it is better suited for certain situations over others. This includes semi tight sleeves, upper torso, and upper back regions. If an artist needs to go back and adjust the skinning of a character, remove the clothing modifier and ragdoll before making adjustments. A clothing template (.ctw) and a ragdoll file (.rag) can be saved out and easily re-added for convenience. If artist is using a Direct X shader to view the material in the viewport, it must be disabled in order to see the color feedback for cloth painting.

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APEX Clothing Artist Guidelines (APEX 1.0 beta)

Tutorials
The following tutorials will guide a new user through developing a clothing asset for use in production. It is recommended to follow them in order. The tutorials will begin with simple pieces of cloth that could be used as tapestries or other simple dressing, followed by low resolution simulations that may be appropriate for console development, and finish up with medium and high resolution meshes that can be used for PC gaming.

Tutorial 1 Waving Flag o Use case: Flags, tapestries, curtains, etc. o 3dsMax o Asset available in medium resolution.

Tutorial 2 Cape Low Resolution o Use case: Super heroes and/or console games. o 3dsMax o Asset available in low and medium resolutions

Tutorial 3 Trench Coat Medium Resolution o Use case: Primary or Secondary characters for PC games o 3dsMax o Maya o Asset available in low, medium, and hi resolutions

Tutorial 4 Pants Hi Resolution o Use case: Primary or Secondary characters for PC games. o 3dsMax o Asset available in low, medium, and hi resolutions.

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APEX Clothing Artist Guidelines (APEX 1.0 beta)

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