2: The map is entirely 1:1 with the original, with 100% certainty. Now I should probably explain my method.
-A: Import original game mesh using 1964 and an exporter which dumps all 3d data into a .WRL which I then dump into 3ds max for editing, I then delete all details which are not of the back-bone of the map.
-B: I then spend a large amount of time breaking the map into reasonable 4 or 3 sided convex shapes (sometimes more but don’t tell no-one), splitting up the mesh, extruding a lot, welding a lot of vertices and other tedious work, making sure each individual texture will have its own face to be applied to. I am aided by a tool I found online (a max-script) which can take a selected object and make a convex solid from it.
I uploaded the maxscript if you’re interested. http://files.filefront.com/QuickHullWorksms/;13112744;/fileinfo.html
-B(2): Another option is to simply delete any non-level objects in the rip, and export it as a model. Then I can import it into hammer and use it as a reference to make on-grid geometry that is nearly identical to the original. I applied a material to this model using the “eye” shader instead of “lightmappedgeneric”, because it glitches it and makes it appear in wire frame. This method is probably smarter. If you did it this way you can skip to step E.
-C: This is exported as a obj, imported into XSI: Mod tool and exported as a .VMF ignoring all convexity checks, otherwise it will refuse to export at all. Once imported into Hammer, more then likely 50% of the brushes will utterly fail, distort, skew and break.
-D: I spend a good deal of time in max and hammer checking broken brushes, finding them in max, turning edges and checking convexity in great detail or other stupid mistakes, go through a lot of color coding to stay organized. I go through many many tests and troubleshooting until my brushes reach about a 95% success rate, then I do whatever I can do create any other broken brushes myself. A good example of such is the roof on the mayors house. Which is a large displacement, which i used the original (yet broken) brushes as a reference to make it very accurate.
-E: I then convert the textures, the N64 uses complex blending and tiling methods that don’t exist in Source. I do my best to re-create these In Photoshop. Sometimes I have to sacrifice small file sizes to get the tiling and details correct, but the textures are all so low quality that the overall file size is kept low. Nintendo uses a lot of tricks to achieve the effects we see on their low end consoles, It’s actually quite remarkable sometimes. I then apply the textures by eye, using the game as reference.
-F: Convert all the necessary models, make necessary animations, and add other map details, at this point everything is essentially done.