This is my submission post for my 3D asset. Once i’d rendered out my model (shown in previous post), i exported it to my Sketchfab account. Below is the model itself, which you can zoom in and view from different angles.
I’ve put together a powerpoint of my production pipeline. This shows the development of my asset, from the original concepts and moodboards to the final renders:
Overall, i think this project has gone really well. Since my specialism isn’t 3D modelling, i’m not used to making professional assets, but i feel that i adapted well to the production pipeline. The modelling process in Maya was okay; cacti shapes aren’t too complex, so creating one wasn’t too difficult. It was my first time texturing a professional model in Substance Painter, and i found it relatively easy to do. The fact that you can paint directly on the model is very useful, and fun to experiment with. Rendering my model also went well – the settings in Substance were easy to understand, and i could move the light source without problem.
I did come across a few issues during the process, however. The first of which was when i was about to start the high poly version, transferring the low poly from Maya to Mudbox. Once in Mudbox, the low poly had a bunch of errors, and wouldn’t sculpt properly. This turned out to be because of the creases, so i had to go back to decrease a little and export it again. Another problem i had was with baking in Substance Painter. When i tried to bake down the detail onto the low poly, the surface would look glitchy. This turned out to be a problem with the fbx files, the solution was to fix the hierarchy in Maya and then export it as an fbx again.
When i make a model in the future, i should find a quicker way to UV unwrap (like automatic unwrapping), since doing it individually takes a while. I would also organize the hierarchy in Maya better.
Recently i found out about a program called MagicaVoxel, which is a program where you can build things with voxels. Voxels are basically the 3D version of pixels – cubes. In the program you can build anything with these blocks, like in minecraft. You can stack, erase, or paint them, and there is even a set of tools that allow you to get high quality renders of your model. As practice, i tried making the character Frisk from Undertale. I really liked how it turned out, and how i was able to add different coloured lighting and shadows.
This way of sculpting can be used in industry; games like Crossy Road have been made with voxels.
A few weeks ago, we were given the task of writing a 2000 word essay on an emerging technology. I chose to base my essay on hand drawn games, and went with this title:
‘Since the rise in popularity of hand drawn games such as Cuphead, will more developers opt to draw their games physically rather than digitally?’
After finishing the essay we had to do a presentation on what we had researched. In the presentation, i talked about hand drawn games that are currently popular, the history of traditional animation, and new technology that artists can use. Doing presentations like these is beneficial to our learning – we gain confidence and it prepares us for presenting things in industry.
Sound that originates from a source in the scene, this doesn’t have to be visible. In a forest this could be birds chirping, branches cracking, or characters talking.
Non Diegetic Sound
Sound that doesn’t belong in the scene, which is never visible. For example, this could be music to set the mood, sound effects for dramatic effect, or narrator’s commentary.
In Ruin World, we will mostly have diegetic sounds; e.g. for the sandstorm, pots and pans, etc.
- There are infinite lives
- Light lanterns to create checkpoint
- If caught by a monster you die
- Sneaking reduces the noise you make
- The Janitor
The Maw, a huge submarine
Escape the Maw
How the level progresses
- Six wakes up in The Maw
- Six meets a gnome (next to lantern)
- Leeches try to kill Six
- The Janitor chases Six
Storyboarding for games is entirely different than storyboarding for films. In a film you can decide what shot a scene will have (e.g. wide shot showing area, or close up), whereas the camera angle is constantly changing in a game, and the character might be in the wrong place.
In our lessons with James we have been looking at Emerging Technology. Recently we have been set the task of writing a 2000 word essay about an emerging technology or trend in the Games, Animation and VFX Industries. We were given examples of topics such as Virtual Reality, Mixed Reality, Photogrammetry, etc. Since i am aiming to be a 2D artist, i wanted to choose a topic related to that. The title i decided on is:
Since the rise in popularity of hand drawn games such as Cuphead, will more developers opt to draw their games physically rather than digitally?
- Introduce topic
- Current hand drawn games
- History of hand drawn animations (Disney)
- New technology (tablets, lightboxes)
- Future of hand drawn games (opinion)
(horror games popular currently)
- Microsoft Hololens
- Magic Leap
The future of storytelling will combine the virtual world with the real one