3D ART POST CUTTHROAT TEXTURE

 3D ART POST CUTTHROAT TEXTURE

My goal with the Nerf Gun project was to get far enough ahead of deadline so that I had some time to add some mods to the gun and alter its design for what its created purpose might be within a game.

I was imagining a sci-fi type of game that has werewolf and vampire enemies that you must slay, and also hybrid creatures between the two species that have both abilities. The Underworld films come to mind and I was also recently watching a tv series The Originals that has a hybrid species.

In terms of defeating the hybrids, you would not only need silver bullets, you would also need a blade that could decapitate the creature after it was injured by the bullet. I designed the Cutthroat for this reason so the player can shoot the hybrid, and then use it like a dagger or sword to remove its head.

Cutthroat design I-ray renders:

COMMON ART WEEK 3

 Common Art Week 3

This week I worked on rescaling and resizing the room to create more space. I was able to achieve this by moving the furniture outward so that the interactable elements are still within reach of the player, but the back half or so of objects can be beyond the 10 foot experience as long as they are visible and usable. For instance with the bed maybe the player will sit on the edge of it, so that spot or place is within the space. (I did not rebuild the lighting because Kelsey wanted to get into the space to adjust the lighting, so that's why you will see it in the image, but in future captures for portfolio I will of course build the lighting!) The doors were also resized to fit without gaps but I left it this way to get feedback from our lead Desiree first before submitting the new adjustments to Perforce.

I also worked on editing more WAV files, getting crisper sound on certain of the ambient soundtracks. To achieve a more realistic sound of being in the hotel room at night, I used certain types of low noise with ambient quiet room sounds, and to keep the listeners interest, I have every so often the sound of the outside city street bleed in through the peripheral background, so that over time, the player is hearing a soundscape the evolves instead of just one type of static reoccurring sound.

Majority or bulk of work I did in terms of sound was trying to create the two gun shot sounds. The first gun shot sound for Anton's pneumatic weapon required maybe 10 different sounds. I combined certain pneumatic hiss noises with types of hydraulic pump sound to hone in on what it sounds like. There is also a metallic noise when the keyhole mechanism is blasted out of the door itself which may require more work to find that exact ring of the metal, but with what I have so far it is significantly close to the sound in the film scene. I also boosted the levels of most sounds so we can pull them back in engine if need be, but it is good to have a robust full sound at a good strong level first, you can always dial it back.

3D NERF GUN GAME RES & UV

 3D Nerf Gun Game Res & UV

Delivery 3 - VR Video UE4 Notes

 Delivery 3 - VR Video UE4 Notes

Jacob Stone - Common VR notes from Robo Recall

 

One of the most impressive things I learned from the Unreal video is that you can use a shader in your environments to create the impression of 3D reality. As you move side to side or rotate your vision in the Oculus, the illusion of a dimensional space with depth like a 3D cube can be placed on a single plane, thus freeing up processing power. The shader creates the visual effect instead of having actual 3D vert modelling which would make the project run slower.

I also learned a ton about shape language and detail in terms of what as a 3D artist I need to be thinking about when making models. The robot examples showed that you need to be aware of how the person playing the VR game will see in terms of perspective. Each of the robots are different sizes so that they are easily distinguishable. There was a robot designed for speed but shorter than a human, so most of the detail area is what is closest to the VR player eyes. The top of the robot has more interesting detail and design whereas the bottom half of the robot will be less interesting because the player will not be seeing that part of the robot as much as the top side. The inverse is true of the giant big bot, the top of it was very boxy and solid planes but the mid-section of the robot has more detail because that is at the eye level of the player.

Another important distinction made within the VR game that I found insightful is the idea that players who are shooting or killing some enemy within the game prefer that it does not look or feel too human. It turns out even if the enemy is a robot but it has human-like qualities people will not want to play the game or kill as many enemies because they feel bad about doing the action. The VR team was able to get around this issue by making sure the robots felt like robots and added more sinister qualities to enhance the face for instance and keep it feeling as maybe more of an unconscious systematic type killer that way you will not feel bad for slaying these aggressive animatronic atrocities.

It was interesting to learn how they create highly accurate prototype meshes before they get to the high mesh creation. It is sort of like creating the game res model before doing the high res, which is the process I experimented with on my Nerf Gun and have found this type of workflow works best for me because as I’m constructing the proxy my mind is already seeing how I am going to create the kind of topology I will need and how the UVs will layout. This method also allows the animators and designers to have the prototype model in the VR experience sooner so they can immediately see what is and is not working in engine. By getting the game res or prototype model in engine right away the higher res detail that takes time to create can take place after the model is already functioning for the rest of the team.

                My favorite takeaway from the video is easily the concept that the 3D artists used real reference for how they constructed the world. It is in my goal as a 3D artists to approach realism and to be able to work in film in the industry. The way the VR experience was constructed utilized existing architecture to enable the artists to work closely with scale and create accurate representations within the VR world is something I am passionate about. I enjoyed watching this video because it shows how up and coming VR experiences are not only similar to real world gaming experiences but as an artist this is an exciting field to be entering at this time.

3D ART WEEK TWO GUN

3d Art Week Two: High Poly

3D ART NERF GUN

 3D Art Nerf Gun

Proxy of nerf gun in Maya.

Renders of current gun in Arnold.

VR Immersive Experience

 VR Immersive Experience

Team Three: Individual Contributions I

During this sprint I focused on gathering additional reference images for the bedside lamp and the folding luggage rack. I proxy modelled both assets and will continue to work on the low res and high res models this week. I also created a quick pillow proxy model to replace the cube pillow.

It was difficult to find the exact rack in the scene so I used different images found online. I was able to model the lamp with screenshots of the film prop and a diagram of lamp parts I found online:

The bedside lamp proved to be the most difficult of these three assets with each of the different components that assemble to get an accurate representation for the VR scene. The resulting work will be important to the narrative of the experience and one of the interactive elements for the player.

3D ART FINAL KNIFE RENDERS

 3D Art Final Knife Renders