I had the immense pleasure to be one of the 11 artists invited to be part of the Art of 3D Environments Exhibition, hosted by Gnomon Gallery in Hollywood.
Together with me will be Alex Alvarez, Toni Bratincevic, Francesco Corvino, Marek Denko, Devon Fay, Dragos Jieanu, David Lesperance, Stefan Morrell, Nicolas Pierquin and Helder Pinto.
If you’re close to California at April (2-11), It would be a honor if you come by to take a look in our works. 😉
This is the most important fact of 2015 that everyone should know, we’re very sorry for the extreme lack of updates in the past months days, but fortunately WE DO HAVE A GREAT EXCUSE! or a bunch of excuses, but all great, anyway.
Against all beliefs, we didn’t put everything aside to become a team of drug dealers or cat owners, but instead, we certainly made a crucial step in our lives for both our professional carrers. Want to find out? 😉
And here we are with the second part of our candles W.I.P post!
A big amount of stuff has changed in the meantime between this and the first post, I dropped out the first candle concept I had in mind and decided to follow another direction, after a bunch of thoughts and tests on scene layout and optimization.
Even with a highly optimized geometry from Meshlab, a proper melted candle didn’t seem to be very friendly for realtime purposes, a single candle with some melting wax had about 1k triangles. For a single asset: OK, but for something that need to be scattered around a good amount of times? hmm, nope.
In the meantime, what I had discovered in my tests is that with subsurface scattering you could just stack several candles together and they would still look coherent, with an almost seamless transition between them, so I had the idea to model only the candles as a group of assets, and a bunch of melted wax set as a complement. This way I’d be able to create a scene with several melted candles together and stuff like that without the huge drawback of a performance, hit as we’ll just have extra geometry where we really need it. Continue reading →
Hey guys! I wrote an extensive guide about the next gen asset pipeline for my role at CGMasters, I hope I could clarify some doubts about the general pipeline of game art, and also show my general workflow when working in our current game, Arena:
Hey there timelapse voyeurs! For the first time in my life I decided to take guts to record myself doing some 3D stuff in a timelapse. I was really scared to be honest, this is some kind of nerd voyeurism, your freaks, but here we are, I got it!
Maybe you could learn something from my mistakes @ 15 fps
I’ll try to push myself into recording more timelapses like this one, if you guys like it. I’ll just need some more practice and time to get used to have a program recording all the crap I do without doing even more crap because of knowing it.
This ornament will be a (small) piece of the fence I’m making, maybe I’ll even record all the process of making this asset, from modeling to bake and then make a video series with them? Who knows!
A good amount of hours condensed in 8 mins, a bit too fast, but I’ll take note on this, anyway, Enjoy!
Another week passes by, and more work has been done! This week was kinda short, since both Guilherme and I had other stuff that had to be done, so the time was more scarce than we thought it would be.
To help on this matter, we decided to spend one entire night into finding a good project management tool online which could be hosted on our server, and we found it! We’ll talk more about our project management on a upcoming post this week (or month).
* Well, actually Gustavo has a test today (he does Computer Science) and I’m taking the boat here (since I’m a bum without collegWAIT WHO SAID THAT) *
Sculpting textures is fun, sculpting tileable textures not so much. Unless you use a software like Zbrush with its amazing 2.5D toolset for making tiles, you probably have already had a bad time trying to figure out the best way to tile something in your work. And that’s all about my last week here at the studio, after a loong time without having to touch tilling pipelines (working with unique texture maps can be addictive) I found myself in a situation that I haven’t seen for a long time: creating a full tileable texture. I’ve almost forgotten how did I used to do that back then, so I’m back to square one, I had to do some tests until find something good enough to not make me mad.
Puns apart, since I started to make game assets, Mudbox became a primary tool on my workflow. To be honest, I’ve only made a few game models so far, If you look into my portfolio you would see a bunch of high-poly renders that surpass the 5.000.000 poly count barrier, so this is really new for me, and I’m really LOVING it, every day it’s a new lesson, and I feel compelled to share with all of you the knowledge that I acquired, that’s the reason why I have made the earlier article on scanned assets, and I’ll be releasing a game pipeline article on CGMasters in a few days, so I’m really excited to share my adventures on the low poly world with you, and speaking of it, here’s a candle model I’m doing for our game, as my first environment in todo list is a Graveyard, how cool would it be to have some candles melting into the tombstones? That’s what I call mood, damn.
So I just started with a very ugly raw base mesh to work further on Mudbox. Continue reading →
Here at the studio we are always looking into new ways to do things, and as I’m working on some graveyard assets for Arena at the moment, I thought it would be a cool idea if I could just go to a cemetery and scan some statues to use as a base to start my models. Starting everything from scratch is cool, but when you need a huge amount of assets with a huge amount of details, you’ll have to start looking for other ways to provide quality content in time.
So here’s the deal, you can start your organic models either sculpting it in a app like Zbrush, or you can take a scanned model as a starting point of your high poly mesh. The first option is nice if you have enough time and good-fast sculpting skills, though in either case, you’ll need a solid organic modeling background, anyway. (unless you use decimation, CHEATER!)
I ended up deciding to use a bit of each, not least because it’s not everyday that we found a 10-feet goat paw demon statue in a graveyard, unless you live in Norway (hail satan).
As a proof of concept I decided to make a ancient asset using a scanned model from Abby Crawford, a archeologist with amazing scans on Sketchfab.
In this article, we will be going through the steps to create a asset using scanned data, and with some useful tips to suceed on it, so without furter ado, here we go: