Prototype 2 – Amaya Look Dev
I sculpted this from scratch and textured this using photographs they supplied me of an actress they had cast. In the image I’ve color corrected her eyes a bit in photoshop but other than that she’s straight out of Mental Ray.
I got to help a lot with D4 while with Central Media at Microsoft Studios. The project was so quirky and so fun and Swery’s team were very appreciative of any help I could give.
The area where I had the most impact was helping the team use Unreal. They didn’t have a lot of experience with Unreal 3 so there were a ton of little issues I helped them track down to get perf and the look they were after. Above are some images of some scenes I lit to give them an idea of how to set up the scene technically and to give them art direction that the publishing art director approved. A lot of my suggestions were implemented in the final product and the team was able to obtain the frame rates they were after.
This image was the result of some testing I did in Marvelous Designer a while back.
Simulation in Marvelous Designer is extremely fast due it’s ability to up the resolution of a garment once the designer has got a good fit. You can continue to bounce back and forth between high and low resolution cloth making getting a good drape pretty quick.
The second image down is a modification of the design in the other 3 images and was done in a matter of minutes. Normally it would be pretty simple to sculpt a fold like this pretty easily, but Marvelous Designer gives you the insertion folds automatically where it would be tougher to sculpt by hand.
The image on the bottom shows off the software’s strengths of handling complex collisions. In this case the shirt inserted into the pants and both resting on the auto plane floor.
The software is fairly straight forward and easy to use. As with most things, it’s really important to think ahead about what you can fix by sculpting instead of trying to get perfectly tailored panels. I spent a ton of time adding a fly cover, pockets and other small details I felt would effect the way the pants wrinkled and it was definitely more trouble what what it was worth. The exercise was great but in the end it would have been much easier to give the garment just enough to fake the effect and finish it by sculpting in the rest by hand. Lastly, I recommend watching the tutorials on pattern making and even getting some pattern books to help with inseams and sleeves though as these greatly affect how the fabric bunches.
My buddy Charles Cox and a few people are working on a game called Habitat that I got the opportunity to do some look dev for. Really cool concept, where in the far future people are trying to survive in earth’s orbit using only the trash and junk we tried to get rid of long before.
Tight deadline on this. I got to use Substance Designer for all the texture work. Renders are from Maya Viewport 2.0 using the default dx11 shader (love it!). Would have loved to take this another 20% but working in my spare time I to move on to other things…bummer. Anyway check out Habitat’s Kickstarter.
This was a redesign challenge I did while at Activision. The goal was to try to maintain visual cues of the character but change the design that could be feasible for a feature film. The project was a great exercise in character design because I was able to prove out many different concepts to the character lead from zbrush sketches before moving on. I’ve since used the process on many different projects when trying to nail the visual design of the character including many incubation projects at Microsoft Studios and Killer Instinct.
Skarlockthrall is another character I got to do for Whitemoon Dreams. Man, I really dug working with those guys! They gave me a lot of freedom with Skarlock since we only had a sketch of a bust (maybe from Privateer Press?) and images of the miniature. I worked closely with the art lead over there to nail a look that was faithful to the table top game and had some flare that could would look cool in game.
Like the others, game renders were done from marmoset (though the ue4 version wasn’t far off), and the sculpt was rendered in Maya using Mental Ray.
This some ideation work I did a while back. I quickly sketched these heads in Zbrush. If one showed some promise I did some additional Photoshop sketch work to help realize mood. The second image was one I took a few hours on so I could explorer an illustrative look while also playing with some hair render stuff.
Marvel Ultimate Alliance 2