Ori and the Blind Forest Artdump
godlike master sticky
Some of us recently started putting up their work on Artstation. we are currently updating the portfolios, creating making ofs etc. So here are a few things we can already show. some other things will soon follow. We need to get clearance and finish up some of the things.
Some of it has already been shown in the past, some things might be new to you guys.
So Lets start with the obligatory coverart
created by Max and Johannes
now lets go further with the work of the individuals
Concepts by Max
Here is his initial pitch or arttest, to join the project
And some cinematic Mockups
Some of it has already been shown in the past, some things might be new to you guys.
So Lets start with the obligatory coverart
created by Max and Johannes
now lets go further with the work of the individuals
Concepts by Max
Here is his initial pitch or arttest, to join the project
And some cinematic Mockups
Replies
Now some concept art bySimon
And some individual assets, despite the mixup in the press not every asset in Ori in unique, but every room in itself is, the assets got arranged freely to create new compositions making it hard to spot any repetition throughout the game
and some of my own creations with Johannes doing most of the textures
The first initial characters have been all 3d, later on, some have been done entirely in 2d, rigged in max and deformed/animated there. i will show some of these next.
We will be showing a bit of the process of level building, tricks in the animation department and how some of the setups have been done inside Unity
oh some stuff I have been working on in my freetime
And here is some of the Logo and UI work by Anna Jasinski
some making of bits
Some info regarding animation from James talk, because people wanted to know why it looks so smooth. And also why the characters are 2d not 3d. A bit of the answer for both is "free awesome motionblur"
This is how the animation looks without motionblur, rendered at 30fps for this example
and this is how it looks with motionblur
ingame, every character is prerendered sprites, even the huuuuuge owl Kuro is one sprite running at 30fps, still madness thinking about it.
So deformable topology is much more important than saving polygons. in fact, every character is subdivided as well. so a character rendered out to the spritesheets will have a lot more polygons that you would possibly use in a realtime environment on a character of Oris size.
Nothing was sculpted on these characters, the sculpted ones on the bottom are for a maquette i am working on.
I will add a few funny info bits with these meshes and how animators just didn't care about topology in many cases.
Because 2d is king, 3d is just the needed medium used for flexibility.
Great work to everyone involved
Also, those sprite sheets must have been massive!
Does have Moon Studios next project and how can connect with them? (I tried but failed to find anything). I'm really want to work with something soulful...
Big thanks! Best!
Congrats team, you did an amazing job and i've loved every second of this game
Anyways, great stuff and a great game
thanks a lot guys
@.leshiy you could try twitter, or facebook, or reach out to thomas directly, he is on polycount as well, but also on NeoGaf
@WipEout: i'll ask James
@TrevorJ: anything specific you would like to have broken down?
@spacefrog: why? it could have been achieved in pretty much any full 3d software
Once more, looking really awesome and while the individual assets can totally stand on their own it's also a great example for the sum being more than its parts.
Haven't played it, but from the images and videos it also feels like you were free to polish until you felt it was "done". Would you say that's true or are there still areas where you as artists would say that you would have liked to invest a bit more time?
@Noren: thank you! well you know it, there is always some stuff that can be better. Looking at my work the past days, it really shows that some of the models are like 4 years old by now. Obviously i would do things differently now.
For instance I wish we had the possibility to update Naru with the proper fluffyness she has on the cover or add some hint of fur to Oris Textures for the closeups. But rerendering everything isn't something you just do.
Also the animators constantly broke my meshes for better shapes ingame, which would cause serious texture stretching with too much detail applied for the closeups. So we decided to keep them as they are.
Effects for instance are something I would have loved to see an experienced FX artist do, well maybe next time
In general it is crazy how the game grew better and better even over the past few months, i didn't play the game in a while and dang, what the 3d folks did polish wise is kick ass.
and yeah haha, daf for the win
Yes of course, i know
But i remember having some disputes with Thomas years about 3ds Max and it's animation tools. So i especially noticed the mentioning of Max above...
Welllll, Thomas is Thomas, very passionate about his stuff
But he neither modelled nor animated on Ori, in the end from my freelance experience, as long as you can deliver to the output engine, any 3d software works. In this case it was much easier for us to stick with max. So far our pipeline is max based, and the animators also use max, so it was a no brainer. For UE4 for example, using their rigs i'd just pick Maya to stay safe. But i certainly would not mind doing that in max as well ^^
I am curious about the mixture of 2d and 3D in the game engine. Are you using 3d characters with 2d background elements? If so what was done depth wise with your parts to sell the illusion of depth in you world?
Thanks again, the work is just beautiful!