Still a lot of WIP stuff. The red car is still placeholder, the police car is the untextured lowpoly already. And some details still missing, but we're on it
Yeah, this is super amazing. I love that you guys got your scene blocked in and represented in 3d early on, everything from the lighting to the color choices underscores the mood. Looking through your WIP stuff, it looks like you guys really focused your time where it really matters, and the end results are gorgeous and really shows. Can't wait to see the final work.
Thx guys Your comments really help. We couldn't put SO much time into that project without the immediate feedback!
Dan: There will be 3 shots. The one you are reffering to is kinda the detailshot where we want to get as close as possible to the cars and characters because the other two show much of the environment and the "scene" itself. I hope you will feel differently seeing all 3 together later because I don't think we cannot change much in regards of the framing anymore Nevertheless your feedback is appreciated. Stay tuned for the next iteration on this one. Will post it tonight.
Drywall: Thanks so much. I pulled a couple of all nighters on this already and we are really close to the deadline. It really was and still is a lot of work.
Scott: Good idead. I will try it out.
Cheimcal Alia: And thx to you None of us is a concept artist so we really didn't have much of a choice. But thats also the beatuy of cryengine. You can setup things SO quickly. Had we done concepts, I think the scene would have turned out completely different anyways, because although we had a rough Idea at the beginning we soon realized that we can pull of much more than expected.
At the beginning the idea was to make ONE car crash trough a little wooden fence. But that quickly turned into more before we even started whiteboxing.
I'm planning on creating a video of all the progress steps we have made. From whitebox to final so you can see what changed in the seen from week to week. It's roughly 20 shots and I didn't want to spam the thread. So you'll get them all at once. And now I feel bad for teasing ...
Wow! This is looking soooo good. Really love all the attention to detail, the water spray from the cars is a really nice touch, is it just a mesh with distortion on?
Stunning work! It's really cinematic. I know this is a WIP and probably you're about to add what I'm going to suggest but anyway: I would add couple police guys behind the cars on the left with guns targeted on the villain's car to make it looks like an ambush. And also who is driving the police car? Keep up the good work.
Obscura: Too much man. Don't even know what to respond to that. thx
chaosblade: It's a refraction plane (cryengine glass shader) It's actually just a normalmap.
polyly: CryEngine :thumbup:
gametime: You should have 3 variables (FocusDistance, FocusRange and BlurAmount) in trackview (all shots are set up in trackview). Start with a high BlurAmount and a small FocusRange. What way you can clearly identify your FocusPoint. Increasing the FocusRange will increase the sharpnes in both direction, towards and away from the camera. If your FocusDistance is too close to the camera you won't get any bokeh because the camera lies IN the FocusRange. All values should be in meters so try some bigger values
Good point for the guys upstairs. Will check it out.
Maximum-Dev: What brought you to this wild assumption? :shifty:
The_Distiller: Thx
riot: CryEngine :thumbup:
TheWinterLord: Thx! I'll make sure you guys get some 4k versions for such things!
rambooze: Yep, Ron has already worked on a police man but it's not finished, so it's not in the shots,yet. It's one of the last details missing from the shots for sure. Thx for the feedback!
I dunno if this was covered yet but just to be sure: Are the guys upstairs posed yet? I can't see it properly, that's why I am asking, but it appears as if they are still in the default pose?
Anyways, really cool stuff. Also +1 on a 4k-wallpaper version!
One small crit (and it was hard to find) : I'd probably work a bit on the character heads to give them a bit more expression, especially the dead guy hanging from the window. He looks like a mannequin atm ^^
Mh. He wasn't supposed to be dead but only lose his gun because of the impact. But I have to work on their poses now anyway so I can see what I can do. Nice find, I do actually see it now, too.
@freakadelle, I don't know why I have the feeling of an internal build of CE3 (no offense, Im 90% wrong)
The quality is higher than most of the up to date games, really nice work.
bang up job, incredibly quality assets. what is it about wet cobblestones? being a player in that space and moving around on the rain wet street with the neon ahead--totally awesome. can't wait to see that kind of thing on an oculus, i mean right?
composition is still so much below the rest of the work quality, though. let's talk about shot 3. the whole line of action is parallel to the camera, but deep in the picture plane. what's the entire diagonal left lower third doing at all but showing us some DOF, and the upper story of the building with the people doing but "hey look at the extra work in this scene" ?
the picture can't decide if it wants to show us the action, or show us all the work that went into the surrounding env detail, so it's showing us both, and satisfying the viewer with neither.
try overlaying that great equalizer of composition, the golden spiral, onto the image in any orientation. at best, the center of the spiral lands on the marquee or the rear police car tire, otherwise it lands on some part of that endless, dead space. our eyes have so much to look at, but don't know where to go. move that camera!
i know it's tough since you've done so much really quality work, but you have to take your enviro artist hat off, and put on your director of photography hat.
shot 2 is marginally better, yet somehow even less dynamic. you're giving us a symmetrical, dead-center composition of a car crash, which is the best possible way to suck any motion, momentum, energy out of the event.
these are huge, heavy cars, one of them is tilting violently, yet the entire thing is as static as a marble column. centerline between the cars, equal space to either side means compositionally there is no tension, the cars are frozen in place.
your angles are not saying anything, not implying motion, and the framing is especially deadly.
these are bad photoshop distortions i know, but tell me these don't sell the motion of the car crash better:
i know you can do so much better than what you've got, and what i've comped. the important part is to remember that unbalanced framing = motion. add more space to the right of the cop car to imply the distance it has traveled in such a short amount of time. accordingly, take away negative space from the gangster car to show just how much they've run out of room, run out of time, run out of everything! their time is up. sell us their desperation with your use of framing--without a POV shot you can make us feel that panic.
you have a winner on your hands, but you've got to frame it up right. keep going, can't wait to see the final images on this one
Hey gauss, first of all: Thx for amount of thoughts and time you put into your feedback. I want to make sure that you know that I generally agree with your points, but in this case have to argue against them.
It basically all comes down to this: "but you have to take your enviro artist hat off, and put on your director of photography hat."
I have to disagree here and that's because of the nature of this contest or the way we see this contest. We talked about this right before we started working on our scene and came to the conclusion that we will not go down the full action cinematic road but that we want to portrait game art and at least try to make the viewer feel like a player.
For us all great games share a vast amount of detail. So in opposition to a movie scene approach we decided to try to pack each shot with as much detail as possible so that players/viewers can spend quite some time in the shots as they would in a scene in a game.
So don't get me wrong, your points are valid and I expect you to argue that the one thing doesn't rule out the other. But in our case it kinda did, so we tried to frame the shots with everything in mind. The props, the heros, the scene, the game, the escape.
I hope that explains a lot about shot 3, the one with the road block. We didn't want to cut too much off of the cinema or the roadblock or other things plus keep a "players perspective". That doesn't leave much room.
Shot1 was not really posted yet so we shouldn't talk about it. Will post it later today and maybe it will please you more than the other two
Shot2, the symmetrical one was chosen because it reminded us of old sidescrollers and beat em up scenes. It's an hommage to those and therefore the camera was set up like a non-dynamic game camera on purpose. I agree that it loses motion by doing this, but in my eyes it gains a littlebit of flair by trying to "remake" "old" game art. I'm sorry, I don't know how to explain it better We also have been told that it would make a nice wallpaper, which in our eyes, is a strong argument for a game art presentation.
I get the idea of wanting to pay homage, but only do that for one of the images. But it's not just a movement issue, there's balance issues too. You should take advantage of all the visual tools you have to push what is already going on in the scene.
I agree that shot 2 lacks motion, but there's something quite pleasing about the symmetry. The compositions of Gauss's camera angles are more genuinely exciting though.
I'm looking forward to seeing what shot 1 now with all the work you've put in since.
We talked about this right before we started working on our scene and came to the conclusion that we will not go down the full action cinematic road but that we want to portrait game art and at least try to make the viewer feel like a player.
Why not both? 2 beauty shots is a minimum, not a maximum, I bet most people don't mind more eye candy :poly124: especially when your entry is so detailed.
Replies
Another perspective
Still a lot of WIP stuff. The red car is still placeholder, the police car is the untextured lowpoly already. And some details still missing, but we're on it
Water needs more splash I think. But that may be one of things you're still still working on?
Fantastic work guys, really good stuff.
Dan: There will be 3 shots. The one you are reffering to is kinda the detailshot where we want to get as close as possible to the cars and characters because the other two show much of the environment and the "scene" itself. I hope you will feel differently seeing all 3 together later because I don't think we cannot change much in regards of the framing anymore
Drywall: Thanks so much. I pulled a couple of all nighters on this already and we are really close to the deadline. It really was and still is a lot of work.
Scott: Good idead. I will try it out.
Cheimcal Alia: And thx to you
At the beginning the idea was to make ONE car crash trough a little wooden fence. But that quickly turned into more before we even started whiteboxing.
I'm planning on creating a video of all the progress steps we have made. From whitebox to final so you can see what changed in the seen from week to week. It's roughly 20 shots and I didn't want to spam the thread. So you'll get them all at once. And now I feel bad for teasing ...
Notice couple new details in both and a lot of new stuff in the left upper corner of the second one. Although tweak lights here and there
how did you get the dof in the front? cause in the sdk, i only get dof for objects that are in the background.
and something constructive: the guys upstairs, at least some of them, should look out of the window, bc everyone watches when the shit goes down.
Nice work btw, havent been satisfied this much for a long time.
Obscura: Too much man. Don't even know what to respond to that. thx
chaosblade: It's a refraction plane (cryengine glass shader) It's actually just a normalmap.
polyly: CryEngine :thumbup:
gametime: You should have 3 variables (FocusDistance, FocusRange and BlurAmount) in trackview (all shots are set up in trackview). Start with a high BlurAmount and a small FocusRange. What way you can clearly identify your FocusPoint. Increasing the FocusRange will increase the sharpnes in both direction, towards and away from the camera. If your FocusDistance is too close to the camera you won't get any bokeh because the camera lies IN the FocusRange. All values should be in meters so try some bigger values
Good point for the guys upstairs. Will check it out.
Maximum-Dev: What brought you to this wild assumption? :shifty:
The_Distiller: Thx
riot: CryEngine :thumbup:
TheWinterLord: Thx! I'll make sure you guys get some 4k versions for such things!
rambooze: Yep, Ron has already worked on a police man but it's not finished, so it's not in the shots,yet. It's one of the last details missing from the shots for sure. Thx for the feedback!
I dunno if this was covered yet but just to be sure: Are the guys upstairs posed yet? I can't see it properly, that's why I am asking, but it appears as if they are still in the default pose?
Anyways, really cool stuff. Also +1 on a 4k-wallpaper version!
One small crit (and it was hard to find) : I'd probably work a bit on the character heads to give them a bit more expression, especially the dead guy hanging from the window. He looks like a mannequin atm ^^
Good job guys!
The quality is higher than most of the up to date games, really nice work.
composition is still so much below the rest of the work quality, though. let's talk about shot 3. the whole line of action is parallel to the camera, but deep in the picture plane. what's the entire diagonal left lower third doing at all but showing us some DOF, and the upper story of the building with the people doing but "hey look at the extra work in this scene" ?
the picture can't decide if it wants to show us the action, or show us all the work that went into the surrounding env detail, so it's showing us both, and satisfying the viewer with neither.
try overlaying that great equalizer of composition, the golden spiral, onto the image in any orientation. at best, the center of the spiral lands on the marquee or the rear police car tire, otherwise it lands on some part of that endless, dead space. our eyes have so much to look at, but don't know where to go. move that camera!
i know it's tough since you've done so much really quality work, but you have to take your enviro artist hat off, and put on your director of photography hat.
shot 2 is marginally better, yet somehow even less dynamic. you're giving us a symmetrical, dead-center composition of a car crash, which is the best possible way to suck any motion, momentum, energy out of the event.
these are huge, heavy cars, one of them is tilting violently, yet the entire thing is as static as a marble column. centerline between the cars, equal space to either side means compositionally there is no tension, the cars are frozen in place.
your angles are not saying anything, not implying motion, and the framing is especially deadly.
these are bad photoshop distortions i know, but tell me these don't sell the motion of the car crash better:
i know you can do so much better than what you've got, and what i've comped. the important part is to remember that unbalanced framing = motion. add more space to the right of the cop car to imply the distance it has traveled in such a short amount of time. accordingly, take away negative space from the gangster car to show just how much they've run out of room, run out of time, run out of everything! their time is up. sell us their desperation with your use of framing--without a POV shot you can make us feel that panic.
you have a winner on your hands, but you've got to frame it up right. keep going, can't wait to see the final images on this one
It basically all comes down to this: "but you have to take your enviro artist hat off, and put on your director of photography hat."
I have to disagree here and that's because of the nature of this contest or the way we see this contest. We talked about this right before we started working on our scene and came to the conclusion that we will not go down the full action cinematic road but that we want to portrait game art and at least try to make the viewer feel like a player.
For us all great games share a vast amount of detail. So in opposition to a movie scene approach we decided to try to pack each shot with as much detail as possible so that players/viewers can spend quite some time in the shots as they would in a scene in a game.
So don't get me wrong, your points are valid and I expect you to argue that the one thing doesn't rule out the other. But in our case it kinda did, so we tried to frame the shots with everything in mind. The props, the heros, the scene, the game, the escape.
I hope that explains a lot about shot 3, the one with the road block. We didn't want to cut too much off of the cinema or the roadblock or other things plus keep a "players perspective". That doesn't leave much room.
Shot1 was not really posted yet so we shouldn't talk about it. Will post it later today and maybe it will please you more than the other two
Shot2, the symmetrical one was chosen because it reminded us of old sidescrollers and beat em up scenes. It's an hommage to those and therefore the camera was set up like a non-dynamic game camera on purpose. I agree that it loses motion by doing this, but in my eyes it gains a littlebit of flair by trying to "remake" "old" game art. I'm sorry, I don't know how to explain it better
So I hope you get my point as I get yours
I'm looking forward to seeing what shot 1 now with all the work you've put in since.
Tech Shots:
Hard to challenge with u guys
Why not both? 2 beauty shots is a minimum, not a maximum, I bet most people don't mind more eye candy :poly124: especially when your entry is so detailed.
i love the horizontal shot the most. the white lights might be a bit too over powering though.