Thanks a lot for the share! You guys are an awesome team!
To be honest, this is probably one of the more consistent game in terms of quality. Love all the smart choices and the taste in your work. What about timings for production? How long you guys spent on levels, props, textures?
Thanks a lot for the share! You guys are an awesome team!
To be honest, this is probably one of the more consistent game in terms of quality. Love all the smart choices and the taste in your work. What about timings for production? How long you guys spent on levels, props, textures?
Cheers guys, congratz!
Someone else would be able to tell about levels/props. The texture team would spend from 1 to around 10 days in a texture. It REALLY depends on what kind of material you are doing. It depends on the amount of sculpting/masking/painting/compositing you would have to do as well. Thanks for asking
1 to 10 days for a texture?! Here I am thinking I am slow for not producing a good texture in an afternoon. It really makes me appreciate the amount of work the team put into this.
yeah, I know how you feel. Had to do textures in less than a day in the past, but that's where a good workflow and knowing how to reuse materials lies on production quality. It's why specializing on something can be good too.
Holy fuck guys! Yall really have set the benchmark for how good this gen should, and can look like. Every single piece posted is totally inspiring. I have some studying to do, hehe. Kudos to everyone on the team, and thanks so much for posting! Congrats to you all. Yall should be extremely proud....seriously. Looking forward to the tutorial!
On a side note I recently finished the game and had a ton of fun with it. Yes there were a few things about the game that could be better, but that is always the case though right.;) It feels like you guys could totally have an Uncharted 2 type sequel for it. You have really laid a solid foundation for that, with the engine and art pipeline.
Fuck those gaming journalists and their jaded opinions. I hope this game sells miilions of copies for you guys, because I'm totally excited to see what you could do with a sequel.
Thanks a lot for the info Hugo! Yeah... quality takes time.. Totally agree about specialized texture artists... back In Castlevania days, we use to be 8 guys just doing textures/materials... and that at the end of the day really made a difference..
Congratz again guys! Still curious about level building and props timings
Thanks a lot for the art dump, putting so many images together must've taken some time.
The Substances look incredible and I think based on how many really fantastic shots of the environment there are is really a testament to just how well it was built. So many kudos.
Thanks a lot for the art dump, putting so many images together must've taken some time.
The Substances look incredible and I think based on how many really fantastic shots of the environment there are is really a testament to just how well it was built. So many kudos.
Oops, we did not use substance designer for this project (if that's what you mean), just letting you know
Playing through the game right now, still halfway through but I can say with certainty it's one of the most beautifully rendered games I've ever seen!! I have my gripes with some of the gameplay decisions but all in all I'm having a blast!
Congratulations to all involved and thanks for posting your work too, it's incredibly inspiring to see, loving those materials!! I would also love to see the breakdown of some of the environment art too. (modularity, etc)
I haven't played the game, but I love the fact that you can immediately tell that an asset is from this game. Incredibly consistent look and feel with the assets.
Kudos is very very well deserved to the RAD art team.
After we posted our art dump we had a lot of requests for info about our sculpting process.
I just finished a tutorial outlining the workflow I put in place. Hope you guys find this useful.
[ame]https://www.youtube.com/watch?v=bepQk_GHAY4[/ame]
Great work the game looks fantastic, in my opinion purely down to the lighting and material work. That Tutorial was really helpful so thank you for putting that together. I was wondering though how would this translate to say the Mortar/plaster textures ie. something more organic. Bricks are fairly uniform. Would you use a different process for something like this or would you approach it in the same overlay method described in the video?
After we posted our art dump we had a lot of requests for info about our sculpting process.
I just finished a tutorial outlining the workflow I put in place. Hope you guys find this useful. https://www.youtube.com/watch?v=bepQk_GHAY4
The only thing I'm unclear on is why you created 20 bricks from the stack of 5 in Maya ... I didn't see what value that added.
I have 5 brick variations duplicated 20 times, so a total of 100 bricks as a single mesh. I made extra for other patterns I could layout.
The overlap workflow is just like blend shapes for characters. The overlap.obj and the pattern.obj are the same mesh/point order, but the vertices have different positions. In zbrush when I drop to subd 4 and import the pattern zbrush knows its the same mesh and loads in the new vertex positions. That's why it retains all the sculpting info.
I would also love to see the breakdown of some of the environment art too. (modularity, etc)
For the most part, it's all pretty simple. Pillar, panel, pillar formula works well. We do have a pretty robust instancing system that account for variations, but there are time where we just have to create unique pieces just for the shapes/sizes that we want.
I like to create groups of instances with different variation and populate them around. For example, a group with pillar1 and trim1, then a group with pillar 2 with trim1, etc.
The videos are fantastic, Thanks so much for taking the time to put them together.This is such a great workflow to re-use assets and reset them up in new patterns. I'm going to try this on my next project. It looks a lot friendlier than the IMM brushes.
Hey Vitale! loving the videos. Is there a way to take my mesh from zbrush bring it into max and make copies of the mesh and have it retain its zbrush data? or would that mesh have to be made in zbrush?
Hey man! Thanks so much for this.
Quick question for you, or anyone else who may know: I tried to duplicate your results, but for some reason wrap mode only really tiles correctly for me when it's set to 2. I don't get as good of performance out of this, and it's really frustrating. When I have it set to 1 instead of 2 like you, no matter how I do it (even exactly like you) it doesn't tile until double distance out of frame. Do you know why that is?
Hey Vitale! loving the videos. Is there a way to take my mesh from zbrush bring it into max and make copies of the mesh and have it retain its zbrush data? or would that mesh have to be made in zbrush?
yes...kinda
If you bring a mesh in from zbrush do not combine or separate the mesh, only duplicate it. You do not want to change the point order. After edits in Max or Maya each copy needs to be exported out individually. Then in zbrush duplicate the subtool and load in the obj.
Thank you for the tutorial! This thread has been highly insightful so far.
It took me a while but after I managed to replicate your results I modified the workflow a bit for my own preference:
1. I separate the mesh after duplicating and sculpting, then center the pivots of the individual parts and freeze out their transforms at the world origin. Then, after I'm done positioning them, I combine them into one mesh again and export them into ZBrush after I created the sets.
2. Inside ZBrush I use ArrayMesh to do the tiling. By merging the bricks with a unified space-sized plane first I can get the spacing right.
I'm not that proficient on the topic though, so let me now if this works or if you encounter any issues.
Really awesome stuff, thanks for sharing RAD team! A Vitale, I'm curious, could you show some unlit / albedo-only shots for the images you had comparing lighting only vs. final? I'm interested in seeing what value ranges you were working with in textures.
I do apologize for the bump, but I wished to post a few late additions if anyone is interested.
Credits for these areas would include Nathan Phail-Liff, Megan Parks, Hugo Beyer, David Lieu, Bobby Rice with the Roundtable Room. The Catacombs would include Nathan Phail-Liff, Anthony Vitale, Holly Prado and Austin Montgomery. Underground credits would include Anthony Vitale, Erin Mckown, Bobby Rice, Nathan Phail-Liff, Edgar Martinez.
At the bottom of the post there are three screenshots from the game, as it was, from 2012. The game evolved a long way in a short period of time and I thought it engaging to see just how much.
Awesome thread!!
Completed this game earlier, the level design, material design and Lighting blew me away, I kept wanting to stop and Inspect every surface and object.
Would actually pay the full price again for dlc that let me just free roam the maps and stare at stuff.:poly124:
Loving all these material and level shots.
Im a lighting and post pro nerd, Can any of you rad guys give us a break down of whats actually going on in your post pro chain? its extremely cinematic and pretty!
Replies
To be honest, this is probably one of the more consistent game in terms of quality. Love all the smart choices and the taste in your work. What about timings for production? How long you guys spent on levels, props, textures?
Cheers guys, congratz!
I-I WANNA DO ALL THESE COOL THINGS TOO!
Someone else would be able to tell about levels/props. The texture team would spend from 1 to around 10 days in a texture. It REALLY depends on what kind of material you are doing. It depends on the amount of sculpting/masking/painting/compositing you would have to do as well. Thanks for asking
Is the geo popping out, or will it just be edge loops and assigning the faces a material id?
On a side note I recently finished the game and had a ton of fun with it. Yes there were a few things about the game that could be better, but that is always the case though right.;) It feels like you guys could totally have an Uncharted 2 type sequel for it. You have really laid a solid foundation for that, with the engine and art pipeline.
Fuck those gaming journalists and their jaded opinions. I hope this game sells miilions of copies for you guys, because I'm totally excited to see what you could do with a sequel.
Congratz again guys! Still curious about level building and props timings
The Substances look incredible and I think based on how many really fantastic shots of the environment there are is really a testament to just how well it was built. So many kudos.
Oops, we did not use substance designer for this project (if that's what you mean), just letting you know
Congratulations to all involved and thanks for posting your work too, it's incredibly inspiring to see, loving those materials!! I would also love to see the breakdown of some of the environment art too. (modularity, etc)
Kudos is very very well deserved to the RAD art team.
I just finished a tutorial outlining the workflow I put in place. Hope you guys find this useful.
[ame]
The only thing I'm unclear on is why you created 20 bricks from the stack of 5 in Maya ... I didn't see what value that added.
Oh really, wow. I guess I just assumed with all the other substance work you've been posting. Thats damn impressive then!
Extremely educative, thank you so much!
I have 5 brick variations duplicated 20 times, so a total of 100 bricks as a single mesh. I made extra for other patterns I could layout.
The overlap workflow is just like blend shapes for characters. The overlap.obj and the pattern.obj are the same mesh/point order, but the vertices have different positions. In zbrush when I drop to subd 4 and import the pattern zbrush knows its the same mesh and loads in the new vertex positions. That's why it retains all the sculpting info.
For the most part, it's all pretty simple. Pillar, panel, pillar formula works well. We do have a pretty robust instancing system that account for variations, but there are time where we just have to create unique pieces just for the shapes/sizes that we want.
I like to create groups of instances with different variation and populate them around. For example, a group with pillar1 and trim1, then a group with pillar 2 with trim1, etc.
Brilliant work, I look forward to playing the game just to gaze at the beautiful workmanship.
After I released my Overlap Sculpt Workflow I received requests to demonstrate how I created the sculpt setup. Here you go!
Sculpt Setup:
[ame]
Overlap Sculpt Workflow:
[ame]
Quick question for you, or anyone else who may know: I tried to duplicate your results, but for some reason wrap mode only really tiles correctly for me when it's set to 2. I don't get as good of performance out of this, and it's really frustrating. When I have it set to 1 instead of 2 like you, no matter how I do it (even exactly like you) it doesn't tile until double distance out of frame. Do you know why that is?
yes...kinda
If you bring a mesh in from zbrush do not combine or separate the mesh, only duplicate it. You do not want to change the point order. After edits in Max or Maya each copy needs to be exported out individually. Then in zbrush duplicate the subtool and load in the obj.
It took me a while but after I managed to replicate your results I modified the workflow a bit for my own preference:
1. I separate the mesh after duplicating and sculpting, then center the pivots of the individual parts and freeze out their transforms at the world origin. Then, after I'm done positioning them, I combine them into one mesh again and export them into ZBrush after I created the sets.
2. Inside ZBrush I use ArrayMesh to do the tiling. By merging the bricks with a unified space-sized plane first I can get the spacing right.
I'm not that proficient on the topic though, so let me now if this works or if you encounter any issues.
thanks for sharing some tips, very interesting
Credits for these areas would include Nathan Phail-Liff, Megan Parks, Hugo Beyer, David Lieu, Bobby Rice with the Roundtable Room. The Catacombs would include Nathan Phail-Liff, Anthony Vitale, Holly Prado and Austin Montgomery. Underground credits would include Anthony Vitale, Erin Mckown, Bobby Rice, Nathan Phail-Liff, Edgar Martinez.
At the bottom of the post there are three screenshots from the game, as it was, from 2012. The game evolved a long way in a short period of time and I thought it engaging to see just how much.
Completed this game earlier, the level design, material design and Lighting blew me away, I kept wanting to stop and Inspect every surface and object.
Would actually pay the full price again for dlc that let me just free roam the maps and stare at stuff.:poly124:
Loving all these material and level shots.
Im a lighting and post pro nerd, Can any of you rad guys give us a break down of whats actually going on in your post pro chain? its extremely cinematic and pretty!
No need to apologize man. I can stare at this stuff all day. The game looks breath taking. Keep it coming!
https://vimeo.com/123112150
It's the Fire FX breakdown of The Order, by Brian Merrill. (There are a couple of other links on the video's description)
http://www.zbrushcentral.com/showthread.php?193491-The-Order-1886-Team-Post
They won the award for best game art of the year and best studio thread on ZbrushCentral.
http://www.readyatdawn.com/ready-at-dawn-wins-two-zbrushcentral-awards/