Playstation VR Worlds: Art Dump
Hey Polycounters!
Not long ago, us here at SIE London Studio released the launch title VR Worlds for Playstation VR! We’d like to share some of the amazing art work with you that went into creating the game.
Over the next few weeks we will be sharing work from all aspects of the art team, including Characters, Environment, Concept, Lighting, and VFX. As it’s a VR game, expect some cool fancy ways of seeing all this!
This game wouldn’t have been possible to make and look as beautiful as it does without the amazing work of the tools and engine team, so a huge massive shout out to them and also the entire team here in London! You are all beautiful.
The character and concept team will be jumping in shortly to start us off, enjoy!
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Character Art:
Toby Hynes - https://www.artstation.com/artist/redbranch
Rob Thornely - https://www.artstation.com/artwork/0L03K
Matthieu Schneider - https://www.artstation.com/artist/joebount
Concept:
Peter Lumby - https://www.artstation.com/artist/peterlumby
Environment Art:
Alberto Fernández - https://www.artstation.com/artist/mandrill
Sophie Wood - https://www.artstation.com/artwork/N8xqP
Karen Stanley - https://www.artstation.com/artwork/d3Ozw
Ciaran Daly - https://www.artstation.com/artist/ciaran_daly
David NicholLs - https://www.artstation.com/artist/shriken
Cristian Leon - https://www.artstation.com/artist/esocripta
Lighting and VFX
Matt Sheppard - https://www.artstation.com/artwork/ZzO61
Dave Skilton - https://www.artstation.com/artist/davidskilton
Replies
https://www.artstation.com/artwork/0L03K
https://robthornely.com/
Cheers,
Red
I was a senior concept artist on this fantastic project. Here's a small selection of designs I worked on over the last couple of years. You can see a whole ton more here: https://www.artstation.com/artist/peterlumby
Hope you enjoy!
Cheers
Pete
Here is some of the work I did on Playstation VR Worlds.
London Heist:
Ocean Descent:
Scavengers Odyssey:
Luge:
and here is a link to my Artstation page : https://www.artstation.com/artist/joebount
Cheers
Incoming Environment art! Here is some of the stuff I worked on:
(part 1) Scavengers https://www.artstation.com/artwork/d3Ozw there is a 360 hidden in there to!
The majority of my time on VR Worlds was spent with Scavengers! I was level owner for a large part of the first half of the game (Airlock breach to just before Entering the mega starmoth ship) and made a large majority of all the organic environment assets seen such as Rocks, asteroids and alien egg trims! I also worked on a bunch of bits from across the various other parts of the game to.
Spidertank: high poly, low poly and textures:
Thanks to my buddy Rob Thornley for the layout!
Dropship: I was the main level owner of this level. I made the assembly, highpolys, lowpolys, textures polishment (using Dave's Base Material)
Base Material: David Nichols
Extra props: Bastian Pastoors and Leonardo Iezzi
Lighting: Matthew Sheppard
VFX: Adam Ostridge
Lead: Jason Hickey and Ben Jackson
Art Direction: Joel Smith
Scuttler Ambush:
I was the main level owner of this level. I made the assembly, highpolys, lowpolys, textures polishment (using Dave's Base Material), Leonardo Iezzi and Karen made an important part of the props of this one
Extra props: Bastian Pastoors and Cristian Leon
Lighting: Matthew Sheppard
VFX: Adam Ostridge
Lead: Jason Hickey and Ben Jackson
Art Direction: Joel Smith
Hub:
My and my good friend Leonardo Iezzi worked in this environment for a few fun weeks!:
I was the level owner and I did: High poly sculpts, Low poly, Assembly, Floor Material and some textures polishment. I also work in the lighting for this shots (is not the actual lighting of the game).
Materials: Leonardo Iezzi
Lighting, VFX and more: Dave Skilton
Statues: Toby Hynes
Lead: Jason Hickey
Art Director: Joel Smith
Extra thanks to Ciaran Daly and David Nichols for the 1st pass of the floor
Also Here's my Artstation: https://www.artstation.com/artist/mandrill
and here's my FB page: https://www.facebook.com/artberto/
Feedback by email or message is much appreciated!
Thanks!
I also worked on VR Worlds as an environment artist. I mainly worked on 'Oceans Descent' and 'Scavengers Odyssey'. I was the main level owner of the 'Perilous Climb' level and worked on 'The Deep' to bring it to publishable quality with composition, texturing and modelling re-work. I also supported props, optimisation, dressing and composition on many of the other levels that can be found in VR Worlds.
Extra props/materials: Bastian Pastoors, Leonardo Iezzi, Cristian Leon, David Nichols, Karen Stanley
Lighting: Matthew Sheppard
VFX: Adam Ostridge, Ciaran Devine, David Skilton
Lead: Jason Hickey and Ben Jackson
Art Direction: Joel Smith
Big Thanks to all the Tools and Engine teams
Thanks
More Images on my Artstation: https://www.artstation.com/artwork/N8xqP
HELLO!
Here is some work that I did during my time at Sony London.
I am Cristian León and I worked In VR WORLDS as a Senior Environment Artist for one of the VR experiences “SCAVENGERS ODYSSEY” I had so much fun working on this project, it was challenging to be able to produce large scale environments for VR without compromising quality.
Congratulations to the Team at Sony London ... amazing job
Substance base materials set up by David Nichols
Cristian León
http://cristianleon.co.uk/
https://www.artstation.com/artist/esocripta
Joining in again from the Environment team, I was mostly tasked with material and texture work. While leading a few environments through to finish. I'll post a few shots here but check out Artstation for the rest!
https://www.artstation.com/artist/shriken
Environments - https://www.artstation.com/artwork/yXkv5
Materials - https://www.artstation.com/artwork/3rd3v
Big congrats to the whole team for pushing out a VR title so early in the cycle, it was a great challenge!
I have spent almost 3 years at Sony London working on PlayStation VR Worlds, from Project Morpheus Demos to the Final Release. In almost a dual role as an Outsource Artist, interfacing with our external development partners to bring quality content to the game, and as an Environment Artist.
PlayStation VR Worlds offered the chance to work across the multiple experiences released, from assets and props on 'The Deep' / 'Ocean Descent'. To 'VR Luge' in the form of assets, world building and optimisation. Owning the heavy artillery section of 'Scavengers Odyssey' and the heavy optimisation work across the game as well. The aspect of VR Worlds I spent the most time on was 'The London Heist' taking ownership of this area for Alpha and subsequently up to the final release, working across the board from assets. props to re-dressing and re-working the various scenes, optimising and supporting design. To completely re-building 'The Getaway' section and owning 'The London Heist's Shooting Range.
You can find more all week at: https://www.artstation.com/artist/ciaran_daly
PlayStation VR Worlds was a huge challenge, it was only possible by the amazingly talented team I have had the pleasure to work with over the last few years; from the engine, editor and tech team to the design, animation, direction and art teams its a huge achievement. For more information on the contributions of other individuals be sure to check my ArtStation information.
I hope you all get a chance to play PlayStation VR Worlds and experience these in VR!
any cool tech / tips you guys can talk about helping you push such high quality in VR?
You can see more here:
https://www.artstation.com/artwork/ZzO61
https://www.artstation.com/artwork/8oPWQ
https://www.artstation.com/artwork/n8vd9
https://www.artstation.com/artwork/E41WA
https://www.artstation.com/artwork/n8NK4
https://www.artstation.com/artwork/3rZyJ
https://www.artstation.com/artwork/Xzxan
The biggest one was all of scavengers, the level segement you just passed when you look behind as you are in the outside areas, its all just Proxies. Some of the giant wrecked ships never actually become 3d geometry, especially around the perilous climb area that Sophie did. (we may have some screenshots lingering about)
A lot of the eggs in the Interior asteroid nest below are just planes with a emmisive/fresnel shader on them.
We even did it on some close up objects to, Alberto and Leo converted all these below into baked planes that are used in the dropship (opening) and starmoth.
Yah just don't see it! Your depth perception falls off after about 20m or so and you become heavily reliant on Parralaxing to sell scale and distance rather than geometry.
https://www.artstation.com/artwork/reeKm
You can check out more of my work at my website, www.daveskilton.com
First up is the main menu of VR Worlds, known to us as "The Hub".
As the player scrolls through each game in the menu, the lighting/VFX and orb in front of them change to emulate the level they're about to enter. Each game has 3-10 subthemes, for a total of 30 lighting setups.
The title theme has a glowy ball of energy that you can swirl sparkles around with.
Each orb has its own specific physics, with which the player can interact with their Dual Shock. There are lots of easter eggs to find.
The Ocean Descent orb is made of water and reflects the environment. You can splash about in it, and bubbles come out your mouth if you put your head inside and breath out.
The London Heist orb contains reflection maps of the various scenes in the game. Slow-motion bullet casings rain from the sky with full slow-mo physics.
When selecting VR Luge, trails of light fly past, and the orb becomes a violently spinning ball of road. Touching it causes some pretty crazy scraping effects. It also has some pretty strong return-force, so it's fun to headbutt.
The Danger Ball theme cycles through the colour schemes and effects for each of the opponents in the game. Fireworks and floodlights fill the air. The ball has some really insane physics - pinging away as you punch it, smashing into walls, before returning at really high speeds.
We had a really awesome time making this!
Each opponent has its own colour scheme, so we worked on a system that allows us to plug components into every emissive/VFX/light/probe/shader in the scene and have them all change colour together. It was really effective, and a fun way to prototype new colour schemes.
Lighting in the scene comes mainly from an IBL probe capture of each court. The ball and player paddles have dynamic lights in them. The PlayStation 4 Pro version has additional shadowed, atmospheric scattering directional lights casting godrays into the court.
The wall-tiles were made out of a single mesh-particle system, scripted in PopcornFX. Each tile's mesh uses its position to determine which UVs of the main wall texture to use. When a tile is 'hit' by the ball (when its proximity is less than the radius of the ball), it dies and becomes a clone of itself with physics, bouncing around until it breaks further. All tile spawn animations are controlled with scripts and curves.
There's a forcefield beyond the tiles that has turbulent dots which expand and bunch up when the ball gets close. The current colour of the ball is injected into them, so it becomes a sort of 'heatmap' of the past few seconds of play.
If you win the tournament, you're rewarded with hundreds of roman candle fireworks, totaling 50,000 particles - because why not?
For this scene, i wanted to create a sense of being confined inside one's head. To achieve this, I made the scene very small - less than 1m around you, and used realtime depth of field to make it feel even tinier.
DoF in VR?! That was pretty risky, but it's very effective in controlled situations. I set the focal distance to the exact point at which the symbols appeared, so you always knew what to look at. As it comprises of light particles and very specular meshes, the surrounding VFX becomes beautifully soft boke, which is really nice in VR.