Like bioshock infinite the emotional rush was great. The intro of TLoU alone made it worth the admission. I would love to see the infected models, seeing poly flow and texture maps...especially the clicker model, would pay to get my hands on one to look at.
Good work so far, a few things I noticed, the lighting in general is a bit flat and uninteresting, you should try and add a little contrast, and perhaps throw a few directional lights in there to create some visual interest in certain areas the large chunks of 3D text look like they're glowing but are also…
Fantastic. Personally, I loved how it panned out! You reminded me of why I get excited every time I find a little time saving tool, and why I went nuts when my DK2 arrived. I really think that the end game of more automated process in art creation is not jobless artists its production with an infinite scope! So well done…
Agreed with the above. Smoothing algorithms in use won't give you a mathematically perfect circle, if, for no other reason, than you'll need infinite subdivision levels to get there. I do find that multiples of 4 pointed shapes tend to give good results.
The requirements grew with time. I started off with just single props which is easy. Making scenes with them is not. "Or do you simply mean that it's quicker to render a frame than it is to bake lighting for a scene? Well yes, yes it is. But that's all you get : a frame, rather than a scene you can choose to present in a…
Part of the appeal of showcasing work in something like Unreal is that you can kinda give a point of proof that you can work inside of a game engine. For environment artists I think that is massively important to show off your technical aptitude as much as your artistic. I typically use Marmoset for single objects or…