Art Direction for Uncharted 2: Among ThievesPresentation Transcript
SHOW YOU WHAT WENT INTO CREATING THE LOOK FOR UNCHARTED 2
ERICK AND I SPLIT OUR TASKS BASED ON STRENGTHS
ERICK HANDLING IMPLEMENTATION AND MYSELF WORKING ON THE CONCEPT AND MARKETING SIDE
WITH A LITTLE OVERLAP.
WHY DO I SPELL MY NAME LIKE THAT?
MIES VAN DER ROHE WAS A FAMOUS GERMAN ARCHITECT OF THE BAUHAUS
MY BACKGROUND IS IN FILM. I
I WAS ART DIRECTOR ON MTR AND BROTHER BEAR
AN ART DIRECTORS JOB IS TO ORCHESTRATE. Everyone HERE plays their instrument PIECE OF MUSIC.
NOT A BIG DIFFERENCE
VISUALS REINFORE STORY, MOOD, EMOTION
TO DEPICT THE HORRORS OF WAR.
Everything here absolutely inappropriate to conveying that message.Works for ironySurprising how many people do no consider the overall goal when coming up with shapes and colors
LETS GO OVER BRIEFLY SOME OF THE HIGH LEVEL CONCEPTS WE HAVE TO WORK WITH
STYLE GUIDES ILLUSTRATE WHAT WE ARE AIMING FORTINDI STORY
COULD SPEND 90 MINUTES ON THIS ALONE
SHAPES AFFECT HOW PEOPLE FEEL
SOFT , ROUND FRIENDLY
HARSH, JAGGED, DANGEROUS
CRITISIM ON FIRST GAME, A PIRATE IN A TSHIRT TOOK TOO MANY BULLETS TO KILL WE NEEDED A BETTER VISUAL SYSTEM.
VALUES, LINES, COMPLEXITY
Shambhala needed to be awe inspiringcome from details alone.MONOLITHICHUGH FERRIS
AND NEEDED SOMETHING UNIQUE INDIANCOMBINED SIMPLE BASE FORMS TO MAKE UNIQUE SHAPE WE COULD THEN ADD THE DETAIL TO.
SIMPLE GRID SYSTEM FOR DESIGNING MULTIPLE REPEATING SHAPES FOR REST OF CITY.
COLOR NEEDS TO BE DESIGNED LIKE EVERYTHING ELSE
ALL BROWN AND GREYNO PROGRESSION
DRAKE NEARLY DEADCOLOR APPROPRIATE FOR SITUATION
COLOR AND LIGHTING VERY EMOTIONAL TOOLSIN THIS VIEW WE HAVE A MID DAY SUN, BRIGHT, CHEERY AND PEDESTRAIN.
SAME MODEL AND TEXTURES, THE ONLY THING THAT CHANGED IS THE LIGHTING BUT IT COMPLETELY ALTERED THE MOOD. MUCH MORE SOMBER NOW. AGAIN, NO MODEL OR TEXTURE CHANGE.
LETS LOOK AT SOME CONCEPTS
Early SAP POOL
DRIPPING SAP FROM CENTER OF ROOT CLUSTER
TRY NOT TO DO TO MUCH OF THIS
TRY TO LEAD THIS WAY
FOUND A GREAT BOOK ON CHINESE STEAM LOCOMOTIVES THAT SHOWED OLDER TECHNOLOGY.VERY USEFUL IN COMING UP WITH EVERYTHING IN THESE BUILDINGS
WE GO THROUGH MANY DIFFERENT DESIGNS FOR EACH LOCATION
TRYING OUT DIFFERENT STYLES
ANOTHER SHAMBHALA CONCEPT
INTERIOR OF THE GOMPA
EARLY SAP POOL, MORE CAVE LIKE AND OPEN
EARLY CHINMANAI ROOM
AT ONE POINT THE TREE OF LIFE WAS GOING TO MORE OF AN ENTITY, PULLING ALL THE STRUCTURES DOWN INTO THE GROUND WITH IT
GROUND LEVEL VIEW
START WITH SIMPLE GEOMETERIC SHAPESFEWEST VALUESTHAT WAY I CAN SEE IF THE PAINTING HAS POTENTIAL BEFORE WORKING ON IT FOR HOURS
ONCE THAT WORKS I CAN ERASE AND ADD, DESIGN THE SHAPES IN DETAILED SILHOUTTES
START LAYERING IN THE ATMOSPHERE
AND THE FINAL MODELING AND TEXTURES
THIS ONE I STARTED WITH A SIMPLE MODEL IN SKETCHUP
ALWAYS START WITH GOOD VALUE PLAN, EVEN IF IT TAKES JUST 5 MINUTES
WASH IN MY BASE COLORS
FLAT SHAPES AND COLORS. KEEP IT POSTERY IN THE BEGINGING. IF I CAN GET IT TO
START ADDING TEXTURE BUT ONLY AFTER MY COLORS AND VALUES ARE RIGHT
WALL FLAT SO ADDED ADDITIONAL PILLARS AND CHANGED COLOR FOR SCALE
DETAILS ON GROUND
DESIGNERS BLOCK MESH. OLD SCHOOL . DRAWN WITH LINE TOOL IN PHOTOSHOP
FLAT TONES, GROUND PLANE IS SEVERAL PHOTOS OVER PAINTED GROUND
WASHING IN THE ATMOSPHERE
HITTING THE TOP PLANES WITH LIGHT
90% HAND PAINTED. PERSPECIVE LINES TO HELP WITH TRAIN
MORE PAINTED DETAILS. A FEW PHOTOS ON THE FENCE TO RIGHT AND WOOD CRATES
ADDING SOME PHOTOGRAPHIC DETAIL LIKE JUNK PILES AND TRAIN SIGNALS
NOW LETS LOOK AT THE DETAIL THAT GOES INTO A DESIGN
TAKE THE GOMPA LEVEL
ACCURATE ROOF CONSTRUCTION BASED ON RESEARCH
DRAWINGS FOR BROKEN WOOD AREAS
DRAWINGS OVER BLOCKMESH FOR EVERYTHING DOWN TO PLACEMENT OF LANTERNS AND FLAGS
DRAWING FOR MORE DETAILED BRIDGE SUPPORT
NOISY TEXTURES NEEDED TO BE UNIFIED
PLUSING A FIRST PASS
MORE DECAYING WALKWAYS
AND PAINT OVERS TO MAKE SURFACE MORE READABLE
LETS LOOK AT THE SWAMP LEVEL
THE LOOK OF THIS LEVEL
MOST LIKELY THINK IT ALAWAYS LOOKED LIKE THIS, RIGHT?
NOPE, STARTED ALL ROOTY AND A LITTLE ALIEN
EVEN WENT AS FAR AS MODELING AND TEXTURING . BUT GAME DESIGNER SAID IT LOOKED TO OTHER WORLDLY
WHICH WAS TRUE, WHILE CREEPY WAS NOT UNCHARTED. TOO ALIEN!
SO WE TALKED AND CAME UPON FRAZETTA AS NEW DIRECTION. THICK MOSS, ROPEY VINES
BLACK AND WHITES
MORE, DRAINING SWAMP SO BOARDS TO WALK ON, WHICH GAVES US PATHS AND VISUAL CONTRAST TO JUNGLE
FINAL ART. SET MOOD AND FEEL WE AFTER
DRAWN OVER DESIGNERS BLOCKMESH.
SOME OF THE INSPIRATIONFREDRIC CHURCH
JAPANESE RAIN FORREST. VERY DIFFERENT THAN JUNGLE UNCHARTED 1
, My name is Erick Pangilinan, ImIve
And most of those years were spent as a enviroment artist onthe crash bandicoot and the jak and Daxter series.
Since Robh already talked about concept art section, Im gonnatranslating that into game art.
And im also gonna cover
And everyone knows about reference
scan it and build the blockmesh
the gameplay blockmesh to the artists.
Then, we walk through the entire level, and brainstorm ideas to on how to make it
we do a first pass to check our scale and composition. Similar to how Robh draws his broadstrokes
for problems along the way.
When we get a blockmesh
And come up with different ways to make the layout more interesting.
The concept art will take us to gotta play good and be on frameratebe done in-‐game.
And this is where translating the blockmesh
First, we try to understand the gameplaybasically a wall, but it could be anything that prevents the player from crossing the
Here, we try to follow the concept art by putting a bunch of buildings to block the wanna
Another idea is to create a cliff as the barrier.up the environment.
Now This gives us a good silhouette, and the parallax with the mountains behind it.
we try to see if our shapes will work with the design, and see if we can use the same kind of trees
help cut down the draw distances.
And we just layer more details on top of the base shape. This became the construction strategy for the rest of the level.
ide from the tech and gameplayof these principles we considered in this scene.
First, We try to get the proportions right by counterweighing the big shapes with the
then we plan WHERE to put the details to make the silhouette more interesting.
We also played with the angles to make it more aggressive, and make the level look more dynamic.
So, using these principles to compose the shot, really helped put together this level.
So, we added a pool!.....doing things like this is important, especially in multiplayer
Aside from defining
One way to start, is to separate the ground plane from the wall plane.
We can also do this by placing objects between the ground plane from the wall to separate them
Putting shapes in the middle of the path will help create a stepping stone effect to lead the players eye.
In this example, the water acts as
Arches are another good tool to lead the player through the space. They are natural
And great to use to frame a scene.
Also Articulating the path will make the traversal more interesting
Its also cool to see a landmark from different distances
And the closer you get, you get to see more details about it....And when you get there, it gives you a sense of accomplishment.
A lot of these pointers seem very obvious, but during a busy schedule, its really easy
Always remember, The art you are creating needs to help the purpose of the design.
Here at Naughty dog, the job of the modeler, texture artist and lighting artists are 3 focus being good at that specific job. Modeller
Basically, The modeler builds the geometry for the level , The modeller is also
I know a lot
refnodeswe can also fade our instances.
Then just continue fading other parts
Until just the basic shape remains.
This really helps out our framerate
maya file and
But What -‐arrange the parts of your instance? Like this? And save the data individually, but keep this file as a
And the programmer
it! We call this modifiers!
Books and rebar
brick instances that we can use to follow terrain.
And they also work on skinned prototypes! Like tree roots or vines!
So you can modify your roots to crawl on any surface you want!.....and all of these variations came from the original prototype!
By building with refnodes, and applying modifiers to them., we can generate unlimited variety in our environments.
So, in our environments, After the modeller
The texture artists Uvs and textures the geometry from the modeller. They also manage the texture memory and shader cycles.
When we switched to the ps3, we realize how important it was to generate a good to develop the best way to make normal maps.
And for us, the best way was using zBrushare sculpted in zbrush
You can extract the maps from zbrush Xnormal
in some cases, we like the Ambient Occlusion and Normal maps generated by Xnormal zbrush is totally fine.
zbrush and we explored other ways to im going to show you 3 ways we tried to generate normals
First , We tried Nvidia plugin
Then Crazy bump
In this example, I want to show you the comparison of what we got using the 3
For Crazy bump and the Nvidiamaps.
For Zbrush, we will build the wall, rock by rock.
For Crazy bump, its actually not that bad, it turned out a little softer and not really
The Nvidia kinda look noisy with a bunch of artifacts.
Now zbrush a good range of depth and protrusion.
Now, combining the color map, NvidiaAnd zbrush gives you a pixel perfect combination of the normal map with the color map.
Although, crazybump might be ok, you still need a good color map to get good results. The advantage of the zbrush method is, you already have all geometry in 3d so its much easier to do changes or variations.
very high pixel density and save on shaders
shaders fading into eachother
the blend threshold acts like a mask. This determines how much gets blended into each other.
you 1 shader the threshold mask will determine how much of the sand seeps between the rocks
This gives us a very natural way to add transitions with each material respecting the physical properties of the other.
Wanna see that again?
Remember this modified instance? The ones you can use them all over the place?
stayed on top all the time , huh?
And the programmer
So, they came up with the slope shader can apply a blend shaderand orient it to any angle based on vertex and pixel normal.
So, the snow can be blended to any amount and any angle no matter how you rotate each piece.
And with the modifiers, This gives us unlimited variety using a single prototype.
In application, you can use this slope shader not only on small rocks, but also on the ground, structures, and entire mountains.
With tiling textures combined with the blend shaders and slope shaders, We have the luxury of high resolution pixel density, and unlimited variety on our surfaces and objects.
So basically, We do all our lighting set up in maya ligthing calculation for our Global Illumination is done by a software package called NOVA.
Novacalled Rainbow.So, in this layer, we have the Direct Sunlightbecause we replace this with a run-‐time direct sunlight, so we can cast run time shadows.
this saves a lot of time.
This is our bounce lighting
we will use in-‐game.
So, in-‐game, We can see the baked lighitng -‐time lighting elements affect it.
One trick we do is we try to limit the runtime shadows by dropping them when they .
shadows at all.
We also use light maps, we try to limit them to interior spaces to get more details on our shadows.
this talk is about art direction, the ND team is a very collaborative and driven team that needed very little direction.
To our designers, with their awesome blockmesh
To the modelers, who detail the environments
And the texture artists, who develop shaders.
And lighting, to complete the atmosphere of the level.
I hope everyone enjoyed our presentation and take away some useful ideas for their games.