• Share
  • Email
  • Embed
  • Like
  • Save
  • Private Content
Art Direction for Uncharted 2: Among Thieves
 

Art Direction for Uncharted 2: Among Thieves

on

  • 8,749 views

 

Statistics

Views

Total Views
8,749
Views on SlideShare
8,674
Embed Views
75

Actions

Likes
8
Downloads
0
Comments
0

4 Embeds 75

http://seblagarde.wordpress.com 64
http://pinterest.com 7
http://ndwww-ext.scea.com 2
http://www.naughtydog.com 2

Accessibility

Categories

Upload Details

Uploaded via SlideShare as Adobe PDF

Usage Rights

© All Rights Reserved

Report content

Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

Cancel
  • Comment goes here.
    Are you sure you want to
    Your message goes here
    Processing…
Post Comment
Edit your comment

    Art Direction for Uncharted 2: Among Thieves Art Direction for Uncharted 2: Among Thieves Presentation 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.
    • STORYOPEN STRUCTURE.
    • 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
    • MUCH  BETTER
    • 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
    • OVERGROWN  SHAMBHALA
    • Early  SAP  POOL
    • DRIPPING  SAP  FROM  CENTER  OF  ROOT  CLUSTER
    • TRY  NOT  TO  DO  TO  MUCH  OF  THIS
    • TRY TO  LEAD  THIS  WAY
    • TRAIN  YARD
    • FOUND  A  GREAT  BOOK  ON CHINESE  STEAM  LOCOMOTIVES  THAT  SHOWED  OLDER  TECHNOLOGY.VERY  USEFUL  IN  COMING  UP  WITH  EVERYTHING  IN  THESE  BUILDINGS
    • ITERATIONS
    • 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
    • A  LOCATION
    • 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
    • ONE  MORE
    • 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
    • MATERIALS
    • 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  SKETCHES
    • EARLY  COLOR
    • 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
    • gonna
    • And  everyone  knows  about  reference  
    • scan  it  and  build  the  blockmesh
    • speds up  
    • 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.
    • blockmesh
    • we  try  to  see if  our  shapes  will  work  with  the  design,  and  see  if  we  can  use  the  same  kind  of  trees
    • So,solution.
    • 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.
    • Again  arches
    • Also Articulating  the  path  will  make  the  traversal more  interesting
    • As
    • Then
    • Land  marks,
    • Land
    • Which
    • 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  
    • gateway..
    • 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.
    • gpu hit.
    • In  application,
    • Then  just  continue  fading  other  parts  
    • Until  just  the  basic  shape  remains.
    • This  really  helps  out  our  framerate
    • far  away.
    • 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!
    • and
    • 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
    • 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
    • zbrush
    • 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
    • Thethreshold.
    • 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?
    • Alright, shaders
    • 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.      
    • sucky
    • Not  sucky
    • 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.