It removes the black spots on the corner of the screen when you crouch. No Fov Change When Sprinting 1.0.1 [By Kaibz The videos are upscaled to 1080p quality. What I love in environment work, is the possibility of jumping from an asset to another fairly quickly and explore different pipelines.Correct Translation (Required) Ĭorrect Translation by Outsider One. So, the biggest challenge was to transform these stylized materials to some more realistic PBR style without betraying our original aesthetic tone. Texel density also increased a lot, and that gave a “more realistic” feeling: our painting patterns became much smaller. We didn’t change how we painted that much, but the PBR render gave a different look in the shaders. When Dishonored 2 started, the material approach became a little more realistic. We shared the same brushes to unify the visual look. But we also kept painting them manually all along. We found a way to do it manually and then we created a tool to make a starting base for every texture. We were also thinking about creating a painting sensation similar to Ghibli’s movies. Sebastien wanted our visuals to looks like an 18th century’ painting. I remember spending time on one of my first tiling textures (Dunwall cobblestones) to find a way to make it special. The main goal of Sebastien was to remove noise (at that time, many games were using photo texturing, sometimes with a big amount of visual noise). During a period, at the beginning of Dishonored, we were searching how to get that style. However, we worked with Substance Designer to generate mask and selections, and that was helpful.īecause we were always using the same kind of textures, I helped create a material library. Because we started it this way, we didn’t include a complex procedural process. On Dishonored 2, we’ve taken a global approach in our textures, working traditional hand-painting workflows in Photoshop. Because I’ve worked on different games before, I know we’re lucky to follow such a specific art direction. It’s not much more complex than building generic assets…it’s just more fun. When you’re completely emerged in the art framework, modeling all these elements and dealing with crazy shapes becomes routine. Many other concept artists also helped design shapes for all the little pieces consisting of that world. Their illustrations gave the general mood. We work with two Russian guys: Piotr Jabłoński and Sergey Kolesov.
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