26 – 4 March
This week we finalised the block-out and the art bible.
Briz created a second and third version of the art bible, further going into detail for which particular assets will be in the scene plus considering what the models will look like, what particular zones layouts will be and we meshed slides for the foliage bible within the main document. You can review the full version two art bible here.
The third art bible revised the look of the document and added notes explaining what we planned to use from the document. It now included shots of our concept mood images, high res images of our setting, info about our narrative design, a detailed layout of the playable zones versus the entire map zone, detailed breakdowns of the features in our map such as the Piccadilly Lights, Shaftesbury Memorial Fountain, lookout structure, military barrier etc. He included images of the floors we intended to copy plus analysed how modular the buildings are. Peppered between are slides from the foliage bible plus references for lighting to show how the scene will fit within The Last of Us style, overgrown setting and treatment. You can scroll through the third version of our art bible here.
With production beginning, we really needed to set up our Trello board as, for example, we didn’t want our prop modellers to start working on the same models, plus we didn’t have an organised list of assets or lists of tasks. I broke up the boards between roles: ‘Prop’, ‘Environment’, ‘Unreal’, (including FX, Tech, Lighting, Level Design) and finally ‘Art’ for production and lead artwork.
Firstly, we split the Prop and Environment boards’ cards between the main playable zones in our map: the square, the tube, the military street, the vista, foliage and the decals. Each board also has a ‘Done’ list so our Lead Art knows which are ready for review.
I moved all the assets from the sheet in our Google Drive to the Trello, individually making each card and assigning it a production checklist, a priority label and eventually their reference images, also sourced from the Drive.
Later on, we also assigned our prop artists to the ASAP and Priority 1 labelled cards so they could begin production. They are free to move on to Priority 3 and 4 on a first come, first serve basis.
My last task this week was to finish the narrative design. We summarised the story so to explore the UK’s timeline from the outbreak in 2013 to the current day in 2033, the back story for our fictional main character as well as about the military dictatorship and the anti-Fireflies group, the Reapers. You can read the full story by clicking here.
Cameron, Hattie, Shanna
Once assigned tasks on our Trello, the Prop Artists began to model the ASAP priority models. They also started modelling some Priority 2 items during the first week.
Cameron worked on the fences and barricades that will be used in the military and tube section. He also modelled a security camera for the tube wall.
Shanna has been diligently working on modelling the fountain statue of Eros in ZBrush.
Hattie has been modelling the large wall that guards the Reaper faction’s zone; on top it will have gory clicker heads on spikes, warning the military away. She also modelled the Oyster ticket machines in the tube section.
Daniel, Makeiba, Adrian
The team have continued to work on their buildings, those being the modern, old and Piccadilly type.
Dan has been making the modern building. He also modelled a bike and some bollards!
Adrian has been modelling the Piccadilly building and also worked out the measurements that will be needed to scale the scene.
Cat has been creating the lighting needed for inside the dark tube station and the brighter outdoors; she has revised and developed this multiple times since the beginning of the project. This includes making a god ray material for the entrance of the tube, making sure that the lighting matches the sky and creating her own fog sheet.
FX & Tech Art
Haydn has been working on a range of projects! He has created light beams for inside the tube station to shine through the planked up windows. He also made interactive foliage that responds to the player walking through it and a spline to be used for the building structures. Lastly Haydn learnt how to use vertex painting in UE4 to make wetness, puddles and moss for the square section. With all the tech/FX he has made, he’s ensured it is accessible for the team in UE4, e.g. “Vertex painting now Red: Wetness, Green: Moss, Blue: Empty, Alpha: Puddles.”