Naughty Dog Environment

Hello everyone,

I have been watching a video lately regarding environments and 3D art. Basically, the video is an interview with a senior environment artist currently working at Naughty Dog. His name is Jacob Norris and he is talking through his artwork, contribution and work mainly on the Uncharted 4. He also provides an overview about technical specifications, workflows, software, skills and techniques, and most importantly different scenarios in which he used them. He also talks about the importance of working both individually and within a team to achieve the best end result possible.

Jacob covers other aspects such as the problems he experienced and also the solutions he come up with. He is also answering very specific questions like texel resolution and budgets or limitations the projects or scenes have through the development process. Also he brings up the importance of feedback and how it is crucial that someone else has an opinion over the work that has been done so you know what and how you can improve it.

He is going over all the environments he worked on, particularly the one in which you could have assets created from generating splines and procedural details as foliage and rivers, which I thought was pretty interesting. Jacob said that re-usability of textures and models is something to take into account when it comes to optimisation, and also the fact that they have to hand place and model every asset in the game gives the artist a lot of freedom and satisfaction.

Another important aspect that he mentions is that whenever something needs to be changed or to be different, the whole scene needs to be rethought and re-done because of it. So you need to be aware of it, and good planning is key.

Near the end of the video, there is also a Q&A session where Jacob gives a lot of useful information as advice, tricks and tips to the audience that are bringing up a wide range of requests and questions. The first one is regarding students and capabilities required by the industry and he talks about the importance of being flexible and learning new software as well as having the passion and motivation to not give up and continue being the best you can be despite of all the other people out there. Another one is the importance of quality of the pieces in the portfolio and how you should always aim for the same type of art as the studio you are applying for.

I think I have learned a lot from this video, and for me it is a good reference when it comes to environment art and design. It will have a great contribution on how I should plan and appreciate my work and also how to solve issues that might occur during the development process.

References

YouTube. (2016). Creating Environments in Uncharted 4 with Jacob Norris.. [online] Available at: https://www.youtube.com/watch?v=wDIZa4O3jP4 [Accessed 7 Dec. 2016].

Getting Started

As I have submitted my proposal for the Final Project last week, I am ready to begin the wonderful journey of reconstructing the Circus Maximus. Another requirement for the proposal was to complete a milestone sheet that will help me keeping everything managed and organised.

I was constantly tweaking and refining the content and I also worked on the milestones regarding research tasks and built up a solid understanding and knowledge about the architectural style used on buildings during Ancient Rome. This will be helping me in analyzing the detail from a different perspective.

Some milestones have research directed towards techniques and skills regarding soft and hard surface modelling. The majority of the sources I have come across, stated that hard surface is worth spending time in a 3D modelling package as Maya or 3Ds Max and for the organic or soft ones in sculpting software such as Mudbox or ZBrush.

I forgot to mention one of the important aspects is that I am also providing this to a client so I need to ensure that they are involved in the process as well and deliver according to his suggestion.

Here is the proposal itself:

Student Name

Viorel Dia

Proposed Final Project Title

Circus Maximus

Development Blog URL

http://circusmaximusproject.blogspot.co.uk/

The main problem

An investigation into the workflow necessary for creating detailed, realistic, large-scale environment assets within fixed time constraints and to a predefined style.

Brief Outline of Work

I need to gain an expert understanding of architectural structures.

Develop my skills with hard and soft surface modelling tools and techniques.

Acquire more knowledge about PBR workflow.

Learn about the importance of modularity in the creation of large-scale environment assets.

History of Circus Maximus

This was one of the largest buildings constructed during the Roman Empire. It was mostly a venue where people of every class could gather together, watch ludi (games) and lastly but not least chariot races as they have been around since the rise of Rome.  (Ames, 2016)

Circus Maximus was situated in the heart of the Empire and have gone through a series of changes and resettlements until it got the final appearance. From the Regal Era until the Imperial period, the circus held different types of spectacles as the ones mentioned above, even gladiator events plus more religious affiliated festivals in order to praise the gods. Some of the statues and sculptures in the arena had different significance and meanings built for different cults like Sun and Moon in relation to the chariot races.  (Ames, 2016)

My approach

Due to its massive scale, my approach needs to be considered carefully in advance. In this way, the majority of potential problems can be avoided. You can always get lost in the details and forget the large picture, so focus is very important. As an environment artist, seamless textures are your best friends. Also reassure that a hero prop need the special time and effort that helps the scene stand out. Always focus on the fundamentals such as composition, shape and silhouette to give a unique look on your assets.  (CGSociety, 2016)

The Circus needs to serve as a static 3D environmental asset, which can be imported in Unity and used in a game world. I need to deliver the asset up to a professional standard by using real world measurements as well as realistic art style. As the game will be a first person perspective, the textures need to be high resolution and very detailed following a physically based rendering approach.

PBR means materials will have the exact accurate definition and lighting properties are behaving as in real life. The main difference between this and the old workflow is that specular is no more an approximation of how light should affect a 3D object. Instead you have specular values and the reflectivity is defined by a glossiness map instead of the approximation of the specular. For example, metal in the game will behave exactly as the metal in real life. Plus it is easier for the artists because assets will behave normally in any lighting conditions.  (Gamers Nexus, 2015)

Atlases of textures are not required as the asset is unique and custom textures need to be created. The building includes statues, pillars, arches and decorative elements according to the ancient Roman architecture used in that time. The details could be baked down from high polygon modelling or generated from photo sourced materials and textures. I have been given a previous 3D model of the structure and I could use it to source models and I will also have access to a material library if needed.

The accessible areas for the player, will be limited due to the scale and scope of the project. Secondary tasks consist of adding flags, flames particle effects, torches and ambient animations as bird sounds or dust effects.  These are not required for the final artefact, but would be ideal. Organic shapes such as statues are low priority as well unless I will deliver them at a consistent level and standard.

The technical specifications consist of an estimated 250,000 polygon budget. This budget is a starting point and could change depending on the iterations and testing. Dependencies are in progress to be sorted out. NDA forms can be requested.

Here I have a quick breakdown of my workflow:

●        Start with gathering images and references

●        Put together mood boards

●        Research the approaches for this type of structures

●        Divide the pieces (modular, unique, hero assets, secondary assets, amount of detail)

●        Create main shapes and base meshes

●        Quick unwrapping and basic texturing

●        Iterate until reaching the polygon budget

●        Test the structure inside the game engine

●        Refine details

●        Proceed with secondary tasks if the time allows

●        Final Polish

●        Post-processing rendering for portfolio

Rationale for The Project

This project it is indeed a challenge and it requires good planning and management. I want to use it as one of my portfolio pieces because it will outline the ideal skills and potential to pursue my career in the game industry as a 3D Artist. The software and technical abilities included in the workflow will serve as a good evidence of understanding the standards and the industry requirements for this type of job.

Here I have an example of a vacancy as 3D Environment Artist:

“Candidate:

We're interested in hearing from you if:

You are able to work within a predefined art style as part of a multidisciplinary team.

You are able to deliver quality work within fixed time constraints.

You show enthusiasm, drive and the ability to learn new processes.

You are able to communicate ideas with others, and are able to take direction effectively.

You can draw inspiration from a variety of sources outside of games.

You have an interest in videogames.

You have a passion for architecture and/or game worlds and their construction.

It would be beneficial but not required if:

You have experience using Maya.

You have built environments within game performance budgets.

You show proficiency in the use of zBrush or Mudbox.

Portfolio:

Your portfolio should:

Demonstrate both hard and soft surface 3D modelling techniques.

Demonstrate PS4 quality texturing (diffuse, normal and specular maps).

Demonstrate the ability to UV complex objects efficiently.

Demonstrate a solid understanding of architectural structures.

Demonstrate a keen attention to detail to produce a stunning solid looking asset.

Demonstrate proficiency in the use of Adobe Photoshop.

Demonstrate the ability to use a PBR workflow.

It would also be beneficial if your portfolio:

Contains 2D environment concept paints or sketches.

Demonstrate your ability to create a complex environment, interior or exterior.

Show at least one environment demonstrating creative vision, an eye for detail, composition and visual story telling.

Demonstrate high polygon asset creation either in hard or soft surface modelling” (Sony Computer Entertainment Europe Ltd, 2016)

Here is another example of an environment artist vacancy:

“Requirements:

Experience creating both hard-surface and organic assets

Strong working knowledge of 3D Studio Max/ Maya, Photoshop and ZBrush

Experience working with Substance Designer and Painter

Working knowledge of PBR (Physically Based Rendering) techniques

Confident working in Unreal Engine 4

Self-motivated with strong communication skills

The ability to take and apply direction and work well in a team environment

2+ years of Games Industry Experience

Pluses:

Experience using 3D Coat

Experience using Marmoset Toolbag

Experience creating modular assets and tileable/ procedural textures

An avid gamer

As a part of the application process, candidates will be expected to provide a portfolio or demo reel of their work and may be asked to complete an art test.”  (Airship Images, 2016)

Annotated Bibliography
(Please arrange bibliographical items in alphabetical order using a Harvard-style form of presentation) 

	Bibliographical item	Summary
1.	Airship Images, 2016. Environment Artist job - Airship Images - Lytham St. Annes FY8 | Indeed.co.uk. [Online] Available at: http://www.indeed.co.uk/cmp/Airship-Images/jobs/Environment-Artist-a3506d1d88a9cb09?q=3d+environment+artist [Accessed 27 October 2016].	Vacancy offer
2.	Ames, C. S., 2016. Rome’s seat of passion: An assessment of the archaeology and history of the Circus Maximus. Cogent Arts & Humanities, 3(1), pp. 2-14.	History of Circus Maximus. All the traditions of chariot racing were explained here and all the events taking part during that time. Also it talked about the architecture, how every Roman Emperor contributed to the Circus with additions to the structure and its evolution during the time until the end of Roman Empire.
3.	CGSociety, 2016. Intro to Environment Art with Andres Rodriguez. [Online] Available at: https://www.youtube.com/watch?v=oSjAcoYOw5s [Accessed 30 October 2016].	This video is an interview with Andres Rodriguez, who is a 3D Environment Artist at Naughty Dog. He is talking about some Uncharted 4 work as well as answering questions from the online viewers.
4.	Gamers Nexus, 2015. What is PBR? Physically-Based Rendering Explained. [Online] Available at: https://www.youtube.com/watch?v=7NjGETJMZvY [Accessed 28 October 2016].	Here is an interview with some developers from CryEngine assisting in defining what PBR is and also talking about some examples of games using this approach.
5.	GDC, 2016. Fallout 4's Modular Level Design. [Online] Available at: https://www.youtube.com/watch?v=QBAM27YbKZg [Accessed 28 October 2016].	This is a live talk with one of the Level Designer and his assigned Environment Artist talking about the modular level design and workflow at Bethesda during their development of Fallout 4. They talked about all the problems they have come across and how they tried different approaches to solve it. The talk is followed by a Q & A session at the end.
6.	Matros, M., 2016. 3D Environment Art for Video Games: Artist Panel. [Online] Available at: https://www.youtube.com/watch?v=cSSVvJxNF8w [Accessed 28 October 2016].	This is another talk taking place at Gnomon which is a private online course teaching art, animation, film and VFX. They invited over some 3D environment artists from Naughty Dog, Blizzard and EA Games to present their workflows and discuss about all the encounters and solutions they have come across during the development of the games. There is also a Q & A session at the end of the video where people ask questions related to what they have presented.
7.	Sony Computer Entertainment Europe Ltd, 2016. Playstationjobs.co.uk. [Online] Available at: https://www.playstationjobs.co.uk/vacancy/1604-Junior-Environment-Artist/page/2?src=JB-10380 [Accessed 28 October 2016].	Vacancy offer
8.	Greenway, T. et al., 2011. Photoshop for 3d artists. previz, texturing and post-production. Worcester: 3D Total Publishing.	A good book that I’ve read concerning texturing techniques and tricks. It might not be that relevant to the PBR workflow but it helped especially with tricks inside Photoshop and create all the post-process visuals and effects for images and presenting your work. This could also help with presenting my portfolio assets.
9.	Totten, C. W., 2014. An architectural approach to level design. Roca Raton: Taylor & Francis Group.	A great book talking about how architecture could improve level design, with problems regarding the use of space and dimension and different solutions to prevent these and make the gameplay and flow aspect improve the levels. Particularly good for the ancient roman architecture used for Circus Maximus.
10.	The Polycount Wiki, 2016. Modular environments - polycount. [Online] Available at: http://wiki.polycount.com/wiki/Modular_environments [Accessed 3 November 2016].	This website is containing valuable information about assets, workflows, tools and techniques posted by developers and professionals as well as students or hobbyists. This helped me to watch other artists’ approaches and I could use them to get feedback while I am working on my piece as well.

Project Milestones
2016 -- 17	Week #	Milestone Deliverables and Tasks
26 – 30 Sept	Week 1	Research: architectural styles
3 – 7 Oct	Week 2	Research: architecture in level design
10 – 14 Oct	Week 3	Research: modular architecture
17 – 21 Oct	Week 4	Research: modular level design
24 – 28 Oct	Week 5	Research: PBR workflow
31 Oct – 4 Nov	Week 6	Research: skills and techniques regarding soft and hard surface modelling
7 – 11 Nov	Week 7	Research: lighting & visual effects, post-production
14 – 18 Nov	Week 8	Submission of Final Project Proposal: by noon, Friday 18 Nov 2016
21 – 25 Nov	Week 9	Research: texturing & approaches
28 Nov – 3 Dec	Week 10	Gather references and images
5 – 9 Dec	Week 11	Designing Mood Boards
12 – 16 Dec	Week 12	Designing Concepts and asset priorities
19 – 23 Dec		Create base meshes and placeholder texturing
26 – 30 Dec	Winterval
2 – 6 Jan
9 – 13 Jan
16 – 20 Jan
23 – 27 Jan	Week 13	Iteration and modelling, unwrapping and texturing 1
30 Jan – 4 Feb	Week 14	Iteration and modelling, unwrapping and texturing 2
6 – 10 Feb	Week 15	Seminar Presentations
13 – 17 Feb	Week 16	Seminar Presentations
20 – 24 Feb	Week 17	Iteration and modelling, unwrapping and texturing 3
27 Feb – 3 Mar	Week 18	Iteration and modelling, unwrapping and texturing 4
6 – 10 Mar	Week 19	Secondary tasks: visual effects and statues 1 (only if time allows)
13 – 17 Mar	Week 20	Secondary tasks: visual effects and statues 2 (only if time allows)
20 – 24 Mar	Week 21	Test in engine and final polish 1
27 – 31 Mar	Week 22	Test in engine and final polish 2
3 – 7 Apr	Week 23	Post processing and showcasing
10 – 14 Apr	Spring Fertility Festival
17 – 21 Apr
24 – 28 Apr	Week 24	Submission of Final Product and Blog: by noon, Fri 28 Apr 2017

I need to start creating some moodboards for how the place should look like and all the assets in the circus. I aim to have all the basic research tasks completed before Christmas so I could have a head start after the holiday.

References

Wiki.polycount.com. (2016). Subdivision Surface Modeling - polycount. [online] Available at: http://wiki.polycount.com/wiki/Subdivision_Surface_Modeling [Accessed 22 Nov. 2016].