Feedback

Having received my feedback on my Project proposal, I have had to change some elements of my milestones, though there aren't any major setbacks.

Firstly, I may need to reconsider my final artifact, which I had felt may be over-scoped. Whereas my final artifact idea makes use of the hard surface modelling techniques, there is very little room for any organic modelling, which is cited as a requirement in a lot of job advertisements and so I would like to display this in my portfolio.

My feedback details a process I had not documented, using re topology tools and so I plan to use an asset I have previously modelled to take it through this pipeline as suggested. Any models used in the tests can be documented in my portfolio if they are to a high enough standard and, as suggested, could define what the final product would be, and its limitations a bit better.

Although I had considered using high poly sculpting to low poly sculpting, I thought I may be able to bake to a lower poly mesh, but had not accounted for any new geometry said sculpting creates, so this is a valuable method to be reiterating.

Modelling Update

I've been looking at building an environment using Modular assets.

My first iteration of this was to build the modular assets so that they could be used to construct buildings for a town, or small city. The kind of environment seen in towns with pedestrian roads. I researched the different elements of buildings, and worked on splitting the buildings into ground floor models, and upper stories, so that a level designer could construct them at their ease to produce a wide variety of types, while still maintaining a consistent style.

The tests I produced demonstrate the ways that the buildings could be split up to be modular. This also provides me with a sense of the scale of the project. For example, how many polys the individual assets will be and how much they will amount to. This data was taken from sources

Modular Roofs. I researched into different types, and worked on fitting them together

Very primitive examples of working out the pieces I could produce for the building

Storefront that uses tileable ground floor and windows

Experiment with using textures to pull out geometry for the model

Style Guide

A collection of images that I have gathered to hone down the style of building that I am hoping to produce. These images give me a good understanding of the different parts of the building I can split up and consider for the modular approach. For example, I could produce a variety of different cornices with different patterns and dentil placements which could seamlessly attach to a variety of building facades.

I have also researched into the specific parts of buildings, which will make it easier to search for specific photo reference and refer to conventions that actual buildings follow too.

Source: Nevin (2007)

For aesthetics, I originally planned to theme it on the streets of Akihabara in Japan, which 'Cyberpunk' draws a lot of reference from. Using bright neon lights against a dark, blue toned backdrop for contrast. Where the signs on the side of buildings for advertisement were so plentiful, it seems like any available space is used for the signage. However, I wasn't too sure about if this would be possible in the time I had, having to model these assets, and devise a system of ensuring they fit together in a modular structure.

A collection of images highlighting the palette and recurring elements of 'cyberpunk' cities

Images detailing a brassier sci-fi interior, showing more recurring elements of the genre. Hard surfaces, bright lights and rounder geometry than contemporary architecture. 

Sources

Nevin, S. (2007). Building Parts Diagram. [online] Gallery.insanart.com. Available at: http://gallery.insanart.com/v/design/buildingparts.jpg.html [Accessed 23 Nov. 2017].

Poly Count for buildings

While trying to determine the poly count for the project I am undertaking, I considered how the entire project would need to be optimised to run in engine. The same thing would need to be considered if working in a AAA studio, and is cited as a requirement in most of the job advertisments I looked at.

Having decided on making a building using PBR texturing methods and utilising Polygon-sculpting methods, I looked at similar games. Considering I had looked at job adverts from Rockstar, I researched into the polygon counts seen in games like Grand Theft Auto V, Infamous Second Son. Games that use cities as their environment.

Another source I found is the Unreal Marketplace which, as the engine I am wanting to render the assets in, is useful in providing professional constraints for the work and also provides me with the means to sell my assets if I wanted to. This is a standard which ensures that assets are on par with the standards that are expected of the engine, and run in an optimised manner.

Finally, forums like PolyCount and 3D media companies like Turbosquid give some indications of the kind of poly count that is typical of certain games.

The spreadsheet below details an artist at Turbosquid's experiences with real-time poly counts. While a lot of the assets on Turbosquid reach exponential amounts of detail, the 'real time' assets represent a significantly downscaled version of what is normally offered, while still maintaining a lot of detail.

For my work, as I have decided on a modular building approach, I need to consider how much the count is going to increase, just from modularity alone. From the spreadsheet, it looks like I should be aiming for around 100k per asset, which also depends on the type of asset, and its position in the world in terms of importance, and likelihood of being seen and scrutinised by the player.


Sources
Google Docs. (2017). Poly Budgets 2017. [online] Available at: https://docs.google.com/spreadsheets/d/1xJmSuBZbdMOlIcdXmO9hu46GJ7-wIiWCclJwimIOJa4/edit#gid=0 [Accessed 16 Dec. 2017].

Epic Games. (2017). Marketplace Submission Guidelines[online] Available at: http://help.epicgames.com/customer/en/portal/articles/2592186-marketplace-submission-guidelines-preparing-your-assets#Submission Requirements [Accessed 16 Nov. 2017].

Nelva, G. (2014). inFAMOUS: Second Son's Characters are 120,000 Polygons; 11 Million Rendered Regularly by the Engine. [online] DualShockers. Available at: https://www.dualshockers.com/infamous-second-sons-characters-are-120000-polygons-11-million-rendered-regularly-by-the-engine/ [Accessed 24 Nov. 2017].

Update on Concepts and Level Design

Originally I wanted to outsource any level design so that I didn't have to spend necessary time on planning and greyboxing a level.

While I have been able to find different concept art that would benefit my project, I was unable to find any premade levels. However, I was able to find a lot of pre-prepared level maps that I could use use and change to fit with my desired scope and still keep in mind my stretch goal.

Using an existing layout of a city block, I was able to block out the geometry of the level using Unreal Engine 4 and while it is an extremely large project, it allowed me to tweak specific sections and view them 'in-game' 

The biggest problem I face with using real-world maps and measurements is that, when viewed from either a third person person perspective, or first person perspective, the scale appears too small. This was a problem highlighted by Luke Ahearn in 3D Game Environments, where he makes reference to how racing games intentionally use massively wide roads to combat the limitation of racing in a two lane road.

In terms of concepts, I have gathered a variety of photo references, which I hope to reproduce using textures and modular construction and combining the two methods into a hybrid of modular assets and modular textures.

City layout taken from Akihabara. Overall, it is a lot to individually 3D Model, but may be possible as a stretch goal, using modular assets.

3D Modelling Techniques: Modular

[UE4] Modular Building Set Breakdown

The link above provides a thorough run through of a 3D Artist designing and building modular assets for buildings, which is something to consider for my Final project.

The artist makes a point of analysing photo reference to capture key elements of buildings that can be reused and re purposed, even detailing a method that allows for the colours to be switched using colour overlays in Unreal.

He uses PBR maps, using a workflow similar to a metallic/roughness workflow outlined by Allegorithmic Documentation (McDermott, 2015) Utilising Base Colour, Metallic, Specular and Roughness maps, each using inputs from 0 to 1.




Sources
Docs.unrealengine.com. (2017). Physically Based Materials. [online] Available at: https://docs.unrealengine.com/latest/INT/Engine/Rendering/Materials/PhysicallyBased/ [Accessed 18 Oct. 2017].

McDermott, W. (2015). The Comprehensive PBR Guide Vol. 2. 1st ed. [ebook] Allegorithmic. Available at: https://www.allegorithmic.com/pbr-guide [Accessed 17 Oct. 2017].

Physically Based Rendering Workflow

There are two main workflows for PBR Shaders, depending on the engine capabilities or constraints. These are a Metal/Roughness workflow and a Specular/Glossiness workflow, each with their advantages, cruxes and map types.

Metal/Roughness
This workflow uses three map types that are exclusive to this pipeline, and each have their own guidelines on how to create them, as cited by Allegorithmic.

• Base Colour
• Metallic
• Roughness

Base Colour
The base colour map is where the reflectance value is placed, with a reflected colour for dielectrics. The reflectance value works in hand with the metallic map, and will only reflect light if the metallic map masks the area as being metal.
For the base colour, no lighting information is present, and the tone of the colour is flatter than it would appear in a normal diffuse colour map. This considers the PBR Shader which will give the map a lighter appearance. On the sRGB scale, the tone of the base colour map should adhere to guidelines, depending on the brightness. If it is a darker colour, it shouldn’t go below the range of 30-50, while brighter values shouldn’t exceed 240. The dielectric value (F0) is hardcoded to 0.04 (4%) reflective.
The reflectance value uses real world values to give the desired look of certain metals. As stated before, any non-metallic elements, or dielectrics should be set to non-metallic in metallic map.

Metallic 
Like an alpha mask, this map defines which areas of the texture are raw metal, and which aren’t. This map doesn’t take any real-world values, and uses black to define non-metals, and white for metals. A blend between the two states can be achieved by using grey values, but if they have a value lower than 235 sRGB, their reflectance value in the Base Colour map too needs to change to show it is no longer a metal.

Roughness
The roughness map determines the texture that the object is given, and how smooth the surface is. While the light intensity remains a constant, a rougher surface changes the direction that reflections follow, using the microfacet theory. A smoother surface will appear brighter, with less diffusion taking place. In a roughness map, Black represents a smooth surface, while white represents rough. As the other two maps rely heavily on real-world values, it is in this map that an artist can spread their wings, defining the character of the surface and telling whatever kind of story they want about the condition it is in. The normal map of an object usually features detail that can be used as a guideline to create a roughness map, defining key areas and details.

Energy conservation
As the Base Colour Map doesn’t give control over the F0 value for dielectrics, Specular values from Base Colour and Metallic map use real world values and maintain the laws of conservation, so the two values are additive.

Specular/Glossiness Workflow
Like the metallic/roughness workflow, this workflow uses three main maps:

• Diffuse (albedo)
• Specular
• Glossiness

Diffuse
This map contains the diffuse colour for the material but, unlike Base Colour, holds no reflectance values. Areas that are intended to display metal are coloured black, as they have no diffuse colour, and rust and grime would contain colour, as they are dielectrics. Like the Base Colour, it should contain no lighting information, but still adhere to the sRGB values for dielectrics, 30-50.

Specular
This map contains the reflectance values of metals, and the F0 values for dielectrics, where the F0 value is hardcoded at 4%, but should still follow real world measured values. The F0 value is greyscale, with the metal reflectance having colour. This colour is what gives the metal its tint that defines the type. For example, Gold has a yellower tint than steel.

Glossiness
Like the Roughness map, this creates surface irregularities that cause light to diffuse, and reflect less, giving a smoother, or rougher surface texture. Unlike the Roughness map, the values that denote smooth and rough are inverted, so Black defines rough, and white defines smooth.

Energy Conservation
Unlike the other workflow, Specular/Glossiness gives full control over f0 Values for dielectrics, which means the values for dielectrics and metals can combine to output a larger amount of light, breaking the laws of conservation.

Maps Common to both Workflows

Ambient Occlusion
Ambient Occlusion determines how much ambient environment light is available to the surface. So, faces that are hidden would contain no ambient environment light, and this would be presented in the ambient occlusion map. Ambient occlusion only impacts diffuse colour, and should not impact specular colour. Ambient Occlusion can be baked from the mesh itself, or from other maps, such as, Normal Maps and Height Maps.

Height
Often referred to as displacement maps, Height maps can be used in PBR for parallax mapping, and creates more depth than normal and bump maps. As with AO, Height maps can be baked from meshes themselves, or converted from Normal Maps.

Normal
Normal maps are used to create detail on surfaces, without needed to expend any polys to create the detail. In a PBR Workflow, it is used the same as in the traditional method, and is beneficial to be used to define the roughness/glossiness map. As the Height map can be defined using the Normal map, the same is true in reverse.

Physically Based Rendering Theories

The main aim of a Physically Based Rendering system, and what makes it different to other methods of texturing, is that it strives to create realism. Using lighting techniques that ‘treat light the way it behaves in the world’ (Gamer's Nexus 2015) and using key principles of physics, and how light interacts with matter, objects are given a ‘photo-realistic’ appearance.

Light Rays and Ray-Trace

Light is generated along ray-traces, which are generated from the camera viewing position, onto the scene. How the ray-traces interact with geometry and objects, determines how light behaves and what properties that object displays visually.

Distribution

When light hits an object, how that light reacts to the object denotes characteristics like, opacity, reflectiveness etc. The light is either reflected from the object, or refracted, meaning it passes through it to some degree.

Absorption and Scattering

Absorption

When the light is absorbed by an object the intensity changes into another form of energy, such as heat. In a PBR Shader, the rays themselves do not change, as they are just a representation of the path that the light must follow.

Scattering

Scattering refers to light entering an object, and ‘scattering’ before it is emitted back out. The intensity of the light doesn’t change, but the thickness denotes how much of the light is scattered inside the object.

Diffuse and Specular Reflections

Specular

Specular is the light that is reflected off a surface, and follows the law of reflection, as per the laws of physics. This means that the angle of incidence, the angle that the light hits the object, is equal to the angle of reflection. The light intensity remains the same, even on uneven surfaces.

Diffuse

A diffuse material allows light to enter an object, scattering the light directions before it is refracted out again, however, diffuse is absorbent, meaning that refracted light has a chance to be completely absorbed if it travels for too long. An object that has high light scattering properties, but low absorption, allowing light to pass through it, gives a translucent effect, like frosted glass.

Microfacet Theory

This theory suggests that a surface is made of small, scaled planar surfaces that reflect light, meaning that if these are irregular due to an uneven surface, the light that would’ve normally been reflected, is instead diffused. This gives a surface its rough, or smooth texture.

Colour

Colour is determined by light reflections, and which wavelengths are emitted by the object, and reflected.

BRDF

Bidirectional Reflectance Distribution Function or BRDF describes the reflectance properties of a Surface. For a BRDF to work, it must conserve energy, as per the laws of physics, and exhibit reciprocity.

Reciprocity Principle

Helmholtz reciprocity principle states that incoming and outgoing rays are reversals of each other, without affecting the outcome of the BRDF.

Energy Conservation

Following the physics of light in the real world, physically based rendering uses energy conservation, where the light reemitted from an object is less than what is received. Energy has been converted into other forms. Allegorithmic cites that this is handled in their PBR Shader, and isn’t necessary to adjust.

Fresnel Effect

This is the effect where the amount of light that is reflected off an object is dependent on the viewing angle. For example, viewing a pool of water from a perpendicular angle, the viewer would see straight through the water, depending on if it was clean or not. But as the viewer puts distance between themselves and the pool, their viewing angle changes, and so does the way that light is reflected at their eyes.

F0 (Fresnel reflectance at 0 degrees)

F0 is the amount of light that is reflected at a 0degree viewing angle, that is, at a straight on angle. In a PBR Shader, this value is given to non-metals (Dielectrics/Insulators) as opposed to metals (Conductors)

Conductors and Insulators (Metals and Non-Metals)

For Physically based rendering, there are set guidelines for metal and non-metal surfaces, with values that correspond to real life values.

Metals

Metals are good conductor of heat and electricity, and so light that hits a metal surface is reflected. All refracted light is absorbed. Any painted metals or rusted metals are treated as dielectrics, as they do not behave as metals do.

Non-Metals

Dielectrics are poor conductors of electricity, and so they reflect a smaller amount of light. Common dielectrics have an F0 value of between 2-5%

Linear Space Rendering

This means that intensity values are not corrected as post production volumes and so are proportionate to how they are perceived. This means that light behaves how it does in the real world, and so contributes to a photo-realistic look.

Sources

Gamers Nexus. (2015). What is PBR? Physically-Based Rendering Explained. [Online Video]. 13 March 2015. Available from: https://www.youtube.com/watch?v=7NjGETJMZvY. [Accessed: 18 October 2017].

Detailed Job Research

I have researched into environmental 3D Modelling jobs in an effort to identify key skills that are specific requirements to work in this area of the industry.

Blizzard

Fast and efficient 3D Modeller

This suggests a fast output time is needed from the 3D Modeller. This would mean that they would need sufficient knowledge of the tools to avoid any hindrances, and a workflow that was tried and perfected to produce a professional, consistent outcome each time

Superior eye for light, shade, and detail in creating texture maps and materials

This requirement outlines some skills that are needed from the artist. Firstly, knowledge and ability to texture and use materials with different maps. This would mean that this job isn't outsourced to another department, and so the qualities of a texture artist are needed. Attention to detail gives some indication of the quality they expect, probably not looking for stylised, hand drawn textures. More towards the photo-manipulation method of texture art.

Experience in Unity3D and Substance Painter

Both of these tools are capable of rendering PBR systems, so its likely this is a required skill. 'Superior eye for light, shade and detail' may also have been calling for a PBR workflow. Substance Painter is also used to bake different maps to lower poly meshes as a workflow for games.
(Blizzard, 2017)

Id Sotware - Bethesda

Create Models, textures and set pieces based on concept art

The artist will be working from reference material, and need to display the skills to interpret concepts that are most likely 2D Imagery into 3D models. It may also require communication between the modeller and the artist to achieve their vision, or to clarify aspects of the concepts that they may not be clear on.

Work closely with the lead, designers and other artists to model props and world builds

This ties back in with the previous skill of communicating between members of teams and different teams. It also suggests that your work is going to be transferred to different departments, and so needs to maintain consistent naming conventions and a clear, understandable workflow for members besides yourself. This responsibility also gives some scale to the projects you'd be undergoing, modelling on a world scale.

Familiarity with working on futuristic Hard surface Modeling

This gives the type of modelling that you'll be undertaking in this position, and the style and theme that you'll be emulating ; albeit a vague style and theme. Although it may be testing the modeler to display their skills in researching and informing an idea, demonstrating a wide variety of types of 'futuristic' themed assets. 

Solid experience with world building, texturing and lighting inside a game editor such as Radiant, Unreal or comparable editor

From my research in the different 3D Modelling workflows, this sounds similar to a Level Design Workflow, making sure the assets are game ready, and replacing assets from greybox builds. Although not familiar with Radiant, I found that Unreal uses a renderer capable of rendering PBR systems, and this would be consistent with their statement at the top of the listing.

Comparison of DOOM gameplay, the final verison using id tech 6 with Dynamic lighting and Physically based rendering

Understanding of modern 3D Modelling packages/ Familiarity with the id software family of engine, tools and material creation

This assumes the applicant has researched the company itself, but also gives some idea of what software is expected. Through some research, I found that the engine they use is: id tech 6, which uses a Physically based rendering system. (Bethesda, 2015) One of the skill requirements states: 'Solid experience in environment asset creation using contemporary, real time rendering methods' which shows what quality of work they are expecting, and how their company has designed their engine around this system.
(Zenimax Careers, 2017)

Criterion Games

Create high quality 3D environment art based off of concept art and photo reference
This requirement calls for the artist to actually be able to 3D Model geometry using concepts. This would mean working to a set scale, and an attention to detail. Possibly working with the concept artists tot achieve this goal. Again, this requirement calls for the ability to work from concepts, and explicitly states: from photo reference. They expect a photo-realistic appearance, that has the level of detail that a physically based rendering workflow would achieve.

Production techniques - High- low poly baking, modular asset creation, white boxing, physically based rendering, sculpting etc.
The company lists techniques they expect you to be familiar with, indicating that you would be working with sculpting and 'high poly' modelling, then baking to a lower poly mesh. This requires a knowledge of this workflow, and the individual skills that make it up.

Knowledge of tools

The company requires certain tools that are professional standard, which it is worth me investigating if I am not familiar with them.

A strong sense of composition and eye for lighting, colour and detail
Attention to detail, and detailed modelling methods are needed with an artistic perspective in mind. Therefore, some knowledge on colour theory and using high quality images for textures to provide detail. This skill suggests the applicant should be able to demonstrate a knowledge of using these theories to design an atmosphere in an environment. To demonstrate that they an manipulate the mood of a scene, or render.
(Criterion Games, 2017)

Guerilla Games

Create Lush, compelling and immersive worlds
This requirement suggests that the company is using an engine that can handle the rendering/running of organic environment modelling, which generally requires high amounts of polys. This may also require detailed textures, using photo realism, or high poly-low poly baking.

Mockups, detailed sculpts, game meshes and texture bakes
This states the specific techniques expected of the modeller, which tallies with what the previous requirement calls for. The typical workflow they are expecting is also suggested, as high-poly to low-poly baking requires a specific order of work.

Mountain peaks, river rocks and everything in between/ natural set pieces
This shows a realistic style, using organic modelling, requiring sculpting knowledge. The engine capabilities are, again, hinted at, an 'Open World experience' meaning that the engine can obviously handle processing large, open world environments, so attention to detail is necessary. So maps like normal maps and grime maps may be required, or a knowledge of producing them.

Managing a library of both sources and game content
Not only is the prospective employee responsible for knowledge in these techniques, they are also expected to work professionally, and to have collated a collection of resources, both secondary and primary, to work with. Such as photo reference and photo manipulated textures they have produced themselves.


Ubisoft

Assist with optimisation and debugging
Shows optimisation techniques and knowledge is expected, so workflows using high poly to low poly baking is expected. Common XView Checks would also be expected in the workflow, and conserving the poly count.

Applicants should, again, have an eye for detail, which means they should be able to demonstrate this ,in their 3D Modelling and renders, showing high resolution texturing, that has used photo reference to maintain a consistent quality of assets, and uses PBR Systems to replicate real life lighting, and surfaces


Conclusion

Evident in all of these listings is the need for applicants to have knowledge of PBR Systems. Therefore, this is a definite skill that I need to display in my final project, and also need to go away and research extensively into.

Sculpting is another skill that is prevalent throughout the listing, which indicates the workflow that I should research and follow for my project. In some listings it explicitly states that the workflow of baking a high-poly mesh to low-poly mesh is necessary. So this is another absolute requirement for my final project that I need to be displaying.

Optimisation is cited a few times, particularity in the listings that pertain to open world, large environment construction. It doesn't state the exact constraints and limitations in place, so this is something I will need to explore further using my findings from: Optimisation in 3D Modelling However, this is definately something I need to convey in my final project, and consider throughout.

'Attention to detail, lighting and colour' was repeated a lot in these listings, which I found very vague and could have applied to many different aspects of 3D Modelling. However, I have chosen to interpret 'attention to detail' as Using photo-realistic images, and shading techniques, such as PBR shading, and sculpting/organic modelling to produce assets that are suitable to be used in a First-Person environment, maintaining geometry shape and texture resolution when viewed close up from this perspective. For 'lighting and colour' I intercepted this to mean that a 3D Modeler should knowledgeable in the theories of lighting and colour, and be capable of displaying assets that demonstrate this capability. For my final project, this could be achieved through market renders, or in-game renders that light scenes or assets in a variety of ways to achieve specific moods and atmospheres.

Sources: 

Bethesda Softworks (2015). Powering DOOM with id Tech 6. [video] Available at: https://www.youtube.com/watch?time_continue=16&v=R6itJ19T99c [Accessed 18 Sep. 2017].

Careers.blizzard.com. (2017). Environment Artist, Unannounced Project - Art/Animation/Sound. [online] Available at: https://careers.blizzard.com/en-gb/openings/opS25fw8 [Accessed 18 Sep. 2017].

Criterion Games. (2017). Environment Artist – Contract. [online] Available at: http://criteriongames.com/environment-artist-contract/ [Accessed 18 Sep. 2017].

Guerrilla-games.com. (2017). Environment Artist. [online] Available at: https://www.guerrilla-games.com/join/environment-artist [Accessed 18 Sep. 2017].

Ubisoft.com. (2017). Ubisoft - Careers / Search for Jobs. [online] Available at: https://www.ubisoft.com/en-us/careers/search.aspx#sr-post-id=743999660515827&is-redirect=true [Accessed 18 Sep. 2017].

ZeniMax Careers. (2017). ZeniMax Careers - Environment Artist - id Software. [online] Available at: https://jobs.zenimax.com/requisitions/view/1039 [Accessed 18 Sep. 2017].

High Poly Sculpting

Like the pbr texture test, Job searches led me to explore high poly sculpting. Whether these can be used in my final project is still to be determined, but I found that it took longer to render, and impacted on runtime when exported into engines, so might not be an efficient method if this pipeline is one I follow.

However, this method is still viable to produce photo-realistic textures, if the high poly models were baked to a low poly model. This reduces the impact on runtime but maintains the detail that high poly sculpts would bring to the model.

PBR Shader

PBR

Today I experimented with PBR in Substance Painter.

Exploring different ways of achieving a photo realistic look, I explored PBR (Physically Based Rendering) and the different engines that can render this. Unity 5 and Unreal Engine 4 are two of the engines that are available to me to use, and can also use PBR shading, so it makes sense that these are two of the engines that I may consider if I need to use my assets in a game engine, or showcase them as such. 

These engines are also industry standard, being requirements in some of the job listings I looked at to know about, and having researched Indie games and Triple A titles, it is clear that these are two engines that are heavily customised within the companies, and are used a lot.

Below is a product of following a tutorial. I feel that the texturing is very different to working on textures in 3ds Max and Photoshop. A lot of the UV mapping can be left to the program to remap and I found it handy that the painting and texturing bakes in real time to new normal maps.

Product of a tutorial in texturing a 3D asset in Substance Painter using PBR shading

Sources:

Allegorithmic. (2017). Substance Painter: Texturing an asset from start to finish. [Online Video]. 16 June 2017. Available from: https://www.youtube.com/watch?v=Qk_YRkDsJrQ. [Accessed: 9 September 2017]

3D Modelling Production Pipeline

I've looked at different skills, requirements and experience that prospective 3D Modellers generally need when applying for jobs as Professionals. To complement this research, I've looked at the different pipelines that 3D Modellers follow to narrow down a specific workflow that I should be following. This differs slightly depending on the position

Brandon Hix documents the pipeline that he uses in the software Blender. He makes a point that 'As a 3d artist you can choose to familiarize yourself as much or as little as you want with each step, but choose carefully' and that you increase your prospects and desirability to be employed if you can boast a broader range of skills. That as a 3D Artist, you should research as much as you can into the fields he mentions:

Modelling

The initial 3D Modelling/Sculpting of the assets using polygon modelling. This creates the base mesh with which to work with

Shading

Using materials and textures to add depth and detail to the models. Bump maps, specularity maps and diffuse colour maps define the surface of the 3D Model. He makes the point that Blender uses a Physically Based Rendering system to create realistic lighting, which is noted as a requirement in a lot of the Job Listings I looked at, to be able to work with PBR to produce photo-realism.

Lighting

Using lights to compliment the textures and geometry of the model. There are lights that give realistic lighting, enable for manual control of lights and can define the mood for the entire scene.

Animation

This area is where characters, objects and environments are animated using keyframe animation, pose-to-pose animation and recommends researching the history of animation in general, rather than just 3D animation.

Rendering

Though commonly viewed as a final step, Hix discourages this attitude, making the case that a 3D artist should always be thinking about how their work is going to work in the final render.

However, Castillo and Novak focus on 3d modelling from the perspective of the level designer. Emphasis is placed on concepts, laying out the ground works for level designs. For example, Castillo and Novak cover a section in their book called ‘blocking in’ which goes over creating grey box builds of levels. Though not always the job of the 3D Modeller, they can be involved in this process and still need to be aware of the workflow that has preceded their involvement.

(Castillo and Novak, 2008. Pg. 132)

This relates to the job search I conducted, as a lot of roles call for level design experience, or knowledge of it. In comparison, a level designer will follow this workflow:

Concepts and paper design

Concepts and rough designs on paper allow for easy iteration and serve as a template when blocking out levels, usually in a top down perspective, like a map

Blocking in

Level designers block the level in as grey boxing. Some of the job adverts I looked at used the phrasing ‘white boxing’ This is where the top down map creation helps to establish composition and scale. Castillo and Novak refer to this a ‘’Broad Strokes Theory’ testing the composition of the map, scale alongside character models with engine perspective

Asset creation

This stage is the actual 3D Modelling, and involves taking the geometry from grey box builds, and refining it. This is then reimported into engine to replace the grey boxing elements

Lighting

This covers colour and shadows, setting a model up to be lit and rendered to create a certain mood or atmosphere.

Post processing

Image editing, such as bloom, exposure control and tint to the colour of the scene

Rendering

Final render showcases the model using all the lighting and composition methods.

Sources:

Castillo, T. and Novak, J. (2008). Game development essentials. New York: Delmar.

Hix, B. (2016). Making Sense of the 3d Production Pipeline – Blender Unleashed. [online] Blenderunleashed.com. Available at: http://www.blenderunleashed.com/tutorials/making-sense-of-the-3d-production-pipeline/ [Accessed 9 Sep. 2017].

Optimisation in 3D Modelling

Luke Ahearn prioritises optimisation throughout the pipeline he follows. His book: '3D Game Environments' focuses on environmental modelling, and ways that he handles optimising these assets and construction in a video game environment throughout his pipeline.

When modelling the geometry of assets and environment, he constantly considers the poly count, and aims to keep it as low as possible. This includes things like, deleting backfaces that wont be seen, common XView Checks and elaborates on Level of Detail (LOD) that handles scaling down the detail with distance.

In terms of texturing, a lot of detail is faked using Normal maps, or baking the high poly mesh and making a normal map. Texture Atlases are generally used to conserve the strain on the engine, but he makes a note that a lot of modern industries are moving away from this method. (Ahearn , 2008 pg. 6)

Castillo and Novak go over the process from the perspective of a level designer, and, I feel, present a very quick, and modular process when compared to Ahearn's process. (Castillo and Novak, 2008 Pg.195) He recommends breaking models up to ensure they are as optimal as possible. So this is a method worth researching, and comparing how watertight assets compare to the methods of modular construction. 

I also face limitations in the performance of the technology I am using throughout this project, and so have conducted tests to determine the capabilities of the software available to me, both in the University, and using personal computers.

3D Studio Max sees the decreased performance when the poly count begins to reach 200k. This is without effects and lighting. With these added, rendering time increases, but the same rig and effects, I have found run more optimally in Game engines. This probably because that is what they're designed for, but I also tested these.

Game Engines vary depending on a number of assets in scenes, and effects, such as lighting, and particle systems. 

Unreal Engine 4 provides documentation on this topic, placing importance on poly count reaching over 300 polys, and limiting the amount of elements per object. In terms of texturing, materials that use alpha masks process slower than opaque materials, and the higher the resolution of these, the more it can impact performance of the game. (Unreal Engine 4 Docs 2017)

Current Goals
My next step is to research Environmental Artist Jobs, and compare these optimisation methods to any requirements that they list. In doing this, I hope to give myself realistic constraints to work by, and follow a professional workflow.

Sources:

Ahearn, L. (2008). 3d game environments. Boca Raton: Crc Press.

Unreal Engine 4 Documentation (2017). Performance Guidelines for Artists and Designers. [online]Available at:https://docs.unrealengine.com/latest/INT/Engine/Performance/Guidelines/index.html [Accessed 1 Sep. 2017].

Castillo, T. and Novak, J. (2008). Game development essentials. New York: Delmar.

Meeting With Tutor

Today I met with my tutor Dave to discuss my Dissertation. I told him what direction I wanted to take with it, and what research I had already undertaken. 

Firstly, the fact that it was environmental meant that I had narrowed down the skills and workflow I would need to follow to be working at a professional level, and he recommended looking at specific job roles and skills that they require of this role.

I mentioned that my research had listed: Photo realistic textures and modelling as a required skill, which he said I needed to interpret as using modern, PBR methods of material creation. For modelling, he recommended looking at sculpting in programs like ZBrush or Mudbox, and organic modelling. Creating organic objects in these programs, rather than primitive models, and low poly meshes. 

This could mean I have to look at a high poly to low poly bake workflow, where I outsource the organic modelling/ sculpting to anther program, and re-import to be baked as a texture for a low poly asset. This is something I have had experience in for previous projects, but never really followed a professional workflow when doing so.

Current Goals
I have to research more definite skills and workflows for the job of Environmental Modeling and compare how they differ from the roles i've previously researched.
I want to test different methods of modelling in 3DS Max, following tutorials and working from reference. From this, I hope to be able to take models into Sculpting programs and follow a high poly to low poly workflow. 
Similarly, using the same models, I want to compare the process of sculpting to that of PBR Materials. Whether there is any harmony in using the two together or if this is a choice I must make as another constraint.

Jobs in 3D Modeling

From researching 3D Modelling jobs, I found numerous job listings and compared the repeated skills, responsibilities and expectations of applicants.

Commonly expected Software

It is expected of applicants to be proficient in certain software. Autodesk is a common company referenced throughout the job listings. Almost all of the listings make reference to either Maya or 3D Studio Max, with the Environment Artist Role (Figure 4) expecting applicants to be 'Strong with using 3D Studio Max'. So Autodesk 3D Modelling software seems to be a must to be working in professionally.

Another industry standard software includes Adobe Creative Suite, with Adobe Photoshop being the favourite among companies. The Rockstar Games listing (Figure 2) expects expertise in Photoshop, so this shows that its used in professional companies that produce AAA Titles.

The job with Ubisoft (Figure 5) lists experience in hard surface and organic modelling and Amplified Robot (Figure 11) expects experience using ZBrush. This suggests that knowledge and experience with sculpting software is necessary to be working to a professional standard.

While some of these I am skilled in, there are others that I can improve in, and software like Mudbox and ZBrush I haven't ever used. So this is one avenue that I could go down for my dissertation.

In terms of technical skills, a lot of listings make reference to optimisation to import into Game Engines. Figure 1, 7, 8 and 11 mention Unity as a game engine the applicant should know, while Figure 4 lists Unreal Engine 4 as the game engine experience is needed with. I have experience with both, and so this may require more research to decide which I might need to use, if at all necessary.

Common Skills

As well as the ability to use this software, a number of skills are needed for a lot of the listings. I have made note of the recurring mentions:

• Ability to model assets with optimisation in mind
• Poly Count consideration
• XView Checks to ensure assets are game ready
• Ability to model environments
• Highly Detailed
• Large resolution
• Sculpting/Organic Modelling
• Baked high poly to low poly for optimisations
• Ultra-realistic/Photo-realistic
• PBR Shader
• Lighting
• Rendering Engine/Game Engine
• Engines that support this workflow
• Texturing
• Consistent scale
• Consistent with Environment
• consistent resolution 
• Physically based rendering systems

I intend to continue researching these skills I've identified as the expectation of professional 3D Modelling Jobs which can inform my Final Project. Specifically, identifying skills that are relative to Environmental Artist jobs to narrow down the limitations and expectations of my work and the workflow i follow

Portfolio Expectations

Having listed what they expect, a lot of companies expect a portfolio which demonstrates an understanding and the ability to use these skills in practice. Particularly, to demonstrate that the applicant has experience in creating assets from concept art stages through to implementation (Figure 7, Figure 1) This is something I need to consider when documenting my Final Project, and for 3D Modelling tasks I undertake in the future, as if I chronicle them through stages, I can show this journey in my portfolio.

 

Figure1

Figure2

Figure3

Figure4

Figure5

Figure6

Figure7

Figure8

Figure9

Figure10

Figure11

Figure12

Current Goals

From this research, I have found some techniques and terms I am unfamiliar with, so my next step is to investigate these skills, and test them out to identify a workflow. I also want to narrow down my investigation into specific Environmental Artist jobs, and identify skills that are unique to that role, rather than 3D Modelling.

Sources:

Indeed.co.uk. (2017). Job Search | Indeed. [online] Available at: https://www.indeed.co.uk/ [Accessed 30 Aug. 2017].

Reed.co.uk. (2017). Jobs and Recruitment on reed.co.uk, the UK's #1 job site. [online] Available at: https://www.reed.co.uk/ [Accessed 30 Aug. 2017].