Final Sprint Turn in Corpse Bride

 For the final turn in for the semester there were a few tasks that needed to get completed based off of our final critique. I managed to get most of them completed except for lighting since that is something we will need to tweak continuously as we move in to final semester.

I assigned everyone's tasks for the final sprint and laid out my own:

-Finalize goal polycount for all assets in the scene

-Add dust particle effect to the bar area:

I made a proxy pulse material for the flower BP in order to catch the players attention towards the flowers:

I migrated the roach particle effect from the scifi polar asset pack into the scene as a place holder:\

 

I also added a joint chain to the tapestry in the scene and added wind in order to have some environmental animation happening in the bar area:

and finally I found and added some walla walla sound effects to liven up the bar scene as if there were more people in the area:

Module 4 Part 3: Game Res and First Bake

 For  this section of the module we needed to complete our game res and get our first bakes of our high res. In order to get some variation in the model and not have the same sculpt information repeated four times, I did two variants of the main beam so that you see different information on the largest part of the model while you are in VR and I laid out the UVs all separately so that I can give the wood variations in color. 

I ran into an issue when baking that eventually I solved. My bakes were not appearing in any program and after hours of trouble shooting the solution was that my uv's were on the wrong uv space. Once I moved the uvs back into the 0 to 1 space my model bakes fine and I was able to import all of my maps from Marmoset into substance to get the bakes below:

And here are the uvs laid out: 

Module 4 - Environment: Ship Interior Part 02

 For this week we needed to finish the high res sculpt of our assigned asset. For the chandelier I wanted something a little more exciting than what I initially had so I redid a bit of the original proxy and pushed for cleaner geometry.

I decided that since we have the nautical theme and the some of the environment team members were going to incorporate some marine life to their sculpts I wanted to include a metal jellyfish as the cage for my lantern / candle that will hang off of the wooden chandelier in the ship. 

Here is the geometry I sent over to Zbrush. I still have some clean up to do to get the poly count down but this base gives me a better idea of what the overall shape of the game res will look like.

I started off with a base layer of wood grain for the overall chandelier, and then created two alphas from images I found to add some more carved decals on top of the initial grain of the wood. After importing them i then smoothed out the alphas and added some extra detail cuts with the Orb brush set: 

Then here is my current high res rendered in Zbrush: 

since the chandelier will be symmetrical I only have to do one section and either duplicate it in maya  or unreal to save time and have an easier time baking once this is transferred into Substance Painter.

Interior Ship: Chandelier Proxy

 For this week, we needed to take a portion of the level that we were assigned and take a proxy that was provided to us and edit that in a way to prep it for the Orb style. I was assigned the chandelier and decided to change the shape a bit to give it more bevels and some metal and rope accents down the center. I also rounded out the candle holders that hang on the ends of the wood beams. I plan on doing one side and sculpting on that piece and then duplicating that around for textures and baking. I also plan on doing an ornate sculpt of some sea scenery on the flat sides of the beams to reflect David's squid sculpt on his trim sheets. 

Here are some of the images I looked at for shape and eventually for material references: 

Side by side with original proxy: 

Wire frame of single side:

and here is a view of the chandelier with the sections duplicated across to match the original proxy provided: 

In the flat sections of the beams I want to do an ornate carving of an octopus and pirate ship, and for the candles I want to sculpt different levels of melting wax. 

Corpse Bride Sprint 06

 For this sprint I took the professors advice on adding dialogue to the scenes to guide the player and give some context of why Emily is upset with our player character. I recorded and edited my own voice and my fiancé's voice as Victor in after effects and then created audio cues and simple blueprints in unreal to get them to play in the level once on multiple delays. I also added some basic bar ambient sounds to fill the silence when there is no piano keys being pressed and the crows cawing in the forest levels. 

This blueprint was duplicated and then I replaced the audio cue for the different voice lines.

I also created the voice line "Hopscotch" to be added to the level transition when you interact with Emily's ring in the forest. Abi connected the audio cue to the existing blueprint. 

I also took another pass at the lighting in the scene, trying to match just one shot of the movie. It is still a work in progress, but we are getting closer to the film's darkness and accents colors. 

This is the scene we want to shoot for, for the lighting of the overall bar level. 

Some other small changes that I made that was suggested  was to lengthen and widen the steps on the staircase and that has been reimported into the scene. 

I am still debating on how I will justify the green lighting in the scene, because of how it is displayed in the film. Parts of the bar lit up with the green accent lights seem like lighting in between the walls and the seating, or between wood paneling. I dont want to have to add more assets to the asset list to keep our workload manageable in the summer, so as always lighting will be worked on at each point in the production process as we move forward in the project. We are also planning to add a bit of dust to the scene but very minimally to keep the scene still clear.