I worked on the hovel in a later stage of the project, so the main layout of the area and hovel was already there. This includes a training yard used in cinematics which also gives the player the chance to practice their bow and melee skills. Because of that we wanted to have a fully dressed interior and exterior to explore, and with lots of dynamic objects for the player to interact with. Not only does the first cinematic start here, it is also the starting point of when you start playing as adult Aloy. There were a lot of cinematics in and around the hovel that needed to be integrated, as well as quests and game-design requirements. Rost’s Hovel is an important place in the game. This was not just reducing some numbers, but actually debugging the scenes and seeing where things went wrong, or diagnosing where there was memory and performance to be gained.īug-fixing: I resolved progression blockers and other issues, such as collision and visual bugs, to improve the overall quality of the game as much as possible. Settlement Optimization: At the end of production, I was given the task to optimize the game’s content to run within memory and better fit the performance requirements. Terrain Work: Including a variety of tasks, such as terrain sculpting, composing mountains, placing roads and paths, and adding rocks and vegetations around settlements or other areas.ĭesign Integration: Working with other departments to implement the game’s Quests, Story, Combat, Cinematics, and FX into the environment. Vegetation Workflow Creation: In a small team we created and optimized a workflow that allowed us to have a lot of flexibility and a fast iteration process for creating all sorts of vegetation. Vegetation Asset Creation: I created a wide variety of final in-game assets that were then used in our vegetation placement system, or manually added by the other environment artists. Set Dressing: Dressing up the scenes with props to create storytelling and to give the impression that people are living in these scenes.Īsset Creation: Creating final in-game assets for cinematics and set dressing that we weren’t able to outsource. Settlement Creation: From either a simple blockout, or from scratch, I was given the task to layout and compose different settlements using both Prefabs and Building Blocks. Prefab Creation: Out of these modular building block instances, I composed buildings and other assets that were then used around the world. This includes:īuilding Block Pre-Production: From either concept art or self-gathered reference, I planned, modelled and exported modular sets used for the Outsource pipeline and Game Production (Meridian/Carja and Nora). From pre-production to production and finalizing the game. Over the years I have been working on many facets of the game. Horizon Zero Dawn - E3 2016 Gameplay Video Some areas that I worked on, but not limited to: Carja Ancient ruins, Carja Quarry, Daytower, Embrace Gates, Freeheap, Meridian, Meridian Village, Mother’s Cradle, Pitchcliff, Rost’s Hovel, Sun Step Tallneck Eclipse Camp, Eclipse main base. The creation of HZD was done in a collaborative process by a large team, so not everything might have been done exclusively by me. In the screenshots below I worked on the the overall layout and composition of the environments, and dressing of the scenes. Here are a few areas I worked on during my time as an Environment Artist on Horizon Zero Dawn, under the supervision of Ben Sprout, Gilbert Sanders, Kim van Heest and Jan-Bart van Beek.
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