Tomas Herrera - checkpoint 4/11<--- this is link
Since the last checkpoint I have:
-combined all environments into a series of streamed levels
-imported all models into the unreal project
-refined the field prototype
-implemented models
-reworked terrain
-placed invisible walls to define level bounds
-implemented cave audio
Current goals include:
-implementing textures for all models
-polishing transitory sections at the beginning of the mine shaft and field environments
-implementing flying NPC behavior(work shown in demo, not Google Drive)
Youjin Kim <--- this is link
(3/31~4/6) Dock -This is one of signature models at the environment. So which means the dock need to blend to the environment and pose as ‘epic’ object in the environment. There are several of kinds of dock in the world but I wanted to model this as simple and yet have some details there. However, the dock needed to give impression like this is made of wood and Taylor (head of Surface) of group really did excellent job on the texture and impression on there. Next was outline of dock-should be straight or bent- that needed to decide before model. I then went straight forward for bent dock because I wanted to model that dock. I extruded a lot from the side of dock to make posts then I realized that if I modeled the straight dock I would just make several posts at one side of dock, delete the half of side of dock and do the mirror geometry to make easier for the model. However, I just stuck for this outline for the model because that would be easy to do it despite how much time I spend to work on the modeling. (4/6~4/13) Lamp in Mineshaft -After I looked through the reference of lamp, I thought that this one is going to need mirror geometry definitely. Working on modeling of lamp was surprisingly happy despite that outline of the modeling was giving me a bit difficult time to me. The difficult steps in this modeling process were where and how should I extrude on which part. After I finished one part, then I would do mirror geometry to save the time and not off from the shape of lamp. I loved the overall of lamp’s modeling but I wanted to try other shapes for top and bottom of lamp to see which shape would be fit for the animation’s mineshaft. Then again, either shape would be fine as long as people could recognize this was lamp right away when they see it. Overall of these weeks for modeling was that finishing models soon as possible so that animation test is ready and my other modeling members did excellent jobs on their parts and fixed some features if it was off.
Taylor Mullins<--- this is link
Since the last checkpoint, I have been working on various surfaces in Substance and in Unreal. The process mainly involves importing and placing various maps within a node network. A few of the assets needed to be remodeled due to odd triangulations and less-than-ideal UV unwrapping. Mainly, I have been focusing on the mine shaft area of the beginning of the game as well as working with a few of the assets from the bedroom.
Unfortunately we ran into a bit of an issue with the specularity on translucent materials (Unreal simply doesn’t support that, according to the various threads and forums that I have found). That being the case, it looks like we will be sacrificing one or the other for each asset.
On a positive note, we have a working Rift! We spent a while getting it connected and configured so that it works in our project. It’s working correctly now. Now, we’re just figuring out what way would be best for the user to navigate the cave (we are considering the possibility of bringing in a controller). Will Tallent<--- this is link
The past week I have spent my time creating audio scores for different parts of the map, we finished a score for the middle and end of the cave and as well as the end of the field. I have also begun recording sound effects to implement for different parts of the map. I have re modeling multiple objects to allow for better surfacing. I also created 3 choral like trees in Maya for use in the field. We also figured out how to successfully connect the Rift to our build in Unreal. This was a huge milestone for us. I also spent some time this week researching how to implement the sounds in unreal and figured out how to export the audio from audacity and then convert the wav file to a 16 bit pcm wav file which unreal prefers to a standard wav file.
I have been doing these things as well as keeping in touch with each member of the team to insure we are on schedule.
Sabrina Yun<--- this is link
After finishing all the models that were assigned to me, I went back and remodeled the alarm clock and lotus flower. When the alarm clock was surfaced and then placed in unity, the texture of the model was splotchy. I quickly made a new model so that when it was UV unwrapped, it turned out smoothed. For the lotus flower, I smoothed it out and lengthened it vertically so that it had more depth and wasn’t too flat.
I also worked a little with helping with the sound and music of the field and cave. This week, we are planning on going out and recording sounds of the wind, footsteps and ambience of a field.
We also started on the title sequence. We spent a few days on picking it. The first day, we researched titles and nouns related to death. We then did several voting sessions to pick the final title: “Being.” After that, I was assigned as one of the members of the team to work on the title sequence. Using photoshop, I made several designs and color schemes relating to the title. And we are still planning on making more designs and coming up with ideas on the title.
Mae Dolan<--- this is link
This week, I finished all the models I needed to on the schedule. I met with Will and Sabrina as well and we worked on the music and sounds for the cave and field, and we planned which sounds we still need to record in the upcoming weeks. We also voted on the title “Being” for our animation and Will, Sabrina, and I researched title sequences and aesthetically interesting graphic designs to use for our animation when the title comes out.
Ara King<--- this is link
Importing Animations:
The serpent and shadow creature animations have been successfully imported from maya to unreal. Importing the animations was not very complicated, but once they were in unreal it became apparent that there are certain parts of the animations which need to be adjusted, in order to make them look more natural. The shadows movements were too rapid, and the serpent has a strange pivot near it’s head which needs to be corrected
Animating the Blob Creature:
I used blend shapes to give the blob creature an, undulating animation to imply life. There were only a few complications with using blend shapes, but once I got used to how maya treats the morphing operations, I was able to create a squash and stretch animation for the blob. The blob must still be refined so that I can control its origin during blendshape animation
