00:00Grazie per la visione
00:30The Last of Us really has been a story of contrast. It's some pretty dark themes, but they're juxtaposed against
00:39an aesthetic that we find very beautiful.
00:41That contrast is visual, but it's also in the environment. The world we decided was actually its own character. What
00:49happens 20 years after the fall of man when no one's taken care of anything?
00:53There's something really pretty about nature reclaiming its domain once we are gone.
01:06So everything we're doing in the environments is relating back to what you should be feeling in the story or
01:13what's happening in these characters.
01:14You as a player, you as Joel, you can look at these things and reflect about how much we've built
01:20and what we've lost.
01:28You get to see hints of civilization that used to be.
01:37Each level has a lighting artist, a modeler, and a texture artist, and we all work together.
01:42This was the block mesh that they gave me, and it's at the interior of a building.
01:46I had to be mindful of where I'd set the lighting up and the color script, how it would be
01:50coming through the windows and lighting this area, which would give us this concept.
01:56I keep everything on separate layers, so say if they don't want the guys in the concept, I can take
02:01them out, or if they don't want the closet there, I can take that out really easily, keep everything really
02:08flexible.
02:09At Naughty Dog, we really try to cultivate a culture where anybody is encouraged to criticize anybody else's work, and
02:15we find that the more we do that, the better the game gets.
02:19We don't have a lot of meetings because most of the meetings are you and two other people hanging out
02:24at somebody's desk.
02:25If you need something to get done, you just go find that person and you talk to them about it.
02:30So, dude, I was actually trying to figure out right here, there should probably be some dead foliage.
02:35It might be cool to see some of the dead stuff around the edges of the green or even spilling
02:39out into the street.
02:40Maybe what we do is in some of these areas, we use it as a transition from the actual concrete
02:45up to the side of the building,
02:46so, like, they're almost sitting on top of a bed of dead foliage, like that really rich kind of, like,
02:51orangey-brown color.
02:53Yeah, sienna or something would be nice.
02:55Something real cheddar-y.
02:56That's how you know you're done.
02:57The end product often ends up being stronger because that bouncing back off somebody else gives you a result that
03:03maybe you wouldn't have even thought of in the first place.
03:09All right, here's the bridge. That's our way out of here.
03:17Mandatory evacuation. Evacuate till where?
03:21Rethink. Quarantine zone.
03:24See, some places got a heads up before the infection showed up. Most didn't.
03:30We consciously take in consideration lighting in the beginning.
03:34I've never, ever focused so much on lighting and how much sensitivity there is to that here.
03:38Did, did you talk to the character artist about her hand?
03:42So her face is getting a lot of speck, but then her arm is just, like, bone dry.
03:46You think something we can tweak in Shader will have to send back to, uh, character Team Michael to take
03:53a look?
03:53I can play with the lights and see if that's, creates more, like, speck, you know?
03:58So all the characters cast soft shadows onto the environment.
04:01Even when there is direct sunlight or no direct light sources, we still have nice fuzzy shadows.
04:08Man, that's quite a drop.
04:11If you shine a light on a red wall, it will bounce the red lighting on the whole environment, making
04:18it red.
04:19Everything should have a bunch of light.
04:21Otherwise, the wall will be going to feel dry and unrealistic.
04:40Once I finish the concept, they take it at 3D artists and lighters, vis-effects guys, and they'll bring it
04:47into, like, the game engine.
04:48Like, they got the same sign, all the foliage, like, lighting.
04:51That's how it kind of translates from the color script to the finished game that you play.
04:56This way.
04:57If we cut through downtown, we can hit the Capitol building by sunrise.
05:01We hope.
05:03This engine is really driven, in a way, towards a very high level of cinematic control.
05:08Hopefully, if we achieve our goal, you'll see it is beautiful.
05:11There are these truly beautiful moments amid all this chaos and destruction.
05:23We'll see you next time.
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