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00:02I'm Roy Toazan, e I'm the Associate Art Director for Dead Space Remake.
00:07Today, I want to talk to you about the environment art process,
00:11how we are remaking the game with our new tools, techniques, and pipelines,
00:16and finally do a demo in the Frostbite engine on how we took a room from the Legacy version to
00:21our current work in progress.
00:23Today, we are going to look at the MRI room in Chapter 2.
00:28When Dead Space was released more than 14 years ago, the visuals were great.
00:32It set the bar high for its time.
00:34But since then, technology has evolved, and with that, it allowed us to remake the game
00:40and really accentuate the main pillars of horror, immersion, and a lived-in world.
00:46Let me quickly go over our process with you.
00:49On the environment side, we break down our pipeline into six phases that go from L0 to L5.
00:56L0 is our R&D phase where we analyze the original game and identify what we can remake this area,
01:03either through gameplay, visuals, sound, etc.
01:07Based off any changes, we would do some exploration concepts to improve on the art pillars.
01:14L1 This phase is when the area will be playable, with rough blockout of the visual intentions.
01:21When recreating a room in Frostbite, the artist will break it down into kits, pieces that they can use to
01:26build the room.
01:27Think of this as Lego blocks.
01:29They will be simple shapes, sizes, that represent the theme of the room.
01:35L2 is where details and colors are added into the kits to support the thematic of the area.
01:41Large props are staged, and the initial mood will be set.
01:46L3 is where we start to update the different PBR materials to a more realistic look.
01:52Add more props to support the theme and refine the lighting and VFX.
01:56You should start to get that immersive feeling by having the area more relatable and believable.
02:03L4 is where we add all the narrative elements.
02:06All the architectural kits get a polish pass with a wear and tear.
02:11Small props, signs, markings, bloodstains, dirt and grime are added to get that lived-in world feeling and give that
02:18horror storytelling element.
02:21L5 is where the polished elements of all the art department gets integrated to give that final high-quality next
02:27-gen dead space look and feel.
02:30This will be coming soon.
02:32Just to get a proper understanding of where we are in the production for this area,
02:37we are here in the beginning stages of our L4 phase.
02:41Now that you know how we work, we want to next demonstrate how we will remake these assets.
02:48Here is an example of a legacy asset and here are some of the elements we plan on adding to
02:53get that immersive feeling throughout the ship.
02:56We want to show functionality.
02:58Rivets in the metal to show how it was put together.
03:02Latches on the window frames to show how the workers can remove it if it ever needed to be repaired.
03:07The variation in our PBR materials, the way light reacts to different types of painted metal versus the raw metal
03:13underneath.
03:15More realistic light fixtures.
03:17The dirty glass cover protects the light sources, giving that depth and more realistic feel.
03:22Add more shape and depth to the model to give it that believable look.
03:26To get that old live-in ship look, we added wear and tear to the paint metal and dirt accumulation
03:33in areas that would not normally get cleaned.
03:37Now that we have highlighted a few examples of how we are going to remake an asset,
03:41in our next section, we want to put you in the seat of an artist and show you how our
03:46tools, techniques and pipeline works.
03:49Hi there, I'm Evan Yovanovitch, senior environment artist on the Dead Space remake,
03:53and I'm going to give you a closer look at how we make assets for the Ishimura.
03:57Here is an example wall asset as it passes through all the various stages of production.
04:01L1, raw model made to specific metrics for maximum reuse.
04:05L2, further refined modeling and color pass added.
04:08L3, more modeling details are added, custom masks are baked to control grime and wear using in-engine tools.
04:15L4, fine trim and embedded details are added as well as beveled edges.
04:19Next, we will have a look in Maya to see how the color pass is achieved.
04:23Here in Maya, we will be using the Palette UV tool created by our tech team to help change the
04:27colors of our wall mesh.
04:28On the right-hand side, we can see the UV coordinates of the model, which correspond to the mesh's faces.
04:33As I click the different swatches in the UV palette tool, the UV shells are moved to different quadrants, resulting
04:37in a color change.
04:39By using this palette system, we are able to keep colors consistent to art direction
04:42and swap in different palette textures for each district theme, such as clean, industrial and public, depending on the assets
04:48used within the ship.
04:49Now, let's dig into how some of our mesh details are achieved.
04:53Here in Blender, I am going to show you one of our trim sheet texture sets I made by rebuilding
04:57and remixing details from the original dead space into a new texture layout.
05:01As we can see, this texture set uses parallax occlusion mapping, which allows you to mimic depth and details on
05:06an otherwise very simple geometry.
05:09One technique we have explored for applying these texture sets on models is using the third-party add-on decal
05:14machine
05:15to define specific parts of the texture set to a library, which can then be easily swapped and adjusted on
05:20the model.
05:21As you can see, this technique makes it fun to try out different trim combinations and can produce some interesting
05:25results.
05:27Here, we will apply this same library to the wall example we saw before.
05:31Through use of these trim textures, we are able to quickly try different approaches and create consistent details.
05:36We try our best to focus on how these models would actually be constructed, creating panel lines where pieces meet
05:41and connect
05:42as well as adding handles and access points where parts could be removed for maintenance and cleaning.
05:51Hi, I'm Xavier Perrault and I am the lead environment artist on the Dead Space remake.
05:56I will be talking more in the details about our approach to level art and how we set the tone
06:02of the different areas of the ship
06:03and tell the story of the Ishimura through our environments.
06:08We have now the architectural modules modeled and their masks baked using our engine tool.
06:15The masks will define how the wear and grime build up on each of the modules.
06:20You can tell how the edges are scratched and how rust sits in the creases.
06:26The architectural shader reads those masks and by tuning the parameters of the master shader,
06:32we can control the amount of wear and grime in a whole section of the ship at once.
06:37The shader defines the ground state of the architecture visuals,
06:41but at this point it all looks the same everywhere.
06:45The world masking volumes come in play.
06:48They are fully scalable and can be used in many ways for multiple layering effects.
06:54We can increase the amount of wear or rust built up on the assets,
06:59or even add new layers on top, like water or dust, for instance.
07:04Of course, these techniques are better applied once the assets are put in context, in the level.
07:10Tuning the master shader and adding volumes of world masking
07:13are an integral part of defining the storytelling of the ship and how it has aged over time.
07:20With a growing library of architectural modules,
07:24they can be assembled to fully build all the sections of the Ishimura
07:27as one big interconnected ship in line with our metric guidelines.
07:35Then comes the main lighting intentions and the props dressing.
07:39We always ask ourselves what the function of that room is,
07:43how do we make it believable,
07:45and tell the story of the people that lived there and how the events took place.
07:50Projected decals of labeling and gore are the icing on the cake.
07:55Going a step further,
07:57we can add a few world masking volumes to wear down the floor in a realistic way
08:02where people used to stand and walk around in this setup.
08:06Maybe a water canister fell over near that desk and leaked all over the floor.
08:10But that was a while ago, and rust built up all around it.
08:19After seeing our pipeline, tools, and in-engine demo,
08:22using the small room besides the MRI machine,
08:26you can see in this before and after comparison,
08:28we remade this room to accentuate the art pillars even more.
08:33We want the player to believe that the Ishimura crew worked here,
08:37that the functionality of this room makes sense,
08:40and you can even imagine yourself working in this environment.
08:44If I take this part of the room for example,
08:47before there used to be some shelves, lockers,
08:50and props around the wall with some writing on the ground.
08:53We remade it to have more immersive and believable theme.
08:58We made this corner of the room more functional
09:01by adding an examination bed with medical equipment.
09:05We gave that lived-in world by aging the walls and floors
09:08with some wear and tear, added dirt and grime.
09:12This is the oldest functioning mining ship.
09:15We wanted to make sure that came through in the environment.
09:19Finally, we injected the horror pillar into this room
09:22with a bloody narrative scene on the bed and floor.
09:26We want to insinuate that something horrible happened here
09:29and give that sense of danger looming around every corner.
09:34Thank you for joining us on this behind-the-scene look
09:37at the environment art process.
09:52of the man being.
09:57This means life problem.
09:58Grazie a tutti.
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