Creating The World of Firewatch
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i focus on the composition and framing of my images and the silhouettes of my objects more than on the quality or complexity of the models or materials.

by Duacan
15 hours ago

hello Alexander, I really loved your these draw works. I loved cathedrals too.I started 3ds Max new. And I really really want to meet you, if you wanna to do. By the way, my name is Duacan, from Turkey. also Im working for learning and speaking German. Cause Deutschland is the my first country for living. Whatever, take care yourself, Tschüss. insta: 06optimusprime06

by Asadullah Sanusi
2 days ago

nice blog but here is the thing, what is wrong with overlaping uv's and mirroring them, what are the cons of overlapping them and why is this method better in the case of uv? thanks

Creating The World of Firewatch
11 December, 2017

NYU Game Center has shared a presentation by Jane Ng, the lead artist at Campo Santo, which focuses on the production process behind Firewatch. The artist explained why hyper-realistic, detailed assets are not that important when creating a memorable experience. The team should instead make a game feel real.

Jane modeled 23 different trees featured in the game, making them by hand as Speedtree was not integrated in Unity back then. She also mentioned that “very few games have pine trees, because of all trees in the world pine trees are the worst in terms of being made 3D.” 

The artist also talked about the importance of atmosphere over realism, mentioning some technical limitations which defined her workflow. What is more, in Firewatch objects and places were scaled based on what felt right, not accurate. 

Source: YouTube

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