@Tristan: I studied computergrafics for 5 years. I'm making 3D art now since about half a year fulltime, but I had some experience before that. Its hard to focus on one thing, it took me half a year to understand most of the vegetation creation pipelines. For speeding up your workflow maybe spend a bit time with the megascans library. Making 3D vegetation starts from going outside for photoscanns to profiling your assets. Start with one thing and master this. @Maxime: The difference between my technique and Z-passing on distant objects is quiet the same. (- the higher vertex count) I would start using this at about 10-15m+. In this inner radius you are using (mostly high) cascaded shadows, the less the shader complexety in this areas, the less the shader instructions. When I started this project, the polycount was a bit to high. Now I found the best balance between a "lowpoly" mesh and the less possible overdraw. The conclusion of this technique is easily using a slightly higher vertex count on the mesh for reducing the quad overdraw and shader complexity. In matters visual quality a "high poly" plant will allways look better than a blade of grass on a plane.
Is this not like gear VR or anything else
The team is looking for an Experienced Environment Artist to join them, helping finalize their amazing levels with a high-quality visual flair for current and upcoming projects.
- Collaborate with level designers, concept artists and level artists creating assets to be used in-game. For this position, mainly larger constructs such as landscapes, houses, vistas but also smaller props all the way from blockout to shipped quality (optimized etc).
- Create materials/shaders for assets with a strong focus on playability and fast iteration.
- Play the game and extract missing assets, create them, and request concept art/paint-overs where needed.
- Create “beautiful corners” for inspiration to others in the team, explore and experiment.
- Make sure the levels run on target platforms. If some areas are assets-heavy you have to be able to analyse why and address the issues by designing around this.
- Take in and address critique and feedback from testers.
- A graphical eye with a strong understanding of color, form, shape, structure, and silhouette.
- Be able to read and follow a piece of concept art, and be able to improvise without one.
- 3+ years’ experience creating real time 3D environments for Console or PC.
- Expert level proficiency with 3ds Max, ZBrush, 3dCoat, Substance, Photoshop or equivalent 3D and 2D software.
- Ability to author PBR materials and all associated maps for new or existing assets, as well as classical texturing methods.
- Work well in a team environment.
- A strong grasp of modular building and reusability.
- Strong communication skills.
- Ability to meet deadlines and handle multiple tasks.
- Strong technical ability and willingness to learn new tools, techniques and workflows.
- Versatility, independence and a sense of initiative are your strong points.
- Fluent in spoken and written English.
- Shipped at least 1 AAA or equivalent game.
- Houdini experience.
- Development of cooperative games.
- Strong proficiency with natural assets such as plants/trees.
- Strong Warhammer interest.
- A background in gaming.
- Degree in art or game design.
- A fun, friendly and inclusive work place
- Hands-on production environment with an emphasis on cooperative/multiplayer games
- Opportunities for personal growth with varied projects, experienced co-workers and recurring hack weeks
- Regulated flex time and paid overtime
- Development in Autodesk Stingray and LUA
- Office located in central Stockholm