Original storyboard renders, but with draft renders of scenes added. *Updated with a draft render of location 2, the room.
PRP - Research
Game level design
Edward Byrne
Book overview
As a level designer in the game industry you can determine exactly what the player sees, hears, and feels in the game. The reward of seeing your game on a store shelf or hearing people talk about one of your levels is an incredibly fulfilling experience. If this is a path you want to take, Game Level Design will show you the way.This book is about the fundamentals of level design: it teaches you common procedures for designing, drafting, and creating interactive environments for games. It explains what level design is, where it came from, and, most important, how to plan, design, and construct levels professionally for modern-day computer and video games. Throughout the book, practical explanations and demonstrations use the basic, advanced, and real-world techniques needed to create game levels for hit titles. It also uses historical examples, interviews with outstanding level designers, and a focus on professional level design, to teach game developers of all levels, from amateur ?mod? mappers to seasoned multi-title veterans, how to implement these techniques into your own projects. Although the content in the book uses many examples from popular genres, such as first-person shooters (FPS), action adventures, and real-time strategy (RTS) games, the approach is designed to teach level design as a genre- and platform-independent craft. All games need to take place in environments, and by extension, the rules of level design apply to all games to some degree, so with the skills and techniques you learn here, you?ll be ready for any level challenge.
Edward Byrne
Book overview
As a level designer in the game industry you can determine exactly what the player sees, hears, and feels in the game. The reward of seeing your game on a store shelf or hearing people talk about one of your levels is an incredibly fulfilling experience. If this is a path you want to take, Game Level Design will show you the way.This book is about the fundamentals of level design: it teaches you common procedures for designing, drafting, and creating interactive environments for games. It explains what level design is, where it came from, and, most important, how to plan, design, and construct levels professionally for modern-day computer and video games. Throughout the book, practical explanations and demonstrations use the basic, advanced, and real-world techniques needed to create game levels for hit titles. It also uses historical examples, interviews with outstanding level designers, and a focus on professional level design, to teach game developers of all levels, from amateur ?mod? mappers to seasoned multi-title veterans, how to implement these techniques into your own projects. Although the content in the book uses many examples from popular genres, such as first-person shooters (FPS), action adventures, and real-time strategy (RTS) games, the approach is designed to teach level design as a genre- and platform-independent craft. All games need to take place in environments, and by extension, the rules of level design apply to all games to some degree, so with the skills and techniques you learn here, you?ll be ready for any level challenge.
PRP - Research
Representations of the city in video games
Bobby Schweizer
Abstract
In 1960, urban studies author Kevin Lynch recognized that “moving elements in a city, and in particular the people and their activities, are as important as the stationary physical parts.” Three-dimensional video game cities are neither static environments nor stationary views; rather, they are experienced through movement, action, and play. Our experiences of new places are not developed at a glance. Instead, they are cultivated through use over time. This research strives to characterize the means by which video game players experience and understand the space of the game city during the course of play.
This work utilizes games that take place in constructed versions of New York City as a case study. By focusing on the ways players navigate spaces, we can understand how they construct spatial awareness and how this space is transformed into a meaningful place of play. In order to come to this understanding, this study asks a series of questions: How are these spaces arranged? How does the player move through the space and how does the game teach spatial navigation? What actions are performed in the space and how is gameplay adapted for the city? How does the creation of narrative environments contribute to a player’s identification with the space? These questions are examined within a framework of urban, cultural, and game studies. I examine techniques that are employed by video game city designers to help players navigate space and make it meaningful. Additionally, this research poses areas for future expansion and experimentation with game cities.
Bobby Schweizer
Abstract
In 1960, urban studies author Kevin Lynch recognized that “moving elements in a city, and in particular the people and their activities, are as important as the stationary physical parts.” Three-dimensional video game cities are neither static environments nor stationary views; rather, they are experienced through movement, action, and play. Our experiences of new places are not developed at a glance. Instead, they are cultivated through use over time. This research strives to characterize the means by which video game players experience and understand the space of the game city during the course of play.
This work utilizes games that take place in constructed versions of New York City as a case study. By focusing on the ways players navigate spaces, we can understand how they construct spatial awareness and how this space is transformed into a meaningful place of play. In order to come to this understanding, this study asks a series of questions: How are these spaces arranged? How does the player move through the space and how does the game teach spatial navigation? What actions are performed in the space and how is gameplay adapted for the city? How does the creation of narrative environments contribute to a player’s identification with the space? These questions are examined within a framework of urban, cultural, and game studies. I examine techniques that are employed by video game city designers to help players navigate space and make it meaningful. Additionally, this research poses areas for future expansion and experimentation with game cities.
PRP Research
Game Graphics Beyond Realism: Then, Now, and Tomorrow
Maic Masuch and Niklas Röber
Abstract
Photorealism is one of the most quoted aspects of nowadays games. However, realistic game graphics is not the only style desirable. This paper surveys the many graphical styles used in past and current games, analyzes graphical aspects of computer games and discuss the use of realism with respect to game graphics. We show several examples and make references to current research, encouraging game developers to experiment with alternative, more artistic rendering styles, such as non-photorealistic rendering.
Maic Masuch and Niklas Röber
Abstract
Photorealism is one of the most quoted aspects of nowadays games. However, realistic game graphics is not the only style desirable. This paper surveys the many graphical styles used in past and current games, analyzes graphical aspects of computer games and discuss the use of realism with respect to game graphics. We show several examples and make references to current research, encouraging game developers to experiment with alternative, more artistic rendering styles, such as non-photorealistic rendering.
PRP - Research
Situationists and Architechture
Peter Wollen
http://www.newleftreview.org/?page=article&view=2315
This is not a conventional scholarly essay. Instead I want to discuss a number of topics addressed by the Situationists, making a kind of collage of commentaries on what seem to me to be key elements of their thought in relation to architecture and the city—which were, indeed, centrally important issues for them. These elements are as follows: 1, the minaret; 2, the gypsy camp; 3, dérive; 4, Mad King Ludwig; 5, the Postman Cheval; 6, the Merzbau; 7, Le Corbusier; 8, Paris; 9, psychogeography; 10, Love on the Left Bank;11, white bicycles; 12, détournement; 13, the Cavern of Anti-Matter; 14, New Babylon; 15, Watts; 16, the Architecture of Despair; 17, Vienna’s Place—and finally: 18, Albisola.
Peter Wollen
http://www.newleftreview.org/?page=article&view=2315
This is not a conventional scholarly essay. Instead I want to discuss a number of topics addressed by the Situationists, making a kind of collage of commentaries on what seem to me to be key elements of their thought in relation to architecture and the city—which were, indeed, centrally important issues for them. These elements are as follows: 1, the minaret; 2, the gypsy camp; 3, dérive; 4, Mad King Ludwig; 5, the Postman Cheval; 6, the Merzbau; 7, Le Corbusier; 8, Paris; 9, psychogeography; 10, Love on the Left Bank;11, white bicycles; 12, détournement; 13, the Cavern of Anti-Matter; 14, New Babylon; 15, Watts; 16, the Architecture of Despair; 17, Vienna’s Place—and finally: 18, Albisola.
Client Project - Storyboard (with draft renders)
Original storyboard renders, but with draft renders of scenes added.
Client Project - Location 3 - The City
Renders of location 3, a city. Again due to the fact this scene is relatively brief i have keep the environment simple and generic.
(Still need to add and animate information 'flying around')
(Still need to add and animate information 'flying around')
Client Project - Location 2 - The Bedroom
Some more renders of the next location of the advert, a generic plain bedroom. Due to modelling time constraints (and the fact each location appears for around 4/5secs) i had to keep everything in the room simple.
Client Project - Time Management
To help with the time management for this project, i have made a gnatt chart. Due to the workload this year i feel that this chart will help me keep a track of outstanding work and my deadlines.
Client Project - Location 1 - The Cinema
A few renders from the opening scene of my advert (the cinema, see storyboard)
Client Project - The Laptop
A quick render to show the laptop that will be appearing in most of my locations. I have added materials to it and also placed an image of someone using a p2p download programme.
PRP - Research
A Software Architecture for Games
Michael Doherty
Abstract
This paper describes a general architecture for real-time game software. The architecture is designed to maximize reusability in both single player and networked multiplayer modes. The architecture separates generic components from game-specific components by positioning the object system to minimize coupling. As a result, the architecture is easily adapted to a clientserver configuration for multiplayer modes. In addition to presenting the general architecture, that architecture is used as a framework in which to discuss several design options and the tradeoffs between them. In particular, we will discuss how the choice between an object-centric and a component-centric object system affects the design of other components of the game software. In addition, issues related to the synchronization of object systems for networked multiplayer modes are discussed.
Michael Doherty
Abstract
This paper describes a general architecture for real-time game software. The architecture is designed to maximize reusability in both single player and networked multiplayer modes. The architecture separates generic components from game-specific components by positioning the object system to minimize coupling. As a result, the architecture is easily adapted to a clientserver configuration for multiplayer modes. In addition to presenting the general architecture, that architecture is used as a framework in which to discuss several design options and the tradeoffs between them. In particular, we will discuss how the choice between an object-centric and a component-centric object system affects the design of other components of the game software. In addition, issues related to the synchronization of object systems for networked multiplayer modes are discussed.
PRP - Research
A Survey of 3D Interaction Techniques
Chris Hand
Department of Computer Science
De Montfort University
The Gateway
Leicester LE1 9BH, UK
cph@dmu.ac.uk
Abstract
Recent gains in the performance of 3D graphics hardware and rendering systems have not been matched by a corresponding improvement in our knowledge of how to interact with the virtual environments we create; therefore there is a need to examine these further if we are to improve the overall quality of our interactive 3D systems. This paper examines some of the interaction techniques which have been developed for object manipulation, navigation and application control in 3D virtual environments. The use of both mouse-based techniques and 3D input devices is considered, along with the role of feedback and some aspects of tools and widgets.
Keywords: 3D interaction; object manipulation; navigation; feedback; virtual environments
Chris Hand
Department of Computer Science
De Montfort University
The Gateway
Leicester LE1 9BH, UK
cph@dmu.ac.uk
Abstract
Recent gains in the performance of 3D graphics hardware and rendering systems have not been matched by a corresponding improvement in our knowledge of how to interact with the virtual environments we create; therefore there is a need to examine these further if we are to improve the overall quality of our interactive 3D systems. This paper examines some of the interaction techniques which have been developed for object manipulation, navigation and application control in 3D virtual environments. The use of both mouse-based techniques and 3D input devices is considered, along with the role of feedback and some aspects of tools and widgets.
Keywords: 3D interaction; object manipulation; navigation; feedback; virtual environments
PRP - Research
Game Engines: Tools for Landscape Visualization and Planning?
Adrian HERWIG and Philip PAAR
Summary
The fast growing market of computer games forces the development of constantly improved software and increasingly powerful hardware. Meanwhile many of the computer games can simulate virtual environments, e.g. synthetic landscapes, extremely close-toreality in real-time on PCs or game consoles. This rapid development in computer game technology is almost unnoticed by the users of professional CAD-, GIS-, and illustration software. While many of these games are objectionable because they glorify mindless violence, landscape planners should have an eye on these developments because some components of the software may be useful for their purposes. Can these low-priced tools be applied for landscape architects and planners, e.g. to support collaborative landscape planning?
The authors discuss options and limitations of game technology for landscape visualization, and present a preliminary example within a collaborative landscape planning process.
Adrian HERWIG and Philip PAAR
Summary
The fast growing market of computer games forces the development of constantly improved software and increasingly powerful hardware. Meanwhile many of the computer games can simulate virtual environments, e.g. synthetic landscapes, extremely close-toreality in real-time on PCs or game consoles. This rapid development in computer game technology is almost unnoticed by the users of professional CAD-, GIS-, and illustration software. While many of these games are objectionable because they glorify mindless violence, landscape planners should have an eye on these developments because some components of the software may be useful for their purposes. Can these low-priced tools be applied for landscape architects and planners, e.g. to support collaborative landscape planning?
The authors discuss options and limitations of game technology for landscape visualization, and present a preliminary example within a collaborative landscape planning process.
Client Project - Storyboard Animation
A quick animation of the below storyboard to help show the 'general flow' of the advert.
Client Project - Storyboard #3
Frame 13-14
The ending frames in my advert will continue on from the previous frame. However the flow of information will cease. With interference type effects I will slowly make the information disperse, cutting the viewer away from the wealth of information available to them online. I will then fade this into a tag line underlining the laws of file sharing in a concise manner. Although this message may not be totally obvious to viewers I believe that by using a subtle message more viewers would be affected than if clichéd police sirens and prison cells were used. I believe that in today’s internet society the thought of losing the internet, cutting people off from a vital part of their life, may make some viewers rethink their downloading habits.
Client Project - Storyboard #2
Frame 7-8
During frames 7-8 the environment changes to a flat based in a city. With the camera panning out from a wireless router, the viewer is again reminded of the internet’s importance. The computer shown in frame 8 is now downloading the same file as is currently being uploaded (see frames 1-3), again highlighting the flow of information.
Frame 9
Panning up and out from the previous scene the essence of frame nine is the same of that during frame six, highlighting the flow of information across the internet. Unlike last times black vortex, this scene will show the information flying around the city in which the flat was located.
Frame 10-11
Focusing on one of the ‘flying covers’; the camera zooms in, showing a different location in frames 10-11. This location being a generic city coffee shop. This location contains an I-phone, again downloading; highlighting how file sharing is not only restricted to computers at home or work, but is also available on other equipment whilst ‘on the move’.
Frame 12
Frame twelve again is similar to six and nine although this scene takes the camera pan out a step further, rising from the city previously,
Client Project - Storyboard #1
Frames 1-3
The opening sequence of my advert will begin at a cinema; the camera will zoom out to show a video camera recording a ‘new’ film. This camera will be linked to the provided laptop model, showing the file being uploaded. This scene, although brief, is vital as it the birth of most shared files, making it the starting block for the peer to peer sharing system.
Frame 4-5
Once the original source of the file is established, the camera will zoom out to show the laptop uploading the file to the internet, allowing viewers to witness the act of sharing it with other users. The advert will then focus on the wireless internet attachment. I feel that showing the connectivity involved with peer to peer is important, as people may not realise the global spread of information they are accessing.
Frame 6
This frame I try and show the flow of information over the internet. I intend to demonstrate this by showing DVD covers, CD covers and other new media flying ‘randomly’ through and around a dark ‘vortex’. This will show how information on the internet is shared, with multiple files being uploaded and downloaded simultaneously from many different sources.
PRP (Personal Research Project) - Topic Submission Form
From a perspective of architectural visualisation, influenced and restricted by real locations; how is the gaming experience altered?
The goal for my personal research project is to look at the use of architecture within games. I want to look at how architecture can influence and determine the overall game play.
To do this I will learn how 3D visualisation of architecture has evolved and how it can be used in today’s society. This will include techniques, social etiquette's and responsibilities.
To answer my question I also feel that I will have to research gaming technologies, such as game engines and design programmes. By doing this I will be able to achieve a further understanding of the limitations and possibilities of these technologies.
I will also research into the actual game play, looking at how players use the environment to their advantage and basic rules within the level building process. I believe that I could use current examples of games using architecture to add to the game, e.g. “Resistance” (PS3), where levels are based on real locations such as London and Nottingham.
I will also look at how architecture works within the level as well as the overall design itself, how it relates into the way in which games are played within the confines of modern technology, and also how today’s famous attractions are creatively edited to achieve a game level that is recognisable upon the surface yet still have an unknown element.
Another area would be to look at Photorealism, both within the gaming world and architectural visualisation. This would then lead onto looking into realism in games, looking further than just graphical realism will help me discover if realism plays an important part within the gaming experience.
Another area of interest may be to research and learn more about psycho geography, with more knowledge of this area I feel I could use its rules and techniques to help evaluate existing levels and also plan new, exciting and innovative levels.
By researching the use of architecture in gaming levels and the visualisation techniques behind them, I believe that I would be in a suitable position to begin designing a level design or architectural visualisation, unique from any specific style, using techniques that would possibly make the design usable in more than one type of medium.
The goal for my personal research project is to look at the use of architecture within games. I want to look at how architecture can influence and determine the overall game play.
To do this I will learn how 3D visualisation of architecture has evolved and how it can be used in today’s society. This will include techniques, social etiquette's and responsibilities.
To answer my question I also feel that I will have to research gaming technologies, such as game engines and design programmes. By doing this I will be able to achieve a further understanding of the limitations and possibilities of these technologies.
I will also research into the actual game play, looking at how players use the environment to their advantage and basic rules within the level building process. I believe that I could use current examples of games using architecture to add to the game, e.g. “Resistance” (PS3), where levels are based on real locations such as London and Nottingham.
I will also look at how architecture works within the level as well as the overall design itself, how it relates into the way in which games are played within the confines of modern technology, and also how today’s famous attractions are creatively edited to achieve a game level that is recognisable upon the surface yet still have an unknown element.
Another area would be to look at Photorealism, both within the gaming world and architectural visualisation. This would then lead onto looking into realism in games, looking further than just graphical realism will help me discover if realism plays an important part within the gaming experience.
Another area of interest may be to research and learn more about psycho geography, with more knowledge of this area I feel I could use its rules and techniques to help evaluate existing levels and also plan new, exciting and innovative levels.
By researching the use of architecture in gaming levels and the visualisation techniques behind them, I believe that I would be in a suitable position to begin designing a level design or architectural visualisation, unique from any specific style, using techniques that would possibly make the design usable in more than one type of medium.
Client Project - Simulated Brief - Research
Stumbled upon this when researching, thought it put forward a different idea from an artist's perspective.
Duffy: 'Illegal downloading is a good thing'
http://www.nme.com/news/duffy/38499
"Duffy has suggested that she supports illegal downloading - as she believes it will ultimately inspire fans to buy more music.
In contrast to the recent agreement between the Government, music industry and Internet service providers to send warning letters to people who download music illegitimately, this year's biggest selling artist so far says she is comfortable with fans listening to her music for free.
"Well, I mean, it can go two ways – there are pros and cons to everything," she told Shortlist. "Some people think it creates illegal access, but I think the big wheel is round, y'know? I think it's got more positives because it basically gives people access, what's the harm in that?..."
Duffy: 'Illegal downloading is a good thing'
http://www.nme.com/news/duffy/38499
"Duffy has suggested that she supports illegal downloading - as she believes it will ultimately inspire fans to buy more music.
In contrast to the recent agreement between the Government, music industry and Internet service providers to send warning letters to people who download music illegitimately, this year's biggest selling artist so far says she is comfortable with fans listening to her music for free.
"Well, I mean, it can go two ways – there are pros and cons to everything," she told Shortlist. "Some people think it creates illegal access, but I think the big wheel is round, y'know? I think it's got more positives because it basically gives people access, what's the harm in that?..."
Client Project - Simulated Brief - Research
You Make The Movies
Film industry's anti-piracy campaign gets friendly
http://www.youmakethemovies.co.uk
"For years, cinema goers and DVD buyers were repeatedly lectured via the medium of the pre-roll video: downloading movies was stealing, like pinching a handbag or a car. It bordered on offensive, since it was mostly only paying customers who were ever forced to sit through them.
Thankfully, the Industry Trust for Intellectual Property Awareness -- owners of the delightful domain PiracyIsACrime.com -- has funded some considerably nicer please-don't-steal-our-stuff cinema ads. Ditching the anti-piracy stance, they exist under the guise of thanking you, the paying customer, for enjoying the film industry with your money and not your bandwidth..."
Film industry's anti-piracy campaign gets friendly
http://www.youmakethemovies.co.uk
"For years, cinema goers and DVD buyers were repeatedly lectured via the medium of the pre-roll video: downloading movies was stealing, like pinching a handbag or a car. It bordered on offensive, since it was mostly only paying customers who were ever forced to sit through them.
Thankfully, the Industry Trust for Intellectual Property Awareness -- owners of the delightful domain PiracyIsACrime.com -- has funded some considerably nicer please-don't-steal-our-stuff cinema ads. Ditching the anti-piracy stance, they exist under the guise of thanking you, the paying customer, for enjoying the film industry with your money and not your bandwidth..."
Client Project - Simulated Brief
"Digital Piracy
'Pirate Bay', the file sharing company was recently taken to court. Peer-to-Peer software popularises file sharing with digital information being stored whole but transferred in packets from and to multiple sources.
File sharing is the practice of distributing or providing access to digitally stored information, such as computer programs, multi-media (audio, video), documents, or electronic books
This activity has become a popular way for users to distribute music, games and video and today’s broadband speeds have helped to accelerate this activity. When this information is copyright protected this activity is illegal unless the provider owns the copyright permission to copy and distribute this digital work.
Currently legislating bodies developing ways to prevent this illegal activity and one aim is to ensure that everyone knows that this activity is illegal, why and what consequences they face if they do share files without copyright permission."
Visualisation brief
Visualise a peer-to-peer network of 5 or more locations, all linked to each other. Each location must consist of an environment/location within which is situated the 3D model provided (a laptop).
Feel free to elaborate each environment or location and think laterally about peer2peer networks (i-phone, mobile laptop etc) may work in the future.
Research every aspect of the subject both visual and information and think about the optimum way to get the information across (presume your audience is an alien)
Provide a 20 second advert that can be used to support a public information campaign, illustrating and explaining how a peer-to-peer works. A brief outline of your design thinking and evidence of your research will also be necessary.
'Pirate Bay', the file sharing company was recently taken to court. Peer-to-Peer software popularises file sharing with digital information being stored whole but transferred in packets from and to multiple sources.
File sharing is the practice of distributing or providing access to digitally stored information, such as computer programs, multi-media (audio, video), documents, or electronic books
This activity has become a popular way for users to distribute music, games and video and today’s broadband speeds have helped to accelerate this activity. When this information is copyright protected this activity is illegal unless the provider owns the copyright permission to copy and distribute this digital work.
Currently legislating bodies developing ways to prevent this illegal activity and one aim is to ensure that everyone knows that this activity is illegal, why and what consequences they face if they do share files without copyright permission."
Visualisation brief
Visualise a peer-to-peer network of 5 or more locations, all linked to each other. Each location must consist of an environment/location within which is situated the 3D model provided (a laptop).
Feel free to elaborate each environment or location and think laterally about peer2peer networks (i-phone, mobile laptop etc) may work in the future.
Research every aspect of the subject both visual and information and think about the optimum way to get the information across (presume your audience is an alien)
Provide a 20 second advert that can be used to support a public information campaign, illustrating and explaining how a peer-to-peer works. A brief outline of your design thinking and evidence of your research will also be necessary.
Deconstructing real world environments - Roots Hall
I made a little video showing my reference images, a small fly-through and the final images.
Here it is.
Here it is.
Deconstructing real world environments - Roots Hall
Here are the final renders for this visualisation brief.
Roots Hall in all its glory!
Roots Hall in all its glory!
Deconstructing real world environments - Roots Hall
Here is a render that has more detail, one has been edited in photoshop.
Currently i still need to add in the seats and figure out a way to render it without is running out of memory.
Currently i still need to add in the seats and figure out a way to render it without is running out of memory.
Deconstructing real world environments - Roots Hall
Here are some renders from the stadium so far, Ive made some textures like the advertising boards, but most textures still need to be added.
Deconstructing real world environments - Roots Hall
A quick concept idea i did to give me an idea of how to go about creating the stadium. Although only very rough it did help solve a few early issues i had when planning.
Deconstructing real world environments - Roots Hall
After looking at the brief i have decided to attempt to recreate Roots Hall Stadium, home of the mighty Southend United FC.
Here are some examples of the references shots taken...
Here are some examples of the references shots taken...
Deconstructing real world environments
We were given this brief just before easter, until a little while ago i hadn't really had a hard look at it.
"During the easter break you are to photography an exterior building from multiple angles with view to recreating it within 3D..."
"The objective will be to recreate the building/space in photorealisitc detail, matching lighting, perspective, textures etc.
"During the easter break you are to photography an exterior building from multiple angles with view to recreating it within 3D..."
"The objective will be to recreate the building/space in photorealisitc detail, matching lighting, perspective, textures etc.
Visualisation Project 2 - Final Flythroughs
Here is my final fly-through, one is the edited version and the other the raw.
RAW
EDITED
RAW
EDITED
Visualisation Project 2 - Final HD Images
The Trenches are now finished, i had to edit it done quite a bit due to there not being enough memory to render, but i still think the correct feel is there to match the poem.
Visualisation Project 2 - A few more trench items
Some renders of a few more items modelled for my WW1 trench, including grenades, logs and barbwire.
The barbwire doesn't quite align correctly, so i may have to adjust it if it doesn't fit in my final scene.
The barbwire doesn't quite align correctly, so i may have to adjust it if it doesn't fit in my final scene.
Visualisation Project 2 - Building the environment cntd..
A few more renders of my WW1 environment, this time with features such as sandbags added.
I am thinking that some of the trees and also the farmhouse should be edited to make it seem like it has been hit by a shell blast.
I am thinking that some of the trees and also the farmhouse should be edited to make it seem like it has been hit by a shell blast.
Visualisation Project 2 - Building the environment
I am now starting to build my final environment. Uploaded are a few images so far, i still need to add in features such as sandbags, barbed wire etc..
I am still undecided whether to include fog or use the lighting to create the right atmosphere.
I am still undecided whether to include fog or use the lighting to create the right atmosphere.
Flying the flag...
Not sure if it will be suitable for my environment, but i have created a flying flag animation using the gravity and wind features in 3ds max.
Visualisation Project 2 - Concept Ideas
During the walk through of my environment i plan to have several things happening. I plan to use particle flow to create things such as rain, shell explosions.
Using this feature i have been able to create a few explosions. However i am not sure as to the best way to texture these explosions (as can been seen in the videos below).
This is the type of style i am looking for.
My attempts...
A very poor attempt at texturing the explosion.
If anyone knows any way to texture this, or has any tutorials please let me know :)
Using this feature i have been able to create a few explosions. However i am not sure as to the best way to texture these explosions (as can been seen in the videos below).
This is the type of style i am looking for.
My attempts...
A very poor attempt at texturing the explosion.
If anyone knows any way to texture this, or has any tutorials please let me know :)
Visualisation Project 2 - Concept Ideas
I am currently experimenting with different height maps to create an environment similar to that of a WW1 trench.
I have uploaded a few concept ideas, these include a simple trench, and also creators, which will be used when creating 'no mans land'.
There is also an image of a few items i have created for the environment (sandbags, tress etc...)
I have uploaded a few concept ideas, these include a simple trench, and also creators, which will be used when creating 'no mans land'.
There is also an image of a few items i have created for the environment (sandbags, tress etc...)
Visualisation Project 2 - The Poem
The poem i am thinking of using is called: Anthem for Doomed Youth by WILFRED OWEN.
"What passing-bells for these who die as cattle?
Only the monstrous anger of the guns.
Only the stuttering rifles' rapid rattle
Can patter out their hasty orisons.
No mockeries for them; no prayers nor bells,
Nor any voice of mourning save the choirs, -
The shrill, demented choirs of wailing shells;
And bugles calling for them from sad shires.
What candles may be held to speed them all?
Not in the hands of boys, but in their eyes
Shall shine the holy glimmers of good-byes.
The pallor of girls' brows shall be their pall;
Their flowers the tenderness of patient minds,
And each slow dusk a drawing-down of blinds."
"What passing-bells for these who die as cattle?
Only the monstrous anger of the guns.
Only the stuttering rifles' rapid rattle
Can patter out their hasty orisons.
No mockeries for them; no prayers nor bells,
Nor any voice of mourning save the choirs, -
The shrill, demented choirs of wailing shells;
And bugles calling for them from sad shires.
What candles may be held to speed them all?
Not in the hands of boys, but in their eyes
Shall shine the holy glimmers of good-byes.
The pallor of girls' brows shall be their pall;
Their flowers the tenderness of patient minds,
And each slow dusk a drawing-down of blinds."
Visualisation Project 2
Design and visualise a virtual space based on one of the following:
1. An interior or exterior space described in a novel, play or poem
2. An industry that you think will benefit by using 3D visualisation
3. An imaginary virtual space that is designed by you.
For this project, i have decided that i will look at poetry from World War 1. Some of the poems written during this war were full of feeling and i believe that i will be able to use the poems to create a piece of works that emits the feeling of the chosen poet.
I will also look at any diary entries or quotations.
I am going to try and avoid researching this project too deeply, so i can use the poem to its full extent, making use of the descriptions within.
1. An interior or exterior space described in a novel, play or poem
2. An industry that you think will benefit by using 3D visualisation
3. An imaginary virtual space that is designed by you.
For this project, i have decided that i will look at poetry from World War 1. Some of the poems written during this war were full of feeling and i believe that i will be able to use the poems to create a piece of works that emits the feeling of the chosen poet.
I will also look at any diary entries or quotations.
I am going to try and avoid researching this project too deeply, so i can use the poem to its full extent, making use of the descriptions within.
Bulwell - Final Draft
The bulwell architects have now come in and seen every ones work, this has led to more changes to be made. They are also sending over some more visuals and plans with more detail...which would have been nice to have earlier, but better late than never!
I have nearly completed the section now, with only the material for the new railings needed, and also some touching up on the railings where sections join.
I have made a rough fly though to give everyone an idea of how its looking.
I have nearly completed the section now, with only the material for the new railings needed, and also some touching up on the railings where sections join.
I have made a rough fly though to give everyone an idea of how its looking.
Bulwell - Second Draft
With all the changes made its time for the architects to come in and view every ones work. Here are a few renders of what I'll be showing them.
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