You only click on the character and get it in Unreal with all materials already applied. But starting from The Wild West, we added import setups for Unity and Unreal. When uploading models to Unreal Engine, you needed to readjust the nodes. In fact, they were sets of PBR materials displayed as separate textures. Jama: As for game engines, the previous collections were not ready to be used out of the box. Creating clothes is a topic that deserves a separate article. The ratio depends on the desired quality and the amount of time we have. For instance, the trousers on one of the characters were made with photogrammetry, that’s why they look so realistic.Īs for the faces, we combine automation and the manual approach here too. We do some of the parts manually through Marvelous simulations, no news here, it’s a standard workflow for clothes in the industry. ![]() The meshes were animated with waypoints, all folds were prepared for mesh deformations, exporting, and further development. Oleg: To make pieces of clothes fit with each other, we retopologized the whole geometry. They got meshes, clean topology, all well-optimized, so they could actually be used just like that. But our segment is pretty specific – we don’t make assets that you could put right into the movie, although the characters in this set are pretty well-made. That’s why we shot the actor with the hat on his head. For example, a hat is a static object, so it’s easier to scan it than model by hand. Our workflow is, in a word, hybrid – some of the things we scan, others we do manually. Talking about clothes, we make them in Marvelous Designer. And, of course, we are thinking about facial blendshapes, if only we had enough time for that! However, as we plan to grow from concept art to production-ready models, we are going to introduce preset body animations in our future collections. ![]() Jama: When releasing The Wild West, we didn’t adjust the characters for blendshape animations, we just rigged them. Fast forward a few months, and we ended up with a combination of FaceBuilder results and photogrammetry.Ĭreating Clothes, Facial Animation, and Game Engines Compatibility Inviting people to the studio wasn’t possible, but with that add-on in the library, all we needed was to get photos from the actors. By that time we already knew about KeenTools from one of the CG events, so the decision of implementing their add-on into our pipeline came without much hesitation. At some point, we almost gave up and were ready to turn the characters into outlaws by hiding their faces under rags.Īnyways, we searched for a different method and eventually came across FaceBuilder. We were stuck at the point when everything was prepared for scanning but we were not able to invite anybody to our office due to the strict quarantine restrictions. So we had successfully scanned two characters just before COVID-19 hit the UK and the country was on lockdown. ![]() We had advanced equipment at hand and we knew how to do it right. In terms of usage, we generally strived for simplification, so they were fully rigged and had precise polycount and all necessary texture maps for easy export.Īs we were making highly detailed assets, the pipeline we developed for this collection included a lot of photogrammetry. All our low-poly characters were made from high-poly concepts. The result of all that was our debut collection Medieval featuring preset poses and animated clothes. We were both big fans of knights and medieval armor, so we devoted our first characters to those – we traveled around the UK, shot castles, searched for armor kits, and ate fish and chips for three months in a row. At first, we targeted the concept art market but then expanded to game development and filmmaking.įrom the very beginning, we decided that we would model only what we are passionate about. ![]() So we decided to make something of our own and set up the BigMediumSmall studio where we started creating highly detailed characters and environments. The good works cost a fortune, while the bad ones aren’t of much use. You have to go through scattered bits in different setsб and the quality varies a lot. There are lots of pretty good architectural resources on the internet, but searching for characters is tough. For example, the real headache for a concept artist is working with assets. Those used to be things like getting a visa, now it’s mostly work issues. We both live in London and help each other with various errands. Jama Jurabaev : Oleg and I have been friends for many years.
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