If you can't pick a camera angle early on, then just do an incremental save any time you would do a screenshot, then at the end pick a camera angle for your screenshots and use the same one in all your saves.
Love your videos! Always happy when I see that there's a new one out. The trimsheet 2 part series gave me a great understanding about some of the parts that I struggled with :)
really nice topic you shared as well as discussing a lot of relatable things that happen, such as confidence and putting "ugly" pieces together to form a nice scene.
Great video as always! I have a question - what is the most common process for the initial blocking out of a game level? Is it to create the level in the 3d application and import all of it to the game engine or vice versa? Seems to be advantages and disadvantages to both..
You can do either way, know folks who do the whole enviro in 3D and import it all over with material IDS, and know others who import modular parts over and re-form the environment for more control in the engine. For the blockout specifically? I'd import the whole thing as one, get your camera set up, keep iterating and getting feedback, and then once it's done you can either split it up into a kit or into structural and prop elements (using sub levels). But starting out just get the whole blockout in as one mesh I would personally say.
My artist and i watched this a few days ago. Nice one. The focus on the static camera is for portfolio, right? Do you have a video planned on how to blockout a playable level? When i did leveldesign in Unreal1 ( yeah, that long ago) i had to just play the thing a lot to get a feeling for how it looks in from different perspective. Now with Unity i will probably setup a collection of camera points so i can flip between important views within the level, like points that introduce the player to a new place or where routes lead back to a known place. But that's just my hobby-dev ideas. I wonder how the professionals do that.
Unreal 1! OG :D. I started on UE3/UDK. This is for folio' pieces aye. Blockouts for game production are a different ball game, but can carry some principles over tbh, it's a huge topic to break down though, as it ties into level design as well. Flipping/bookmarking between important cameras is great, I also do that just in general for level lighting/env work, bookmarks save a lot of hassle for soooo many reasons :D.
This is a great video and I appreciate the advice. You seem to have a lot of experience, so I’d like to ask a question: I’ve found that I’ve enjoyed making these hard surface models and environment stills the most. I don’t really jive with animation or soft body. What kind of work can this sort of art lead to in the game industry? I feel like it’s almost like concept art, but it would be way easier for a painter/2D artist to make.
No need for animation showcasing if you want to be an environment artist. It can help an environment feel alive, sure, but starting out, just focus on static beauty shots built with good production values (trims, modularity, tiling materials, optimization).
Good tip, though I somewhat disagree, so to add to this… If you’re working in 3d (unless you are making a bespoke cutscene level) in an environment that is intended to be played, you ABSOLUTELY HAVE TO move around. You’re composition will almost never be the same as the players who play it and will need to be considered from multiple angles of approach, height, perspective and everything. Therefore, portfolio pieces should show that you understand composition from player perspective rather than a picture perspective. For presentation sake, you will likely want to set up a static camera. Though always consider the medium that you are presenting.
There can be a one off project where this is the focus, sure, however, this adds to a very common issue in games portfolio building and education: over-scope and burnout, especially as you'll be trying to fill every angle of the environment, which goes against the majority of advice and workflows for generating an effective art-based project. Game Art projects in the context of portfolio building should focus on the art, not the gameplay or level design IMO, otherwise you'll struggle to generate the output required to get into the industry from a quality perspective. Most schools will offer a team based module where you can work with code and design to flex your gameplay muscles, however, in most cases your portfolio will be judged on static renders, the beauty of them, and how they were built (modularity, trim, shaders, breakdowns). This is why dioramas are a popular choice to add to your portfolio, as it inherently bakes in a lot of these concepts. We'll have to see how the future goes as the entry to quality becomes more accessible, and you'll need a lot more to stand out, so maybe nitty-gritty optimization, lods, or vertical slices may be the way in the next few cycles.
@@EMC3D Anyone with this approach is in for a rude awakening when they get into the industry. Especially if/when your personal success hinges on the success of the product. While it’s great to have a good understanding of basic art skills that you can show in 2d renderings, this is not what your job will entail as a level artist. Your job as a level artist is to support the player experience. Understanding that IS the quality. And the pipeline/technical aspects are something you have to learn regardless of your portfolios approach. As soon as you enter the industry, you’re no longer making pretty portfolio pieces. You’re making a product that people are going to play, review, and become invested in on a much larger level than a static image. So you shouldn’t start with the principle of presentation > functionality. While I do agree that the fundamentals of the workflow and basic art is what you’ll be judged by, I do not agree that it should be the approach. And sadly, this approach has both impacted both quality for the medium and lead to a lot of hard lessons learned to late. In fact, looking at a school projects is already become something of a red flag because of this. So, I will say… In my opinion, this video says some great things regarding presentation of iteration process, it does not show that you understand your role as a game developer. Think about this but also go beyond simply making it for a picture on your portfolio and really show that you know how to make a game.
In addition to this, level artists, world builders, and set dressers don’t often blockout their own levels. Except for some extreme circumstances. So it is doubly important to understand gameplay intent, player behaviors, and philosophy that will translate to the players experience. If not, this will not only make you have to iterate significantly more and potentially lose quality in the product but distract from LDs and other collaborators who are involved. By the way, I am not at all trying to argue. Just adding another perspective as a layer on top of your tips that I feel would be valuable to know. And while it may not have been quite the same when I entered the industry, there’s been a shift and it’s currently at the tipping point.
If you can't pick a camera angle early on, then just do an incremental save any time you would do a screenshot, then at the end pick a camera angle for your screenshots and use the same one in all your saves.
Love your videos! Always happy when I see that there's a new one out. The trimsheet 2 part series gave me a great understanding about some of the parts that I struggled with :)
really nice topic you shared as well as discussing a lot of relatable things that happen, such as confidence and putting "ugly" pieces together to form a nice scene.
I love watching your content, its filled with so many insights. Putting the why behind so many things
You have really very useful content! Thank you for your videos!
Great video as always! I have a question - what is the most common process for the initial blocking out of a game level? Is it to create the level in the 3d application and import all of it to the game engine or vice versa? Seems to be advantages and disadvantages to both..
You can do either way, know folks who do the whole enviro in 3D and import it all over with material IDS, and know others who import modular parts over and re-form the environment for more control in the engine.
For the blockout specifically? I'd import the whole thing as one, get your camera set up, keep iterating and getting feedback, and then once it's done you can either split it up into a kit or into structural and prop elements (using sub levels). But starting out just get the whole blockout in as one mesh I would personally say.
My artist and i watched this a few days ago. Nice one.
The focus on the static camera is for portfolio, right?
Do you have a video planned on how to blockout a playable level?
When i did leveldesign in Unreal1 ( yeah, that long ago) i had to just play the thing a lot to get a feeling for how it looks in from different perspective. Now with Unity i will probably setup a collection of camera points so i can flip between important views within the level, like points that introduce the player to a new place or where routes lead back to a known place. But that's just my hobby-dev ideas.
I wonder how the professionals do that.
Unreal 1! OG :D. I started on UE3/UDK.
This is for folio' pieces aye. Blockouts for game production are a different ball game, but can carry some principles over tbh, it's a huge topic to break down though, as it ties into level design as well.
Flipping/bookmarking between important cameras is great, I also do that just in general for level lighting/env work, bookmarks save a lot of hassle for soooo many reasons :D.
The latest version of PureRef allows you to go frame by frame with gif images now.
This is a great video and I appreciate the advice. You seem to have a lot of experience, so I’d like to ask a question:
I’ve found that I’ve enjoyed making these hard surface models and environment stills the most. I don’t really jive with animation or soft body. What kind of work can this sort of art lead to in the game industry?
I feel like it’s almost like concept art, but it would be way easier for a painter/2D artist to make.
No need for animation showcasing if you want to be an environment artist. It can help an environment feel alive, sure, but starting out, just focus on static beauty shots built with good production values (trims, modularity, tiling materials, optimization).
Good tip, though I somewhat disagree, so to add to this… If you’re working in 3d (unless you are making a bespoke cutscene level) in an environment that is intended to be played, you ABSOLUTELY HAVE TO move around.
You’re composition will almost never be the same as the players who play it and will need to be considered from multiple angles of approach, height, perspective and everything. Therefore, portfolio pieces should show that you understand composition from player perspective rather than a picture perspective.
For presentation sake, you will likely want to set up a static camera. Though always consider the medium that you are presenting.
There can be a one off project where this is the focus, sure, however, this adds to a very common issue in games portfolio building and education: over-scope and burnout, especially as you'll be trying to fill every angle of the environment, which goes against the majority of advice and workflows for generating an effective art-based project.
Game Art projects in the context of portfolio building should focus on the art, not the gameplay or level design IMO, otherwise you'll struggle to generate the output required to get into the industry from a quality perspective.
Most schools will offer a team based module where you can work with code and design to flex your gameplay muscles, however, in most cases your portfolio will be judged on static renders, the beauty of them, and how they were built (modularity, trim, shaders, breakdowns). This is why dioramas are a popular choice to add to your portfolio, as it inherently bakes in a lot of these concepts.
We'll have to see how the future goes as the entry to quality becomes more accessible, and you'll need a lot more to stand out, so maybe nitty-gritty optimization, lods, or vertical slices may be the way in the next few cycles.
@@EMC3D Anyone with this approach is in for a rude awakening when they get into the industry. Especially if/when your personal success hinges on the success of the product.
While it’s great to have a good understanding of basic art skills that you can show in 2d renderings, this is not what your job will entail as a level artist. Your job as a level artist is to support the player experience. Understanding that IS the quality. And the pipeline/technical aspects are something you have to learn regardless of your portfolios approach.
As soon as you enter the industry, you’re no longer making pretty portfolio pieces. You’re making a product that people are going to play, review, and become invested in on a much larger level than a static image. So you shouldn’t start with the principle of presentation > functionality.
While I do agree that the fundamentals of the workflow and basic art is what you’ll be judged by, I do not agree that it should be the approach. And sadly, this approach has both impacted both quality for the medium and lead to a lot of hard lessons learned to late.
In fact, looking at a school projects is already become something of a red flag because of this. So, I will say… In my opinion, this video says some great things regarding presentation of iteration process, it does not show that you understand your role as a game developer. Think about this but also go beyond simply making it for a picture on your portfolio and really show that you know how to make a game.
In addition to this, level artists, world builders, and set dressers don’t often blockout their own levels. Except for some extreme circumstances. So it is doubly important to understand gameplay intent, player behaviors, and philosophy that will translate to the players experience. If not, this will not only make you have to iterate significantly more and potentially lose quality in the product but distract from LDs and other collaborators who are involved.
By the way, I am not at all trying to argue. Just adding another perspective as a layer on top of your tips that I feel would be valuable to know. And while it may not have been quite the same when I entered the industry, there’s been a shift and it’s currently at the tipping point.
All opinions welcomed chap.