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.
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 :)
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.
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.
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.
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).
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.
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 :)
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.
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.
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!
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.
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).