Overall I’m extremely glad I embarked upon this journey of creative research. The module’s emphasis on workflow iterations and design methodologies has really helped my personal working skills.
I have been able to create a successfully workflow which works for myself as well as for a variety of different game engines.
In the future I feel I will be able to confidently tackle 3D modelling situations as well as being able to easily formulate concept ideas and iterate them into a realistic looking 3D model which can be imported into a game engine.
Below are example of a level which I was able to make with the assets and a few on Unreal Engine 4’s built in assets.
My feedback from my presentation was overall positive although it seemed the idea of the whole process only came together in the final slides. I will make sure to include more sample scenes that can be created with the assets.
I only had time to set up a small survey once I had finished the assets. It’s available on the my 3D asset website under the heading “Feedback”. So far 2/3 of visitors have said that they Strongly Agree that the assets looks realistic, with 1/3 saying that they Agree. 100% of the survey takers could easily recognise which era the items from. Feedback Survey
This documentary series from 1964 has been excellent in putting me into the proper mindset for developing World War One assets. It’s also given me more of an insight into what happened and how life was in the trenches.
On a rather unrelated topic, today I received a copy of a replica of an officer’s trench map depicting the Thiepval from 1916 which I purchased on eBay.
The maps is hand-drawn and gives an eye-opening insight into how extensive the trench system along the western front was.
During the war Thiepval was one of the most formidable German fortress towns on the Western Front. It had mazes of trenches and a vast complex of underground dugouts in which the German soldiers were protected from constant, fierce British artillery barrages.
Using nCloth to simulate cloth is a great way to achieve the realistic look you want to achieve. But what if you want to actually want to make the model BEHAVE like cloth within a game engine? This was something I just had to find out, and then be able to replicate it for myself.
After a few searches for different plugins to achieve the effect, I concluded that the best way to do so was to use the PhysX Clothing plugin for Maya which “lets artists quickly generate characters with dynamic clothing to create an ultra realistic interactive gaming experience.”
Artist-focused tools to ensure turnkey solutions
Full artist control over clothing settings and behavior
Hybrid of simulated and skinned clothing
Support for clothing constraints
Support for Self-collision
Ease of scalability for different gaming platforms
Level of Detail control
Support for single-layered cloth and thick clothing
Here’s an example –
Creating the flags
The PhysX clothing plugin assumes that the user is familiar with rigging meshes within their chosen application and this is something which I’ve not touched on very much.
Steps to creating PhysX clothing for a flag: –
Create joints along the shape of the flagpole and flag – Skeleton > Create Joint
Bind the flagpole joint to the flagpole and the flag joint to the flag – Skin > Bind Skin
Turn the flag into clothing – Select flag > Click the little kilt icon
Paint on the areas you wish to simulate – Setting Wrench > Paint
Yay! The flag now simulates in the wind and reacts to gravity in Unreal 4!