Here are the final renders of my project. Feel free to also check it out on my portfolio
Here is the final showreel from our year at DMU
Post Mortem:
For my Film-Noir Inspired Final
Major Project, I decided to create a small environment and character, following
the classic Film Noir tropes. Theoretically, in keeping the environment small,
I would be able to polish it to AAA standard, which is the area of the industry
in which I wish to enter, as well as being able to focus on the character
detail as well. The “Noir” aesthetic is one I’ve always been a fan of, so
having an opportunity to learn more about the genre and apply it to my own work
was fantastic. I wanted a heavy focus on lighting, composition and visual
analysis to show my fundamental art theory knowledge to potential employers, as
well as to keep myself organised. The final outcome of this project would be a high
quality environment and character, along with a series of film stills, taking
from typical noir visual characteristic.
Originally, I was leaning towards
a more neo-noir inspired environment, very Blade Runner-esque. However, I spent
a large portion of my pre-production time researching the origins and theory
behind film noir and studying various films to break down the shots they used. I
documented all of this on this blog, which I
used to keep myself organised. Kiss Me Deadly and Seven were the main sources
of influence. I had decided early on that I wanted to create a murder scene for
my environment, due to enjoying Seven so much, with either the killer or a
police detective presiding over it; again this is playing off of typical film
noir tropes. Originally I was unsure as to the environment I wanted to create,
blocking out and alley way, hotel room, bar and detective’s office. However,
the hotel was the one I settled on, although I combined it in some ways with
the detective’s office. I wanted the environment to feel lived in, and tell a
story, so I focused on trying to show the narrative through the assets I
created.
We had a fairly long amount of
time for the project itself, 19 weeks in total including the Easter Break, which
was anything but a break. I chose to do a solo project, which looking back on I
regret heavily, so it was 19 weeks of self- motivation, which can be tricky. To
combat this problem, I set myself up a schedule which I tried my hardest to
stick to. Originally, we had just 15 weeks for the project, but we received a
very welcome extension so we could polish our work further. This was brilliant
for me as my schedule was a little overambitious, which is a problem I have in
almost every project.
I tried to split up my time into
simple sections. I gave myself 3 weeks for pre-production, which was then
extended to 4 for finishing touches. After that was the beginning of the
development cycle. I assigned 2 weeks for environment work, 3 for character
work, and then another 2 for environment work again. This was, at least in my
opinion, my biggest mistake in this project, but I will get onto that further. Then
there were 5 weeks or so left for polish. This time, however, was drastically
shortened due to the surprising scope of my project. My schedule was treated a
little more like guidelines and, while I didn’t stick rigidly to it, it
definitely helped me manage my time throughout the project.
· I was pleased with all the visual analysis I did during this project. I learnt so much about composition and lighting throughout my time on the project. I spent a large amount of time breaking down various shots from films like Kiss Me Deadly and Seven. I tried to understand them in terms of the typical visual characteristics of Film Noir and attempted to apply that to my own work, with some success. This visual analysis has also been improved through the iterations of work I’ve done. This is one of the reason why so much of my work took so long; I experimented a lot with different lighting set ups and compositions. Picking them apart and improving on them has helped me greatly.
· The atmosphere I managed to achieve in my level is something I’m particularly proud of. Film Noir is all about the atmosphere, with film makers at the time making use of their immense creativity in the face of limited technology. The classic characteristics of film noir, such as chiaroscuro lighting, patterned shadows etc, are all elements I’ve included within my level and final renders. This took an incredibly long time to get, however. I’ve been working on it since Week 2 of the project, and the lighting set up has gone through so many iterations I’ve lost count. Of course there is always more to learn, but for the first time I’ve done anything of the sort, I’m quite proud of the result.
· My organisation has actually been one of my strongest point. My file structures, max files and engine file is incredibly smooth, making my work flow faster. Keeping my blog up to date has been a huge help as well. It was an easy way to organise my thoughts, and something I will continue to do further into the future on other projects. Although in more recent weeks I haven’t kept the blog as up to date as I should, it because there isn’t much to talk about other than “I’m working pretty much solidly”.
Of course with all that went well
during the project, there were some failures. However, it’s important to
remember that art is always a learning process so, as long as I learn from my
mistakes then it’s a success, not a failure. On that note, here are a list of
my “successes”:
·
Time Management has always been the bane of my
Game Art career and, while I’m definitely getting better, there is always room
for improvement. Being in every day until 9 has done wonders for my work, and
allowed me to continually iterate, but there are still ways I could’ve improved
my speed and workflow, giving me more time for final polish.
·
On the topic of final polish, there are so many
assets that I want to take further and polish more. Much of my texturing was
done through tillable textures, masks, and decals, but there were a couple that
I polished to “AAA quality” such as the bag. I wish I could’ve spent more time
on the other assets in the level and brought them up to that quality.
·
Another problem I had with this project is that
I decided when writing my brief I wanted to be a character artist, only to
realised about 3 weeks into the project that character art was not what I wanted to focus on. I love Environment Art, making props and assets is far more
enjoyable to me, and something I can see myself doing throughout my life. So, throughout the project I put off working on
the character. Really,
I shouldn’t have written a character into my brief, especially not one that had such a massive focus. However, it was a little
too late for that, so what I really should’ve done was tackle it head on. By
putting it off, I wasted time unnecessary assets that I didn’t need, when I
could’ve been polishing my character or final hero assets of my scene. The character herself wasn’t terrible, and from what I can get I managed to
fulfill the part of my brief that asked for “anatomical accuracy”.
The project itself changed quite
drastically from my original vision. I wanted to produce a neo-noir level that
was set in a back alley somewhere with robots and prosthetic limbs. Instead, I
went in an entirely different direction. Researching into original film noir
and neo-noir, I found a real love for the 1940s classics; The Maltese Falcon,
Kiss Me Deadly, The Big Sleep. All of them were fantastic. The chiaroscuro
lighting and 1940/50s setting were definitely appealing to me, so I ran with
it. With concepting not being my strong suit, having such fantastic reference
for the props was really useful as well.
I also aimed to have the
character be the focus on my level, due to the fact that I was still under the
illusion that character art was the direction I wanted to take my career. When I
quickly realised it wasn’t, the character became very secondary in my planning.
In fact, at one point I was entirely ready to cut her out of the project. I’m
glad that I didn’t in the end because I learnt a lot from her creation, but it came very close.
There are so many things that I
would do differently given the chance to redo this project. I imagine I could
get it done in half the time with, easily, double the quality, but I’ll give
you a quick list as to the main issues and how I’d fix them:
Better planning is incredibly
important and I would actually spend more time in the pre-production phase
getting everything perfect before starting on with the development stage. I
feel like that would give me a better edge going into the project, especially
if I’m working on my own. I would spend far more time on the concepting, which
is something I’m not so comfortable with, really getting the look nailed down.
Speaking of working on my own, I
feel like, if I redid this project I would want to work within a team. I would
feel like getting a second opinion on the composition and lighting constantly
would improve the quality of the work produced, and would let us produce many
times the amount of work I did in the 19 weeks. I tend to work better within a
team than I do on my own. I learnt a lot
from working on my own however. Self-discipline is incredibly important and
something that I didn’t have much of until this project.
I would also cut out the
character from the project. It was unfortunate that very early on in the
project I realised taht Environment Art was my passion. This caused me
a lot of stress, trying to get a character done at a high level of quality. I
would much rather have focused more heavily on the environment. I do, however, feel like the character really brought
to life the environment itself.
As much iteration as I did with
this project, there is always room for more. Constantly iterating ideas would
really help me improve the composition and lighting within the level. More paint
overs would mean I’d be pushing myself to be more comfortable with concepting,
which is something I struggle with. This means that I would have worked more on
the lighting setup, which I think would’ve improved the level further.
The most important thing would’ve
been to change up the order in which I worked. I made the stupid decision to
create all of my assets before texturing them. I feel it would’ve been better
to do them in batches; create the hero assets, texture them. Then priority 1
assets, priority 2 assets and so on. This would have been a far swifter and
more efficient model, and would’ve have allowed me to iterate on my designs and
compositions easier because I would’ve had colour and value ranges to work over
and I think would’ve encouraged me to work more, as the result would’ve been
more complete.
Also I would have bought a
computer for my flat earlier. It was invaluable in the last few weeks of the
project.
In conclusion, everything worked
out quite well. I’m fairly happy with the level and I feel like I stuck to the
brief as closely as I could with all the changed that were made. However, were
I given a chance to do it again, I would change almost everything about the
project, from the order of my workflow, to the amount of people I was working
with. I think I would be an interesting project to redo a few years down the
line. I feel like, however, I’ve learnt an extraordinary amount in the last 19
weeks. My jump in quality of work has been, at least in my opinion, brilliant
and I’m proud of everything I’ve accomplished. Going forwards with this
project, I would like to polish the environment assets further, perhaps
creating a small, concentrated diorama with AAA quality assets, textures to the
same standard as the bag I produced. As much as I did like the character, I
don’t feel she is at a standard that is hireable, so I would have to go in and
polish her further, if I wanted to go into character art. But overall, despite
the flaws, I feel this project was a success.
