Developing for RIGS and Playstation VR was very challenging. I worked as a principal developer filling the gaps in the art department, providing artistic feedback, and helping to develop the visual look for VR. My core responsibilities were art quality assurance, level lead, environment construction, asset creation, and optimization for PSVR. I also did many temp VO sessions for the American announcer in the RIGS stadiums- it was a lot of fun :p. I am humbled by the sheer amount of talent in the Cambridge studio, and the excellent level of cross discipline communication
This video shows the combined efforts of the Guerrilla Environment Team. We work incredibly close to design, and every element of the environments was designed from the ground up for comfort in VR. The arenas are massive which required us to use big bold readable shapes and to conceptualize our shape ideas in VR. Shaders and lighting play an important roll in the comfort of the player in the environment and the believability of the experience. Performance is always king in VR which required our team to come up with creative solutions for PSVR, and to squeeze every bit of performance out of the Ps4.
Zurich was the first major map update for RIGS. My responsibilities included shell modeling, some shaders, some textures, optimization, and decal sheet creation. I spent a lot of time as a finishing artist fixing geometry and shaders to make sure it was of utmost quality.
I lead the production art for RIGS Test Centre- from the shooting range, through the corridor, and into the test arena. I worked with concept, design, and art direction to flesh out these areas from start to finish. We did many iterations and changes for player comfort. Design Lead and gameplay implementation by Jonathan Chapman, and lighting/hologram shaders by Piran Tremethick, Matthew birkett-smith, and Luke Darby. Art Direction by Stuart Bugg, Tom Jones. Concept support by Pete Spence. Art polish and support from Laura Dilloway, Jamie Perrin, and Daan Meysman, and Chris Goff. Asset support from Malcolm Kelly. This was a team effort.
The corridor was rebuilt several times and we experimented with shapes, forms, and lighting for VR comfort. Props and computers by Malcolm kelly. It's amazing to see what we started with and how this ended up looking. I wish I had an original grey box image to show
The test arena exterior was rebuilt several times for comfort. Stu Bugg did the final greybox modification with design before I did the final pass on the shell geometry and shaders. Concept art by Pete spence and base construction of surround by Matt Bagshaw. Additional support by Jamie Perrin and Pete Spence. Lighting and shader support by Matt Birkett-Smith and Luke Darby
Dubai, lead by Laura Dilloway, was well in production when i started working at Guerrilla Cambridge. Art Direction by Stu Bugg and Tom Jones. I was tasked to create zbrush textures and collaborating with our shader artist for our sand and other materials. I also created skybox models, modified geometry, and did optimization. I create the majority of the damage for this map.
For Nevada I focused on the organics in the map, some hard surface, shaders, and optimization. I used photogrammetry for the background and world machine for the eroded sand in the gameplay space. More process screenshots to come.
I used some basic world machine to blend a macro normal map across the sand. I had shader support from Roel Couke and MBS.
Some of the photogrammetry I put together for Nevada. This went through a delighting, reprojection, and retopo pass.
One of the original Look dev tests I made for the Hoover dam rock. My brief was to "calm down the detail" for VR comfort, which we later coined as "VR rock" because it's a cross between a realistic and stylized look with the shader.
Macro sculpts for the tunnels
Macro sculpts for large forms used with tiling zbrush textures.
The macro rock kit was used all over the map.
The large macro rock wall was created using a combination of zbrush and 3dcoat.
I created a library of stamps to spead up the sculpting process. Here are several from the kit
The textures used in conjunction with the macro meshes. The heightmaps were ran through substance for the roughness, reflectance, and albedo.
I worked with Tom Delboo to come up with a solution for blending height maps pre-optimzation in 3dsmax. This is for an unreleased RIGS map containing a blended rockwall base.
These are examples of sand disruption for our maps with sand shaders. I researched what giant robots could/would do to effect the environment and made some custom brushes in zbrush.
Some initial snow tests for another RIGS map using a combination of Substance and Zbrush for the height maps.