![]() With the right references (YouTube and instruction manuals are lifesavers) and proper study of how they work, we can focus on nailing the model and then add character with textures. Still, Hunt: Showdown being a “realistic” game, a new weapon requires less preparation on the art side than a legendary skin. The first type is obviously not as common as the second, since a whole new weapon involves a huge amount of work for nearly every department: How will it be balanced along the rest of the arsenal to make it viable but not overpowered? How will it animate and sound? Is it operated in a similar way to any weapon we already have, or does it need completely new code and logic? Regarding weapon production, there are two main types of tasks for hard surface artists in Hunt: new weapons and legendary skins/variants. That’s why OS is great to become acquainted with different ways of working, but in-house really lets you get deep into how every aspect of a game works. It’s difficult to hop between different games inside a single studio, but it’s very common in outsourcing. There are a lot more meetings: team stand-ups, feature-related, art department check-ups, company meetings, 1-on-1’s with your lead, playtests.There’s usually not such deep communication with outsource clients, and it tends to go through a producer/manager instead of direct to the team. Having an idea that solves a problem can lead to a discussion with the relevant department to get it in the game. Not restricted by what the client wants, we focus on what benefits the game most, and also creates excitement and engagement in the community. We’re open to taking different routes and making more high-level decisions.Schedules are also, in my experience, a bit looser. We get some degree of freedom to choose our own tasks, versus just doing what we’re assigned in OS. There’s a bigger emphasis on design and creativity, more overall independence and trust in the artist, and less hand-holding by leads/producers.Having recently been on both sides of outsourcing work, I can lay out how being an in-house artist differs from outsourcing: These days I work as a hard surface artist at Crytek (Frankfurt, Germany) on the game Hunt: Showdown. There, I worked on Blood & Truth (PSVR), and Cyberpunk 2077 as a 3D artist doing props, vehicles, and environment sets. Thanks to being recommended by one of my teachers, I joined the outsourcing studio elite3d in Valencia, where I worked for almost three years. Back in Spain, I enrolled in a master’s degree program in videogame art from Florida Universitaria and fell in love with 3D art. During a brief stay in China in my final school year, I interned in a Chengdu urban planning studio, after which I decided architecture wasn’t really for me. Which I studied at the Polytechnic University of Valencia. Alas, there were no game studios nearby or higher education options when I left high school, so I chose to study another discipline that mixed art and technology: architecture. ![]() ![]() At the risk of sounding cliché, since I was a little kid with a Game Boy Color I was sure I wanted to make video games for a living. Hi, 80 Level! I’m Alex, a 3D artist from Valencia, Spain.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |