Matters of a Matte Painting

We're gallantly nearing the end of our maiden modelling voyage so we've started to talk filing and naming conventions etc

Kaitlin has worked on a best system for this which will really streamline our pipeline, and make sure rigging and texturing are all happening at the same time.

BEHOLD!

Organisation and consistency is key to this working, so we need to ensure that everyone is on the same page and filing in the same way.

We've also re-addressed some of our shots and have chosen to pull a couple that we felt were a bit too many and cut down some of times.

In terms of rigging, Yannis addressed possible issues that may arise when the ogre is kneeling down - due to the shortness of his leg / stumps (poor ogre). We'll be able to test this probably once he's rigged, but if it does cause any problems we'll look to some clever camera angles of changing he pose of the ogre at that moment.

 

Sushma's also been looking at animation references for the ogre and the goat - but as we won't really see their feet we're wanting to focus a bit more on how they will appear as they move across the screen - eg. bobbing along.

GOAT REFERENCES

Kaitlin found a cool reference for facial time and movement

Cristina has worked on a gorgeous matte painting, although after reviewing it we've decided that there are a few tweaks we need to make, especially do it doesn't distract from our characters. We want to make the terrain a bit flatter and less green so we have more the desert feel. Also by tweaking the colour of the sky we'll make sure that it doesn't blend in with the bridge and drown it out. And by adding a bit more variation in style and size between the hills / rocks, it will give our scene more depth.

The artwork for the game Journey is probably the best example of this! And it really shows off that low-poly look.