Daily Grand 30s

Role: Look Development, Texturing, R&D

Another really fun project we did at SHED. I have been involved really early in the project to try to find an interesting style and look for the textures. We first started by modeling a simple case so we could do our test on it. Here is a frame we did for the pitch (me: textures, look dev, lighting).

I knew I had to find a procedural way to texture those asset because we were going to have a lot of these to texture in a pretty short period of time.

After a lot of tests in different software I decided to go to Houdini and see if we could have a proper workflow for procedural texturing there. The answer is yes, Houdini was really efficient when dealing with material assignation and procedural setups.

During the production of the first campaign I started refining the workflow by creating a set of tools in Houdini for texture creation and baking (more details coming soon).
When about half of the the first campaign was completed, another artist joined the team so we ended up being two to use those tools for texturing.
We also used a bit of MARI and Photoshop to make some bigger shapes on top of the baked textures coming from Houdini.

With this process we were able to establish and respect a certain look for the cases and have a good constancy between them.

I've been working closely with Jonathan Pepin Gagne, our Technical Director at SHED to create a set of scripts with Python. Their purpose were to automatically create and assign materials with textures coming from Houdini, Photoshop and MARI into Maya and Redshift.

I also did a lot of R&D with Hakim Harrouche, our FX Artist to find a good workflow for blending the propagation effect with our textures. In this case the main thing was to transfer geometry from Houdini to Maya with a float (point) attribute and using it into Redshift. We used this technique.