Star Citizen Live: Creating 890 Artwork

26 July 201901:02:081,597 linesWatch on YouTube ↗

Transcript — every row opens the video at that moment

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[Music] hi everybody welcome to another episode of star citizen live game dev creating 890 iron assets or art artwork I remember correctly I'm your host Jared Huckaby and asked Paseo and the twitch chat says hooray another starsin live about creating art assets I'm excited too joining us on the show this week are two members of our props team from the UK - from the UK office we got Corey Bamford and John Carney Corey John how you doing today great thank you now Corey we've talked about this a little before we went live this is we think this is your fourth time on Star said in line you're becoming you're becoming a star citizen live yeah veteran at this point well actually I saw some a picture of me from the first one and I look about ten years younger
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and it was like a year ago it was quite funny we all look about 10 years younger about a year ago yes yeah what keeps you coming back Corey I enjoy interacting with all of the fans and I also like trying artwork and giving the props in a bit representation you know we'll go with that flying the flag on his first starting line we got a John John hey Dona good man I'm with Corey on his full time so I feel like I'm in safe hands you're with Cory and is for time this is your further is your first time we've done anything for us yeah you know just just short four months I think they're shorter four months and what do we work
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out over four months Oh some of the some of the art assets for the eight ninety fortunately really the you join Depp innately through your right into the eight nine you go oh oh they you know they saw what I had to offer and just we need this guy on the a9 I'm sharing our props yeah for those of you watched ISC yesterday we Joel took us through a brief tour of some of the props that were that were being developed for the a 90 the eight ninety at last count has 68 rooms inside it's a it's a big big ship and you know following a lot of the feedback from the 600 I went out we took it upon ourselves as a team to to go forward and spend a little extra time a little extra effort to bring a little more personality in life to the interior of the 890 jump and so several members of the props team have been on
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assignment with the ship team is it would that be a good way to put it yeah yeah it's working in close collaboration sort of a mini strike team of sorts you know making sure it all gets all gets done okay now it yeah in yesterday's show we saw some you know some sculptures and and I think somebody somebody saw a pair of slippers sitting on the ground one of the towards the end we saw paintings and that's actually going to be the subject of today's show let's go take a look at some of the paintings that are already created for the evening a jump and then after we catch up with some of the stuff that's already been done we're gonna take we're gonna take this episode to go through the process of creeping and even potentially create one that will be included in the 8th and you jump live here with your as input so let's start with a start with our art review let's see what we are so we kind of wanted a
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general mishmash of you you kind of I don't to call it bog-standard art but you know sort of the sort of the more iconic style so like I wanted like a nice oil painting a nice kind of geometric painting like watercolor kind of stuff like a general mishmash so I'll just take you through these guys here again it's weave with the artfully at 90 it was more thinking about the kind of art that the the ultra-wealthy would won right yeah sort of like a great gatsby mansion esque ship so when we you know we're creating these are assets we're envisioning you know what would deal to rich have inside the you know party ship yeah this is what we came home with yeah so like a lot of it you know it you can you can tell it kind
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of it's fairly derivative with a lot of kind of iconic paintings especially this guy you know and we just kind of wanted to give it like that sort of feel of like high art I guess like someone could sit in front of this and try and try and figure out the meaning I do promise you there is there's definitely some meaning behind them it's just for you to figure that out I'm gonna go ahead and encourage the the twitch chat watching right now go ahead and leave us your thoughts in the chat let's let's let's play starts there's an art critic here let let it go don't don't don't have to be don't have to be restrained you let Cory and no really know what you think about is art here you have to keep in mind that not all art is is you know high quality so I've been trying to kind of ape that I don't
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see low effort you know how you get like someone art and it's just a bit like oh well oh yeah so I mean I kind of like this guy for instance at the end it you know it's you're kind of fairly fairly yeah well it's kind of it's sort of a it's kind of a awesome meaning Corey yeah so it's we're kind of looking at two different bodies maybe maybe of people and there's an intersection between them and you know the shade of green it kind of it maybe it's envy maybe one of them mzc other see when I see this I I see me in you Khushi in the chest a second from the right is amazing what this guy here so actually this is quite an interesting
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one because I took a shot of Magda from the game to make this in fact should go from a bit more emmab dig into the guts of it but yeah so this guy here is it's kind of we're taking assets I find it quite fun because what we're kind of doing with with some of these you know what we can do with these paintings is we can take assets from the game that were once concept art we can take the 3d models that have been labored over to get in the game and then we can turn them back into concepts I'm you're reversing the whole process exactly exactly this is like kind of taking taking art from concept to Frede and then back to a painting which i think is kind of fun does this one have a name oh well see good question I haven't actually really named these I kind of wanted to get kind of lets get some feedback from the writers maybe maybe they can flesh out the kind of the lore
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behind the artists for now it's a untitled portrait of Magda hey I figured look at the one immediately to the left there I think this one's my fate that this one is my right yeah this one so yeah I kind of you can kind of see there's a bit of a hexagonal theme that I was slightly incidental but once I kind of was aware I was doing it I kind of went with it this is kind of like a Giant's Causeway sort of inspired piece you know with all the this strange geometric rock formations yeah and there's a little bit of depth to this as well yeah you get in there you can see I've actually used a parallax occlusion tech to give it some nice depth I kind of wanted something that wasn't just contemporary kind of you know modern sort of just like on a canvas paint I wanted something a little bit more tactile and I think that that
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we've been you know that was given to us by the art directors as well as they wanted something a bit more kind of yeah like tactile and and I guess more high art you know and then I put some gold on it because before it was looking a bit kind of primitive right I wanted to give it that sort of luxurious flair to it so I threw these uh this strip of gold yeah give it the 8/9 treatment you know yeah exactly all right I'm gonna the one of the left yes tomato in this guy yeah tomato in this guy that's a good name for it it's actually if you look at the shape it's actually like a bolt so I don't know if it's if it's some some message on you know the technology of doughnut doughnut yeah don't ask IT and all of these are
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signed as well yeah they've all got our signatures these signatures are actually borrowed from members of our team there's a little signature yeah yeah so they've all got a little signatures on them don't forget this oh yeah this one this one is my parents fighting Wow see for me it either looks like a dude a dude's head in like a spacesuit like you know one of those kind of clear top dome helmets or it's kind of like a an egg or something you know rising out of whatever this is down here is it you know this is probably I think the most kind meaningful yeah for me again I see a theme here again I see me in you in this man I don't know what it is all right so yes a lot of these are pretty abstract or Impressionists and
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whatnot and we've noticed in the chat a lot of number folks you know abstract an impression stuff doesn't necessarily play to that to everybody's interests so we thought for the show today that we would create something a bit more literal a bit bit more a life drawing if it were yeah so let's go ahead and start that process let's get into that what are we gonna make today Corey so I was thinking today we can make a nice kind of space scape maybe Chuck in a meta reference to a certain spaceship kind of just like a fairly epic space painting yeah so we can should we just get right into that go into a bit substance designer stuff first I'll show each we should start marking this up well just
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take us through the process where where would you start would you start with the caps reversed yeah you know what I think I think it does make sense so just just to give you a bit of a bit of context to this what I'm gonna do is I'm gonna well we're gonna create a scene really yeah like a scene in the game and then we're gonna take that scene and we're gonna kind of turn that into a painting okay so I'm just gonna get rid of our little um I'm just gonna get rid of our little room here so we have over here here's one we made earlier here's one really be a knight oh wow it's glowing that's interesting oh boy mm-hmm don't know why that's happened there just give me a sec so far the art process it's all part of the art process that's right exactly I think I might have a certain layer one second a classic so I'm just going to import a Skype Sky box real quick I hope see that
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will run so while he's doing that John what are some of the props that you've actually created for the any Jim so far ah so you mentioned earlier with Joe's video some of the sculptures I was lucky lucky enough to work on some of the sculptures and some more self like bespoke fancy props that you you'd imagine that you've stumbled upon if you were you know hanging around with the ultra-rich so the sort of cigar humidor zand fancy chess sets and these sort of things yeah yeah you created the guys the cigars I didn't get too out of the cigar humidor and the cigar holders and the all the cigar accessories I'm now actually somewhat of an expert about cigars just from researching the props sorry just say technical difficulties right please
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bear with me so this is actually up of the real aa process it's not all the time we kept it we tested this for an hour before we went live in which it's all perfect and functioning so naturally when we go live this is what happens yeah exactly I'm just gonna reopen the scene yeah yeah we're gonna channel this frustration into the paint and you shouldn't hopefully be able to see it yeah very angry so why don't we there's a good time to open it up to some questions from the chat if you have any questions for the props team either Corey or John about props in general you can submit your question with the word question in capital letters surrounded by brackets into either the twitch or the spectrum chat that'll that'll help us to pick them out from from all the other conversation and Amanda Aang that's that's not a helpful question it's an interesting question but so there's a question about Keanu Reeves
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nice I mean I would personally love a portrait of Keanu Reeves but unfortunately that would be a bit of a you know uphill you'd have to get you have to call him and yeah bit magnet okay so I think I've recovered things here all right eight night here we go nice exterior shot DNA what we're gonna do is we're going to take this and together we're gonna build this into like an epic space scape so for me I think the most important thing to start with is the appropriate scenery so what I'm gonna do real quick it's just import and hopefully it doesn't explode this time there you go this is basically like the the skybox from Stanton so you can see by panning around the viewport I've got I've got some stars I've got some space escapee things and I've also got the the star itself
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so I think the first thing we need to do really is take a ninety and get some nice lighting on it maybe figure out a kind of relative to the Sun where we want it to be so III kind of personally I think the most striking part of is is you know does these forms at the front I think they're great so why don't we think about the composition yeah would you reckon yeah no I like this comes out first there is a pet peeve of mine I like a really you know tie FOV it looking cinematic yes cool yeah I like that nice so I reckon maybe oh yeah yeah pinky look a bit dynamic like it's moving yeah exactly and we can actually free up the camera as well so if I free the camera movement now I can rotate the camera so you know we can really think about yeah that looks like it's moving
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yeah exactly so maybe maybe something I don't get that flat surface atop maybe something like this did that's kind of like our main you know pose I guess you could call it so I'm gonna do is I'm actually just gonna freeze the camera real quick so we'll create a new camera dude little dude if I gotta work yeah there you go create come from current view so now we are locked into this camera we'll just change that field of view back to 40 what we can do now as well as we can bring in some object so uh does anyone have a favorite moon for instance or plant we might be able to get that in a yeah yeah let me just see if I can find that object container for you look we need some color contrast though yeah yeah so maybe okay maybe
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damar would be better Oh for the color contrast but that's pretty good right there with you yeah that's pretty cool gas clouds as well cuz I know we've got quite a lot of those in game this is actually just a nice volumetric cloud mm-hmm I kind of like it because it's got that kind of directionality makes it look like it's moving yeah it's really really dynamic down you know I might actually just move this the one thing we want to suggesting that you lower your fov farther beyond 40 you reckon like 20 whoo that's just uh how about the County inclined to agree yeah we might we might try to so let's go back to default camera let's pull up fov in 2000 yeah that's pretty cool all right I'm just gonna freeze that again will create a new camera finished thanks
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luan I was a great suggestion he's one of our environments for anyone who doesn't know okay cool so we got that camera set up I reckon we need some sort of plants in the background so I'm just gonna bring in a new object container and we'll just see if we can find my planet so I'm just just a sec I'll just set that up for you oh boy we're bringing a plan in alright it's kind of inside that's the inside planet yeah yeah you because they brought it in zero zero right so yeah I have yet so it's just push that out is it gonna behave let's just put some mad transforms on that boy it's not gonna delete that oh dear okay let's go back in here alright finding reworking let's get back to
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where we were you getting an insight into the genuine art process yeah exactly deal with yeah we deal with stuff sometimes misbehavin I'm just trying to grab this gas car real quick yeah this is one it's cost I'm just gonna change the feel of you whilst I work because it's a bit of a nightmare when you're trying to select stuff oh there you go okay that's better that's behaving herself now yes I'm kind of liking this whole traveling through gas coughing I don't really like the color of it either so I think I might just push it back bring it in a bit maybe just change that color so we actually have some things I'm just gonna bring those over here for you so you can see I'm just gonna pop that there actually sir I was thinking we can change your
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color do you guys have any suggestions for colors I like the loo you reckon blue school yeah go for like a nice yeah kind of fits in with all my things purples right off the bat to purples I was a good shot that's just I reckon like a fairly fairly you thinking like a kind of pinky purple or like a nice deep purple I think seen a lot of purple now yeah that's a good show what do you guys reckon I'll a shade so is that what you have in mind yeah pretty cool so with this like whole workflow I think it's fair to say it's a pretty light non-destructive like we could probably go all the way to the end in substance and then you know decide that we might want to change them the clothes were looking at now and just Ricca Kout
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screenshot and hopefully when it goes for a substance pipeline you know it will non-destructive able to change our end result so we could make tons of iterations and go through tons of reviews and potentially have like an infinite paintings you can keep iterating on that my scenes gone a bit barmy I think it's the planet I brought in let's just bring that back that's looking pretty cool they're actually pulled off fo view back in yeah I'll tell you well why don't we just grab what we have now and oh she was gonna pull those clouds back a bit again tell you what we have now and yeah we don't want to we don't want to crowd the paint in any way keep it nice and simple so the eight 90s are you know a focal point speaks for itself yeah let's try these cameras shall we oh great yeah my cameras died I reckon say like that nice and pulled
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out yeah we'll get it in there anyway so I'm just gonna actually capture this as a thought there you go just got to change my light ratio real quick so let's just fix that sorry this is the this is the tedious part I promise once your little soon we're gonna call this painting four straight I think Corey's gonna sign it as well I think I might sign it yeah sorry just take the screenshot real quick I'm actually gonna throw this into substance designer so for those of you close you who are running the [ __ ] Sosa's designer is kind of a procedural texturing tool that has a bunch of you know procedurally generated textures patterns and so on and it allows you to kind of manipulate and transform those to create your actual paintings and we use this all over the game right yeah as
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well as making things like paintings things like trim sheets and decals and yeah we use it for terrain for organic objects too very versatile mm-hmm so I mean take this paint for instance that we showed you earlier mm-hmm that all started out just as the simple tile generator and I took these tiles you know I didn't a little pink guy transformed them a bit moved him around pushed them in generally kind of just played around I mean all these nodes like you can go into them and you can view them like transform just allows you to rotate trapezoid is kind of like pinching it and the nice thing about this is you can go back to the end result anytime you want and you can preview what these changes are doing yeah so I can come back to my at the end of my painting here and I could say go into the trapezoid and I could pull that out and it'll update that in real time
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so if I really push that in you'll see it gives you that perspective so if we were you know doing art reviews we could do really rapid quick iterations of this thing yeah there's also things like symmetry where you can have you can pick a different symmetry version and you can see how you can very quickly create this kind of abstract art it kind of lends itself very well this pipeline yeah and an infinite amount of variations of the art that you do create as well yep exactly so we could do a whole series of these paints yeah okay similar style why don't we get to where we were so I'm just gonna delete my little question marks here let's bring in the 8th night shall we see what we get so we've got a little uh a little image we'll just fix the size of it for you not other way well bit too much there you go so what we're gonna do is we're gonna take this
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and we're going to try and turn it into a painting we might make some changes to the actual scene itself we'll go back to the other and take a look we could just bring in a fresh screenshot right and I'll still save all our changes were things over there so I'm thinking one of the things I like to do first is just really push push push the pixels about try and give it that that painted look so what I'm going to do is I'm going to take a multi-directional walk which basically allows you to take an image and push it around so if I take for instance one of these nice crunches here let's take this guy for instance kinda like a cool grant grunge I can randomize at each time you can make the you can make stuff like this all you from scratch I just find as a jumping-off point the preset ones are pretty nice right so I'm just gonna stir it out in there and you'll see already what is done is just pushing it around based on this input so
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if I ramp up that intensity you can see you can really kind of start squishing stuff obviously we don't really want that for the for the for the foreground but I think for the background it kind of gives you this appearance of you know strokes and and splatter and I think it really helps just push things in the direction of a painting I mean so what I'm actually gonna do I'm gonna go back to the engine and I'm just going to very quickly pop open another toolbar I'm just gonna take a capture of normals and I'm gonna take this background and actually I just find a better view you know work I'm gonna take this background I'm gonna mask out the ship using that background so let me just fix my field of view again I'm going to assume a new screen shot what you're trying to do is affect just the background of the image and that yeah exactly
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so if I bring in this furnace normal map that we just we just grabbed we just drag him in for you we can actually fix the aspect ratio again we can actually take a color from this so if I go color sorry yeah color to mask and I can input so each node will have an input and an output basically right it's the easiest way so say for instance I grab this flattened or map value here you'll see that generates a mask out of that value it's got some text in the corner that will fix up later but for all intents and purposes it kind of is just a very quick way of masking out that background so I think something like that will do so now we actually have a mask we can blend between this version of the 890 wersal it's all mushed around and like a
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clean version so if I go blend this will create a blend a blend mode and from that I can set a foreground so say for the foreground we choose the clean version and for the background we choose the Warped version now I can actually use this I can actually use this mask we created just to blend the two together so you'll see now we have a version in the foreground of the night and we have a version in the background and the nice thing as well is if we change these screenshots it should all update automatically which is great so what I think I might do is push the 890 just kind of squish it around a little bit but maybe not to quite the same amount so I'm going to use another multi-directional warp and you have any suggestions John yeah no I feel like I'm
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alone yeah be a new Cory's quite often sat on my desk showing me these things and I sort of just slipped into just watching Corey do my work from you note which are more used to yeah so let's have a look at this here so we were kind of pushing it with some cells they're a bit blocky at the moment we can kind of fix that I might push them in a bit I'm kind of going for like finer brush strokes on the ship because you want it to almost feel like you want it to almost feel like it's you know they spend a lot of time painting in the ship but not so much the background it looks kind of gross at the moment I know but we'll we'll just we're just going to kind of nudge it down again we can kind of soften things up you can see it's really harder task because the source we're taking from is really crazy so
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what I'm gonna do is I'm gonna blend these cells maybe just blend them with themselves but inverted so we have a regular version and an inverted version I'm just gonna Chuck a grunge in I mean these grinders are great to get you started sometimes you can't go on and find tweak them and now we have a sort of rougher a kind of more random version of that and I should kind of just help with the look so I suppose what you're trying to mimic here is the sort of like natural imperfections of you know painting something realistic it's gonna be brushstrokes yeah quietly softer edges and yeah and we can also we can use these same warps that we're using on the painting on the things we're warping the painting with so you can get pretty in-depth with it so if we yeah I'm just gonna use another multi-directional walks I really like these I'm just gonna throw in say I don't know dirt or something you have all these presets
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that you can work with I find it very fun just to kind of click through them yeah so I'm a first-time dirty looks like a lot of this is experimentation hmm and you kind of find things in the program that you personally quite like and you find yourself using a lot of the same stuff so I think something like this kind of looks cool it's got a bit of directionality to it which kind I think helps the style of these you're sort of like go-to nodes when you open the software yeah exactly it's kind of like I see these things I've used them before and I know I like them so you can see this warp is getting a little bit gentler maybe it's a little bit too gentle now though so we could always bump that up a bit maybe not quite so much and it's something I might actually just soften this so I can actually blur if I get a blur that I should just make it a lot softer so you see how that's taking all the all the sharper details on you and I'll probably just help kind
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of just stop it rough me up yeah we're really literally using technology to mimic like you know the production of actual art was you know oil and canvas and yeah I'm not too happy with the lighting at the moment of the ship I think something funny's gone on when I seen the like of that so I might just jump back into the engine real quick we accidentally still inside a planet maybe I hope not that would be kind of scary I'm just gonna have a little dig around here you're kind of tempted just to open this up in a new scene because he's gone a bit barmy definitely something weird going on with my levels with manya layers some folks in the chat are asking what's the virtue of using something like substance designer instead of Photoshop or something like that oh I think that there's a few a few different
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kind of advantages of a workflow like substance primarily it's uh it's making sure that the work you are creating is reusable I think that's really important and it's also the fact that because of its procedural nature you know you don't you do something once and then you have all that and it's you know it's all still there and the potentials are randomized as well and so it Corey showed before that was sort of like a random seed lot of the the node where he could click in a completely randomized if he was make some fun in Photoshop you sort of committing so it's sort of looking like that and then if you're you're lead was to say you know I like that I want to change the certain aspect of it you know could we randomize the colors in in Photoshop now a whole bunch of work where is an InDesign it's as simple as a playing with a little slider and then you know
00:28:43
infinite infinite variation yeah yeah I think that's that's basically it's kind of and also it's just it can be a lot quicker like to iterate this stuff like if you imagine painting that stuff by hand it can take a lot of effort right I'm just gonna reopen scene real quick I do apologize guys I know I had one of the added benefits of some of the substance designers through the through the flow graph we're about to replace the original baseline image and all the work that you've done so far it doesn't get lost by image yeah I really don't know what happened to my scene I think it's important that planet I think is important a bunch of lights so yeah this was actually looking nice and dark and moody before but he's gone a bit crazy which I mean we can kind of work with us a nice thing about this sort of artwork you can kind of just play around but I still not happy with the the kind of
00:29:33
grunge we have going on here I think I might just tweak that a little bit maybe we can change the modes yeah so looking cooler push it down a bit we kind of want to preserve the details of the ship the lighting is gonna help so much there once I get that in so I suppose when it comes to distribute I'm you probably put a lot of time into your graph because you know you can just go back and swap the screenshot with whatever yeah it's kind of nice that way it does make it a lot easier to a straight on this work mmm all right to answer dr. Illyrio's question it's because neither quarry or John or myself work on those things that you are talking about which is why we're doing a show about this oh come on this is what we work on yeah this is what we make we have a lot of fun making it as well yeah we make
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pretty pictures go further back in yeah I'm not feeling this I'm not feeling this weathering I've actually made a kind of painting generator we can try plugging that in to see how that works so just so explain that once he's made this graph he can solve like compilers of nodes and so save it into a little template it's what I cracked it so this is my convert to oil painting so we're basically taking a bunch of noises pre-made noises that I've actually thrown together and we're plugging a random input I can input whatever I want into here and it will run through all these different nodes and come out of this side and I can just go into another graph so say we go to painting seven and I can drag in that mode and that has all the stuff I set up in there ready to go and then also nice thing
00:31:08
about that is we can make changes so I've exposed the scale of the noise on this so we can actually bump that up quite a lot so you see this is kind of giving us that patchy look I'm kind of after and it's still a little bit too crazy but we can definitely work on that so if there was a another instance in the game now that for whatever reason we felt like we needed to you know add some more or your pains into the game because you've done all this initial work in therapy crazies come back to it and just yeah exactly yeah yeah because you can take these generators and really fix things okay so another point for substance designer yeah there yeah whereas with Photoshop if you make something and you not happy with it it's so hard to change it especially if you're not using if you're not using all your layers that's just group all this stuff together group everyone I'll do I'm just gonna nuke this layer here we're also missing the line the hangar
00:31:56
door yeah yeah I kind of squished it there's already and we just delete all there okay great yeah so that comes it sorry that's just because the ships work in progress I've got to uh I can I have to throw it together a bit kind of custom style okay so back to square one hmm why don't we chuck in a nice background again let's get the stance in background so what I'm gonna do I'm not gonna use this guy I'm actually gonna go to D stance and layer yeah I'll just throw it over here I'm just gonna grab a yeah I don't you guys seeing all the secret layers we have let's just grab a background from one of you guys yeah that's looking better isn't it yeah we got a son now yeah yeah that's the
00:32:47
master contract I'm not sure why the line was being so weird and I'm actually just gonna turn off that pesky never there it's not that they're secrets we share quite a bit on ICS them it's that people tend to run away with things that aren't anything so we try to avoid that by just giving you those beat yeah exactly yeah we don't want to see what's on Cory's desktop either it's just it's just a speculation I suppose you know okay this is looking a lot more promising isn't it yeah we got a dramatic fov dramatic lion a little bit too much bloom we can fix it up just by bumping up the bumping on a resolution that's looking much movie this is kind of what I was after mm-hmm I do feel like we need some fill lights because at the moment the only thing lighting the scene I'm just gonna bring you I'm sorry John the fans want a smaller fans and they are right is
00:33:39
definitely a lot more attractive so I'm just gonna throw those gas clouds back in so I'm just gonna bring in another gas cloud preset just here mm-hmm I'm just gonna pop in the gas cloud I was using in fact aren't distracted over here I will just grab that did you do and this is just kind of me I've just been mooching around this stuff and I found things I thought were kind of cool I figured we could just use those so oh very tiny cloud why don't we want to be in big in that cloud it's a little bit just a little bit odd I I love I love Bob Ross I I think I actually feel a little bit kind of peaceful when I do this kind of stuff you know that's looking better isn't it let's get that purple back as well so I'm just gonna squish this guy back here and I'm just gonna change the color a little bitty cloud that nice purple
00:34:29
again this will demonstrate to you and also let's get that composition back as well I kind of like the way it was before so I'm just gonna grab our little ship group master cloud I'm just gonna grab a little ship I'm just gonna rotate him just so the lighting is a little bit better so where's our star I've lost the stuff yeah definitely a star so why don't we just orientate ourselves relative to the star and this is the fun thing we're actually kind of working in a live environment yeah so I'm gonna orientate us relative to this time so I'm just gonna rotate this guy we're just gonna do a little 180 here and we're just gonna come back in yeah that's looking more like what we had there just give it that little dramatic little dramatic flair I was just doing a little turn as he flies through space
00:35:17
yeah exactly and we can push push these clouds back a little bit more maybe yeah that's looking cool I don't know actually I kind of like the lighting before it's why we just rotate him again yeah there's a lot of noodling around with this stuff you could you could spend like you know hours doing this so we're trying want to do a correction to something far secret just said in chat the 890 jump is coming in a 3 6 X patch it's not necessarily coming in a 3 6 1 patch it is coming in a in a patch for the 3 6 branch but we haven't it has not been determined which patch will come in yet nice okay sir why don't I take a screenshot are you kind of happy with
00:36:05
this let's compare that to what we had before actually I just want I like it a lot coming just coming out of the clouds like that yeah yeah I think the light was broken and I didn't really I think he's good I import that planet it was a bad idea I got carried away in the moment I saw I'll just bring a planet into the scene down the consequences we'll make it work but fortunately we've done all that hard work initially with all the notes and stuff so it should be as simple as just walking on these images I just want to fix the glass on the the canopy real quick that's better yeah it was just drawing through the clouds like the glass sometimes can render a bit funny with clouds so I'm just gonna fix that up there you go that's looking a lot better isn't it so I'll do the same thing we did before aspect ratio sixteen by nine which is what at once this is
00:36:53
the marketing toolbar they use it a lot to us a set of marketing screenshots and stuff is very handy so now if we go back to our shot I hope that this looks a lot nicer for you guys yeah we'll throw that in there so new new new image and the beautiful thing is once you bump up the rest all we need to do loop we're gonna need our normal as well yeah normal you know the normal a bit squiffy but check that out now yeah that's looking cool just a little bit moody here isn't it so let's actually just drag the normals in as well shall we sir just gonna flip the normal view on take another screenshot suck it in and it's this guy isn't it yeah there you go link that throw that going on make sure you fix the
00:37:43
resolution cool all right yeah we're kind of back to where we were I feel like this is just looking a lot less the lighting is just a lot less pants now yeah I think it's pretty good to show that the saw work we do is a very iterative process you know if we just settled on the the first version of everything we did you know the quality wouldn't be there is because it's because Corey's very self-critical Milady's work and says I don't like this it's not very good and he goes back and takes another screenshots where these paintings came out so nice and noon now his deal is the normal from the previous image still in there yeah it's still here it's just floating around I can't delete that yeah we're using on new one you can see the mask is in line with in line with our image I'm just trying to get the the kind of grungy noise we wanted so I'm just gonna grab this dude okay I'm just not kind of happy with that I feel like we need a
00:38:31
I'm not what I might do is I might pinch some of the nodes I have in here because I think that it's this guy here we need so I'm just gonna actually copy this is one of those instances where I haven't set up all the the the values to be altered on the fly mm-hm so I'm actually just gonna paste those in so we have this huge tree here now which we can play with so this is where substance design it does get a little bit like spaghetti because you have all these graphs so what I might do is I might chuck in Oh a little guy in there so this will be taking the painting and it'll be applying all these noises to it so if you check it out now that's looking a little bit cooler yeah that's cool ready yeah I thought we can nudge down some of those powers though yeah merge that down maybe turn this guy yeah I think that's
00:39:21
looking kinda cool nice and painterly we're gonna delete the output and we're actually gonna plug that directly in here and I should blend together with the background yeah this is cool yeah so now we've done my slot background I think we should play with the lighting a bit as well maybe maybe get some cool lighting in there too so I'm gonna go back to go back to the engine and before I move I'm actually just going to create a new camera because if I move the camera we're gonna have to actually doesn't matter too much okay I kind of want to lower the power of these clouds at the moment I feel like they're a little bit kind of overpowering so what I might do is just bring down the intensity just a smidge so we're gonna go to loo roll it by here this guy I know you don't like all the crazy stuff taking up the screen I just want to show you guys what I'm doing so I'm just gonna lower the density of the clouds
00:40:08
actually it's just very here look we're having it maybe even point to five and I actually might swap that out for a different different cloud yeah maybe maybe we'll go back to the kind of direction or looking one yeah I don't want to say anything I was a much bigger fan off yeah yeah I'm just gonna grab that guy real quick if I remember name was it this guy yeah that's the one we like use it cool clouds it feels a lot more dynamic yeah it kind of helps push it push it out a bit that's cool so why don't we try going back to our camera hopefully it behaves there you go I'll just bring that fov in I kind of feel it maybe pushing out a tiny bit gives you the kind of clouds in the context so I'm we just bring this dude that's out to look cool that's kind of
00:40:56
one bring this guy around a bit yeah it's looking cool let's push it in let's push it back in a bit I'm kind of torn of his I really like I really like seeing the kind of background so I think we might just play with that angle a little here so one I just go back to the easily trying to pull the camera a little bit you reckon yeah I just kind of I feel like you want to get the clouds in the background you kind of wanted to rushing against the ship yeah you know so maybe like maybe you're just moving them this way but we'll help I think pulling it back actually yeah what's the feedback we're getting on this pain and like a people liking it yeah people digging it so far no we're good we're good
00:41:42
that's not what I want to hear Joe no I don't want to hear it it's fine I wanna hear it's no good I'm letting you guys do your thing okay cool as long as you're happy uh so I've just brought in a little point light people have watched this show long enough know that when we get into these art process streams I like to just sit here and watch you guys do you think I tend to be a passenger on these ones yeah that's cool I think I think I think it could be nice I think it's quite relaxing to do and it's quite relaxing interesting I'll say well I'm just going to change this light to a projector so what sorry I play my light so what that does is it creates if it behaves it's a little kind of projector light and we can actually set the size of us I'm going to say that's like a hundred so he's a really big big swooping light and we're looking like a Sun hair or something a mini Sun a mini Sun I just want it I just want to light
00:42:30
the bottom of the ship a bit I feel like maybe if we give it like a purple light like it's bouncing off that cloud I think I'll agree dope we're getting a lot more of the details in under the ship now yeah exactly yeah okay I'm lost for words ashamed because it's a really great looking [ __ ] I feel like maybe like that yeah like a nice light kind of like it's bouncing off the clouds maybe just a smidgen like less intense there so I'm trying maybe like like one weld reckon I'll ask pretty cool yeah did you want to do it before and after yeah I can take it back into into substance real quick yeah oh yeah a few minutes left by the way v oh wow that's going really quickly I hope you guys are having a good time watching this I'm sorry about the technical difficulties Authority bags we tested it before it was it was perfectly good they got to see the real process correct they got to
00:43:18
see what your work day is really like oh yeah okay let's pull this guy in real quick all right apart from being a bit of a sandwich I feel like ice looking a lot cooler you know if we look at the old one yeah yeah we're definitely getting there and that's that's the thing this kind of stuffs really iterative yeah now you can get the first one as well so you can strip the three ecology I don't really come a long way from the first aeration yeah you know when I was saying that not a lot is good sometimes that's my fault as well so I mean we come we come a long way I think that's looking I mean that just look Scotty oh yeah that didn't happen yeah so can a lot more dramatic please remember me for this if you do remember me it's a process remember that's what you want right it's a process mm-hmm I feel like I'm kind of happy with where the scene is why don't we just focus on getting it to feel like a
00:44:05
nice cool painting yeah so I think that's where a lot of the fun comes in so background I think it's kind of cool we can work on that but yeah I definitely feel like what we have for the ship at the moment I'm just gonna pinch that no more real quick again yes grab that so if I was doing this more more officially I suppose what I would probably be doing is saving over the same file sort of dates automatically which takes be dragging in but for now because I'm using the screenshot tool in-game it creates a new file each time so I just kind of want to yeah that would be cool see how this really push in to push in to why I'm just gonna delete this guy why we're not happy with this and I think it's just because of the input we're using on the on the warp you know watching just yeah we want to look more like brush strokes
00:44:55
yeah so I might just try and pill for something from here maybe ah when it's not you softer really and the nice thing as well is once you once you have something you can take you can take stuff from elsewhere that you've built up so I spent on you know we spent a while building up this guy buildin up these kind of noises we can actually take those and then iterate on those as well but I think maybe what we really need to do is just kind of blend in a bit more kind of variation soften up a bit so I'm gonna blend in just some regular clouds or some some black and white spots as they're called in here multiply it on so we're just kind of squashing it down a bit and I reckon maybe a non-uniform blur so what this does is it blows it but it masks out where it's being blurred with another input so I can put a map in and
00:45:43
tell them not to blur and if you throw in something fairly soft again I'm just using these presets because it saves a bit of time but you'll see here are that's kind of stuffing out that's a bit too powerful but we can just kind of lower it a bit kind of bring it in again I just feel like we're not kind of getting the brushstrokes too much at the moment we might just need to tweak these things so there's a lot a lot of fine-tuning it goes on at this stage yeah yeah yeah this is kind of where where where it slows down yeah it's just trying to push that I just really want to push the painted look I think again maybe we just we just need a better uh just need the best thing to use so I try to sky yeah there's a lot of experimentation that's kind of looking a bit more to my fancy and then again we can always take this and we can we can process this
00:46:31
furthest so what we could do is we could nudge down our blur we can nudge down our warp of it and once that's blended in we could take this guy and we could push that maybe with I know use a morph a victim life well that's the greyscale victim wash the victim off so what this does is it allows us to input a three-channel kind of like a normal map or a vector map and move things around using that so why don't I just take some noise and just like you saw me do with the viewport we're kind of creating normals out of that so I can really push this up chug that in there and what it's going to do is that's going to push stuff around based on the the direction and I just kind of I find that just expands everything out kind of gives you that sort of brushstroke look mm-hmm
00:47:18
we're trying to go for that I mean I think for me it's got a little bit of weirdness going on at the top yeah that's that's pretty easy to fix we can go back to our original warp here I mean at this stage you can you can start exporting these and actually preview and what its gonna look like actually yeah I'm obviously we have you know we have the eight nine level we can preview on the wall amongst the other art and just make sure it's sitting nicely with other things yeah when we plug that in so I'm just gonna export this I didn't pop it in there yeah yeah we might find that like Purple's maybe too strong of a color onset sagginess of everything else in the scene I think we got another purple painting in there yeah we might get away with purple we may do we may do so actually I'm just going to need to bring in a oh sorry Jerry keeps popping up on that window
00:48:07
thank you I just like to see that visuals they don't I mean the only real reason that I knew Drive after that we could see the visuals yeah there's nothing pretty about folder structures no definitely not okay I'm just gonna bring in the painting real quick we're gonna be really matter I'm just gonna bring the painting into the into the scene inception it's gonna be a bit inception here so let's just grab a canvas a sixteen by nine canvas which is what we're using today I saw a medium if you want to follow along at home further on there so here's our canvas you see Scott by default that other painting on there but we're just gonna throw a new painting on there yeah yeah we've got already night but yeah and there's a bit of a weird normal I'm just gonna fix that real quick yeah sir we've got a painting of the
00:48:57
8:19 exit enit which i think is kind of cool Oh should we screenshot it again pull that in the pans see how many times we can get away with it yeah so there's the painting game again I feel like if I had a bit more time maybe we could push it this further unfortunately it's just playing with the forms I think there's a few things we can do I think you've been on yourself quiet I think it looks great yeah I think folks who have watched our getting up segments in the past know that most art isn't created in an hour I think it's very you kind of you're kind of putting a harsh deadline on yourself by doing that but it's fun it's a challenge I kind of it's kind of like have you ever have you ever watched game I mean I imagine that goes in the stream of watched game jams before hmm and they probably know how those go you
00:49:45
know you start out with something and it's a yeah they give themselves a week to make a game which is unheard of yeah anywhere else other than I came Joan oh yeah I've done I've done a 48-hour game jam before Manny is a oh boy it's a it's a challenge yeah I understand you end up you know you end up doing all nighters it's great fun so I'm just going to take our little mask I'm just gonna throw in a version that has some motion blur on it seems like on it what okay maybe we're not gonna use the mask maybe we're gonna blur the mask and we're gonna grab our blur that's not no blur what's up blur we're gonna grab up there we go wrap that up a bit maybe a bit more why not yeah so you just wanna get it sort of like you maybe
00:50:36
look like it's moving a little bit yeah I'm just trying to kind of I want to bring some of the form back in yeah I'm not kind of happy with the way the brushstrokes I feel like maybe what we can do this is a cool idea we can take on normals and we could use that as a vector more for some noise that might be kind of cool so if I grab some cells if I grab a warp a vector warp what I think we might be able to do let's take this guy and push those pushes and now we're looking like abstract art yeah this is really abstract yeah we should just roll with this yeah this is pretty cool stealth mode I think we do this blended in by the same movie butter but a mask again yeah oh there we go and we're just gonna throw it out in on top oh yes
00:51:28
we're actually gonna need to change out into a color and then throw that on there oh boy I just want to kind of get a bit more variation in there that's kind of gross let's munch that around a bit more hopefully you know if you're watching at home you can see that the at this point these are sort of like tiny tiny incremental changes but arguably no one for Corey appreciates but you guys not appreciate them yeah the end result will be better you know we can do a little we can go back and show some earlier stages at the end yeah yeah I'll show you how far we've come yeah this is where I get senses and they agree yeah I mean I I just I just want it to feel a little bit more cohesive you know at the moment it's kind of
00:52:14
feels a bit like it's exploding the board is I'll kinda want to sharpen my Pinterest trying to figure out a good way of sharpening actually I think I might have an idea what if we blend back to the original he's like a mad scientist with these notes yeah well it feels a bit you end up with like some crazy spaghetti yeah yeah it's really fun okay there we go yeah but then if we reduce that a little but I was thinking no flip these around and that tightens up the background yeah that's a happy accident yeah okay but then the background is kind of smooshed again we need to tell you what I'm sorry I'm having a bit of fun here he's I think he's having too much fun actually they need to tame down okay yeah that's kind of looking bad it
00:53:05
doesn't feel like a painting as much anymore I reckon maybe we just need to work on pushing out some of these forms a bit let's just yeah we will see what we end up with we mine it was so cool Oh what do you think John man I saw it I'm so then you take the reins on this one you lost me after the first five notes this point I'm very much on my duck I don't know yeah the problem with substance is you end up in this kind of crazy you start forgetting what no does what yes sir yeah if you're not careful when you don't manage it properly you end up with this kind of barmy yeah I'm gonna be honest and say that my graphs are usually a quarter of the size of these crafts and there's an art to that as well there's an art to being tidy and precise as well I just want kind of like general painted feel you know I'm just
00:53:54
trying to push that so now this may be yeah if as I say you went through the same sort of iterative process with the other page oh yeah big time it kind of it you know you you're just you're just you're just kind of tinkering and tinkering until you kind of you get something you're like I lost pretty weird let's not do that mm-hm that's kind of cool load up one of the hardest things to predict not just for you know props before even anything is how long art is going to take oh yeah any creative endeavor like sometimes sometimes you're you're awarded with inspiration and everything fires the way that you wanted to and you arrive exactly where you're trying to get to in an hour and two hours and five hours and five days or
00:54:43
whatever and other times you struggle to find the thing that you want it's a little winner you can spend days weeks sometimes if it's something the scale of a ship months trying trying to find the look and feel that you're looking for so it's yes it's hard did one of the you know one of the things that gets asked quite often is how long does it take to do a concept of ship and it's like it just it depends it depends on you know not only the size and scale of ship but it's the way it works within that artists mind even how long is that particular artists to strike upon consensus of what they like and what Chris likes and stuff like that so no yes especially if you want it to be good as well I mean you can make that out quite quickly but well you don't you have a good or it takes no constant iteration yeah well good good
00:55:32
matter subjective of course yeah yeah although I feel like we can all agree the first screenshot we took into substance designer today it's shameful yeah we can all just oh it is no it's not like this video evidence of that I'm gonna keep that put the job in front of that yeah actually I'm actually I was just trying to pill for something we have we got four minutes at this point oh boy Oh is the wall I've got supreme opinion now oh jeez here we go okay another more directional let's go let's do this not a certain one directional walk baby no yeah yeah we have no plans this is our
00:56:30
life say what this dream ends but we'll still be here working on this pan I needed all this stuff oh this is the problem spaghetti graphs spaghetti graphs everywhere none okay let's try this one more time I believe all right I'm chucking it in there's nothing you can do to stop me come on baby give me something good oh no that's just awful isn't it now it looks like one of those magic eye paintings from the nineties yeah I'll do it sooner he's pushed it too far I pushed it too far guys I think we've I think we've done goofed on this one oh well we're out okay let's do this to take the blur off do you have the math
00:57:22
oh yeah that's probably wise oh man I just want to like I like that just a little bit just imagine any work it needs more color variation I feel like as well maybe you your own harshest critic I know right are real quick we've got two minutes what if we change the color of the light well as we've demonstrated it's it's non-destructive so in theory it should be quite easy to kick out a new screen shot jeez I don't know maybe I'll put it to the grass riot we are effectively demonstrating process we are demonstrating the process of going down the rabbit hole yeah sorry if I lost you there fortunately if a quarry doesn't usually have Mesa over your shoulder like this yeah you know yes I mean now when you're sitting alone at your desk me you don't have a copilot in your unit have you don't have a
00:58:09
thousand people watching live it was a bit different it's one of those it's observation changes that explain but then we wouldn't have got the 20° fov suggestion so yeah you're right I really wanted the only one who's been excelling today yeah the one you you've done us all proud you real MVP today yeah okay all right try this other thing that's really gonna make a difference in the short time we have but we're gonna do it anyway we're gonna do is gonna be that last stroke as a pain you know just change the color still too grungy again fiddly at this point yeah we can really
00:58:57
noodley too much noodling it's this guy here that's the problem yes bring that down we've kind of eaten the front of the ship as well yeah that's cool though context he's in a space bar yeah you're right nice okay buddy I really appreciate that I mean it didn't okay well that's where we are what do you guys reckon let's get this in game I promise I'll do a better job here we go ignore the errors ignore the exes art yeah we're not here for errors alright here we go what we got he's not too bad yeah I put it on my wall I don't think I would there you go I don't think I would know
00:59:45
okay the other one was better in fact we've gone backwards guys no we haven't yeah we have it's just another iteration Cory you're right I'm gonna I'm gonna very quickly just throw like some painting effect on it and just hope that makes it slightly better we'll see what you this is like the walking dead version of a dandy jump oh Jesus it feels it's like a zombie and it's overexposed cuz of the lighting okay so we're gonna look that mode maybe yeah we could go deaf no yeah yeah right in there how about this yeah I mean I just old I just just just stole the brushstrokes from the UH from the other painting but it needs work the ship itself is is we can't fault the ship yeah so Cory it's all my fault I'm sorry
01:00:34
guys actually you know I think I I think you pull it out at the end there once you go to the texture oh yeah a horrible beginning that's not so bad it needs work I'll give it more love I'm gonna spend the next two hours well thank you so much Cory John for taking your time here at the end of another busy week to to take us through your process creating the artwork for the enemy jump as was stated before the 890 jump is scheduled to come out in a 3 6 X patch whether that's 3 6 1 3 6 2 whatnot it hasn't been decided yet so keep an eye out for official communications on when that but you can in any jump is
01:01:22
making its way towards release as we speak Cory John thank you thank you so much thank you very much for having us thanks everybody next week - yeah all right thanks for watching for the latest and greatest in star citizen squadron 42 you can subscribe to our Channel or you can check out some of the other shows and you can also head to our website at

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