Star Citizen Live: Player Wearables

Transcript — every row opens the video at that moment

1. 00:00:08

   [Music] hey everybody welcome to Star says and live game dev player wearables I'm your host - I almost said my own title again huh so hunt content management oh man I've messed up my child the second sorry man reasons don't have to be we are here with live character artist Cory Johnson Cory how you doing man I'm doing good it's been a while since we've had you on the show a little bit so long yeah and we've never had you for one of our game dev segments Cory you work here with the player art team of the character art team rather I would just look at it almost primarily here in the LA office there was like one member it's not it not in this office right yeah we have one number in the UK yeah so it's rare that we have an entire department centralized like this but it's really

2. 00:00:55

   great for us because I get to see all your character work from start to finish a lot of distress and today we are gonna go through the process of creating a player wearable in this case a helmet from concept to implementation right yeah yeah and a bigger focus on the actual texturing material worth attention yeah alright so what we're using today is our basis is something you may have seen earlier this 1/4 on is C and that's one of the new subscriber flair items we don't have the official in Lauren name for it yet but we've been calling it the Centurion helmet yeah which is I guess a little confusing people but for us the design is based off that so it's easy for us alright so that so this is this will be a this will be a unique a unique helmet that's available to subscribers a next

3. 00:01:44

   quarter and so you get you get this concept from from Jeremiah or one of the other character council artists you know where do you start from here where you go for me uh so from here actually it's not always the case but sometimes the concept artists working 3d so they'll hand off a starting point in 3d it's they smash stuff together so like there's quite a bit of cleanup and all that which is totally fine yeah so like once your my hands this off I'm gonna ZBrush this is the finished model but I can show you here so all the red is the art B already existing low poly from the odyssey helmet so this is one of the ones where we're trying to

4. 00:02:32

   leverage part of an existing helmet to like speed this process along so then we from concept on you know retrofitted and all this stuff into it right so this helmet was was was built on top of the existing Odyssey helmet yeah for a number of reasons one it's it's just more efficient to do that when you can it's also more efficient performance wise when you can have as many shared assets and resources as possible my game yeah yeah so like in terms of any type of cleanup often when we get things dobe things aren't quite lining up so like it's often as simple as just making things line up and then polishing things out yeah yeah I almost stayed in the ZBrush phase but from there once that's

5. 00:03:22

   all good and happy jump in a program like top of gun or Maya to read apologize a topo gun this is what I haven't heard it before yeah yeah it's it's literally only for making low poly so it does it pretty well is very focused program so what are we looking at right now what would it split it why is half of it and this weird because it's completely symmetrical you only need two you only need to make half of this and then once it's is good I'll jump in Maya mirrored over stitch it together and move on but I can show you it's as simple as this you just end up building out parts of it like this and yeah it's not the fastest part of the pipeline but

6. 00:04:10

   eventually you get to this point the other big thing at this point is looking at the concept compared to the low with our texturing pipe we're masking with blend Maps which is which is texture based but we're also masking through geometry to block out some materials so at this point it's a little you got to keep in mind how many subnets they're gonna want how much you want to break it down okay I'd take daily that what's what's masking yeah so I can show you a little bit easier so each one of these colors is a different subnet and what that means is it gets to use four channels up a blend map for

7. 00:04:59

   color so when you're looking at the concept you got a take a moment to really plan out how you want to cut the Gio up because sometimes you end up getting into game when you're texturing you're like oh actually I can't really accomplish what I won I also go back to the low poly stage cut some more gon break out this piece rebuild your material and then continue forward like that so that's not it's the it's the only part where you're like really have to like think about exactly what you want to get in the end so it's not just you just take the image that Jeremiah doesn't recreate it in 3d there's you ever talk about Moore's earlier before we went live and let's go ahead let's get to the technical stuff because when these types of shows that's really what we're here for we want we want to learn

8. 00:05:46

   want to learn a bit more about how this process works no you talked about separating the Geo's you know there's things we go back to that one with all the different colors and why do we separate into that many pieces uh basically so this one's pretty I took this one pretty far in terms of separating it partly because I wanted to make the texturing side just faster so like what that means is like so this yellow part if I wanted to texture it as far as like oh it's gonna be like looking at the concept I'm like an exposed metal but it has some edge wear and stuff like that by breaking out just this piece I get four channels for it so base layer would be like a brass and then I could start to build up other materials on top of it so the further we break the stuff down just the more complicated we really go

9. 00:06:37

   with so each colored area gets four base layers you vote for base layers or four layers including a base yeah like four masks that in each mask is it could be four color tweaking the material like each mask has the full gamut of what we can do so they're gonna sew each part allows you four levels of custom of customization with AC oh yeah eighteen for lack of a better word yeah the way to think of it is it's basically we're using an RGBA and the Alpha is the base layer and then it's we're just stacking up materials on top of that okay so it goes alpha Ben blue channel a then green then red and like with that there's the methodology of you really one whatever taking up the most room try to

10. 00:07:26

    leave that for the Alpha Channel so you're you're continually getting smaller on the actual texture coverage as you go up that pain um yeah just cuz like it's neat it's a easier way to work yeah so like once you know you spend a decent of time doing all this business coming to Maya doop it over the other big part of this is you be mapping these aren't very good you these I'll admit that I was trying to be fast I forgot this I I've been here a little over four years I'm hanging out of character team most of that time UV mapping and stuff this is one aspect to this I have virtually no understanding about like I look at this and I don't understand how

11. 00:08:14

    this applies to the to the thing and I'm not saying that for the purposes of teaching the show I don't get it yeah help me out here looking at this piece this blue part this part here you'd be mapping easily just trying to get your geometry laid out as flat as possible right for what end so that when you when you do apply textures and details like that it doesn't warp and get all crazy so I can do something like this so you can see here there's a it's not bad warping but it's a it's a bit you want these squares to be as square as possible all the time because anyway anywhere where this is warping like if I if I put a material that let's say has a

12. 00:09:03

    lot of like vertical lines mm-hmm you'll see that the lines will start just it'll show up really like in not a great way in the game because I'll you'll see that skewing that way yeah so so that's what you ving is all about getting so it's almost like I'm in like a clicker when people do wraps on their car they get these comes in a big flat thing but when you look at it all flat it's weirdly shaped and huh yeah yeah and then when but it's but it's because they're anticipating all of the shapes and curves of the car and they're flat printing yeah something else is a difficult paper craft there's websites for it where you can basically get different plans of how you cut something out and then fold it together and then you have like a little character or something like that it's

13. 00:09:50

    it's a exact same stuff yeah so the very important phase is because textures are 2d and you have to apply it to you texture to a 3d thing yeah so okay yeah I don't know it was my car wrap analogy good yeah yeah yeah it's it's it's taking something that is flat and but needs to wrap over a surface that it's not flattened anyway yeah so you kind of see how it's all broken down based on the sub maps I set up I often try to also have my UVs cut out that way it just makes texturing easier because I can do texturing things based off of what my UV unwrap is so just an efficiency thing yeah so we got this guy and then we can start to jump into texturing it'll be

14. 00:10:43

    something like this which doesn't look like a lot but can we can you see how we make a change to that flat you be mapping how it applies to here we'd see how it applies I can attempt to but I don't have I might not have that working file anymore okay but I can probably get it to work let me so with substance painter if I exported this in there mm-hmm it wouldn't work very well because every different material I have applied in painter would show up as a different texture set so he'd basically break out with a Geo as

15. 00:11:30

    you see it here and that's not really okay usable like that so stretch Nikhil says a good UV is the difference between easy painting and texturing and oh my god my design is getting broken up even though I'm drawing yeah it makes a huge difference but you know like as you start to learn where you can like speed things up and be a little bit sloppy and get away with stuff like if I know a material a spot on the UVU's will never if it'll basically just have a very noise material on I probably get away with a decent amount of slopping UV work just because it's noisy and it's slightly stretches you just you'll never see it so I'm gonna have some wearables we plan to have ready at lunch so that's

16. 00:12:20

    not a consideration that we do hear of it at this level we're just we're just making as many things as we want to make for the game so pretty much pretty much it's not it's not it's not like it it's not like you you set a quota and then you give that closer than you relax it's you just work and we're gonna add and work and add and work in Adam yeah what's the next thing we can do gray hard-ass why if the helmets so narrow will a head fit inside no for sure so I don't that's not whether the engine right this moment be but I can showcase of here it's also we're also missing a body for

17. 00:13:08

    scale at this point so yeah so you've got you so I mean because it's built off the odyssey helmet like all that stuff was figured out here yeah the head fits in this helmet so but I can pull in the our base male head it is the virtue of building off of a pre-existing asset since it's all been worked out for the Odyssey and the honestly I was in game when it's functional we know the head fits in it building over the honesty saves us a lot of time with the metrics so you can see it doesn't look like it but we actually have ton of her with this helmet this is of course for a normal-sized head and not a gargantuan melon cranium like me for sure and then I mean in real life helmets are actually ginormous that's padding tons protection what is this is this that we're seeing

18. 00:13:56

    over to the right here this is this this looks like I don't know I'm thinking that head and toe to recall it so I feel like people have definitely seen bugs around this where they see like a human face stretched across objects this is this they're our base males UV layout and all the heads actually have this usually no so the same thing we were talking about with that with the helmet but he said yeah all the different pieces it's one giant yeah yeah this is pretty that I mean this is the usual setup for doing any kind of head stuff you just want to maximize the UV space as much as possible and as you can see there's like towards the less important areas which is like the back of the head mmm you allow for quite a lot of stretching just cuz I'll have hair and hats and all kinds of things you'll

19. 00:14:45

    never really see it so yeah I was watching wherever you're watching we are taking questions live during the show you can submit your questions with the word question he kept the letter surrounded by brackets and I'll do my best to pick them out for the jet throughout the course of the show yeah so like just to break this down real quick this looks like it's just much noisy stuff but what these channels are doing so for these areas I made the assumption like okay these would be painted metal but I don't want it just to be too flat but paint a metal so ended up adding

20. 00:15:32

    just this noise in and a good brushed kind of thing yeah it just it's just something to add a little bit of like a once I go in game you'll see it's it's really subtle speckling and then for areas like the green stuff these are exposed metal so based off the concept I was like okay it's gonna be bronze but it'd be probably look good to do like some slight edging and then I using gold to edge it just because it helps pump it out over boy I like that the top work those along the edges there yeah yeah and like I can showcase just some of the fun things painter does a substance painter wearing right now yeah

21. 00:16:20

    it's like you can do very fast things like adding a generator it's like our fourth software so far just for the head we're just for a helmet so a lot of tools character uses a lot of stuff it's just how it is it's like you can see here as quickly is that like I have all this edging that I can then start to tweak further that's like really the huge power of substance painter is it's a completely non-destructive workflow what's happening so like normally when you would paint like I can make a paint layer here and then this would be actually I'm painting but now I'm like oh I don't like that it's just a paint layer so it's flat I can't really do anything with that but

22. 00:17:09

    with something like this you drop down to fill there at a mask and now I'm actually doing all the work through a mask right so this paint layer is actually just flooding this with white for the mask is actually driving where stuff can show up so like I have this but then I can come in here at a paint layer drop that down switched us to multiply and to get this multiplying nothing it doesn't show up but now we can start to bring in like no I just wanted to show up in these areas mmm you know I mean in a drunk it's all about like I said non-destructive so you can do so many things just back and forth with this like oh I don't like this paint layer I can switch this on top and see what kind of result I get and coming here out of I switch this to multiply it is for

23. 00:18:05

    picking up radio transmissions you'll get you know you'll get EC an alerts choices fast clear percent that's what the actually at no I don't think that's with us maybe eventually though yeah yeah yeah so like this step can get very complicated or very simple because I broke up the subnets to as far as I did this set up for me end up being very simple so then all I'm driving out of this is exporting the mass out those going photoshop and we get another one of these yeah so this black and white mask is literally what I was deriving out of there and then these will be compiled into the actual blend map and

24. 00:18:55

    the blend map is so here's our if my channels right blue green red and then alpha always exists because it's our base layer so that's why it's not representative right so substance painter exports this it gets it's like how do you this like part that I would like do both working magic doing like a egg hatch how do you know in this square where any of this is going on the helmet uh yeah so I mean like looking at like this yeah obviously that's kind of confusing but so what this is here so be and be one in relation to substance it's these two layers be one it's okay so substance layer is exporting a square yes we're so it automatically takes what you've been doing in 3d happens it out

25. 00:19:44

    into a square I mean I can I can showcase it like this oh so here is my UV layout and get rid of the material responds yeah it's likens thought I mean this isn't really useful to work in this video like this but yeah yeah yeah and then Wow yeah yeah we actually we work completely in 4k that's not what we use actually in games that's way too expensive but that's we always work at that source level it's it's amazing to me that it's the sister takes all these other pieces and they're not just finds

26. 00:20:31

    them out but then finds like this efficient way to fit them all into a square well like so this is all just derived from what I did in Maya right so yeah so you had - did you have - yeah yeah this is all manual ok something extremely frozen it's like extreme packing I didn't do this manually are you bringing a process like I said I was writing fast cuz like normally what you want to do like if I was doing a clothing asset like having everything skewed like this isn't you usually don't want that because then fabric you know like my shirt it's running very horizontal now if all my stuff is skewed you have to think of like on a monitor that how the pixels are drawing we start to get weird

27. 00:21:19

    anti-aliasing so a way to avoid that or minimize it is make sure you're you these are laid out up down left right like pretty straight but forcing like this I wasn't worried about done yeah so in Photoshop get these compile it out export that out and really it's just the liver normal map I into - earthenware answer was asking how helmet attachments would play into this I mean essentially that man that matte mask is one giant attachment I mean the way it's built it really has become its own helmet if we're gonna talk about like helmet attachments or something like this it

28. 00:22:09

    might end up being you know cuz we're like we're just gonna add stuff to it if there was some kind of like I don't know this attachment gives you zoom in vision and when it some kind of like SpecOps optical thing off on one side mm-hmm it would end up adding we would build that specifically to this helmet so that it can fit in appropriately but they're still a separate item it's maybe a separate item and instead of the separate item for this specifically because like because our helmets are such varying shapes there's no way - there's no other way to go about it we'd have to do it unique to the helmet what's in the end is I think the way we've gone is totally fine because you know like Oh a SpecOps optical thing you wouldn't want out and

29. 00:22:57

    they explore it wouldn't make sense unless it's something that literally sticks out on the side or sticks out from the top like a GoPro yeah like maybe like it's a small antenna type thing could be a decently uniform but it all comes down to like how much that attachment actually touches the helmet so like something like that yeah sure we could just like make make up something very generic for that it would just be position would be driven by a joint it's like somebody stick up a giant boba straw into the head hey yes we can do that yeah yeah so then go throw texturing stuff explore all your maps and then going into the actual engine and then single materials you'll arrive

30. 00:23:45

    on something like this what does that mean Oh Graham number 6 JD is counting the number of times you use just to make a helmet I mean we could definitely Institute actually there is more like Marvelous Designer that's where that's for simulating cloth and stuff like that which obviously is a hard surface so and not every minute some some have drones yeah for sure yeah so like coming to this step the actual material setup it really just you just start playing with stuff once you get here and as you can see each layer is deciding the material the color the actual titling of that material and then the actual cost

31. 00:24:35

    and these are the four layers that you were talking about before when you entering you sell these all the pieces yep so now how many different on this helmet at this point how many different pieces are there to customize so in terms of setup yeah all that one to 15 so this helmet has 15 customizable p15 sets of materials each one of these are yeah so we also use obviously glass if I have the glass in there it would it that's not something we'd use beware blend maybe the actual glass material this helmet doesn't actually have glass this one does so we use a glass material as well and then we also use the looms sometimes because then we can do Chloe stuff like this so looms a specific share all these stuff yeah yep so we

32. 00:25:25

    actually in terms of setting up clothes we can do it now through layer blend or we can do it through a loom the advantage with the layer blend glow is you get to do really fun stuff because it's texture based let me find it part so if I turn on whoa this might be a really tiny part check for those watching on twitch give me a give me a base color we're gonna for gonna color to this already color this give me that give me give me a base color to start with the primary color for the over for the injera is like - well alright that went fast

33. 00:26:14

    hot pink now they say though and I already have a hot pink one you already have a hot pink one yeah let's not let's not spoil it let's it's it's do the process then we'll go okay we can run through it yeah so in terms actually doing material variants I usually start like top-down and just start tweaking stuff so pink it's pretty aggressive it's pretty that's like that's like 1986 in it that's long right there the other thing we can do is so like the double-edged sword of our material variants right now is when we do them we are dipping the entire material we're

34. 00:27:02

    not just isolating like oh it's just this part in that part we change the color like a lot of games do that right like you have very specific limited areas where you're actually put it into bold and like where you can actually change them because we are duping material the great thing like for the character artists and everyone playing we get to change everything because the only material so like we can take as far as with one so something like this I can we have this bronze material here so I can swap that out where is that actually showing up is that just thing so like that was bronze and I can do that and I know it's glowy bit right like it's I think as extreme changes we want we can do that stuff

35. 00:27:51

    we make this big pink buck here the pink eye give me a second color jet what goes well with pink as well somebody few colors I can go so we asked if we get so we actually we have a randomize button for this no we do not and like sort of like the reason why we don't have that every helmet how its set up is very unique to that helmet right so in terms of randomizing there are directions we can go in to get that functionality but it's super fuckability so purple purple uh yeah so like this is the other jiggy can we see this so this

36. 00:28:44

    is one of the things that happens you guys for this sit there now character references are color references yeah what's the kind of reference and way to use it uh yeah so like this is a Pinterest board it's my own web when I set up yeah it's really just like you'll start to see like oh here's like a clump of purple stuff there's some green stuff there's some white and gold like yeah it's all just giving yourself something to look at and then another comment give yourself a direction to go in like I could just sit here not looking at reference but this this gets a result faster and you end up with more ideas so it to like run with um and there's stuff from all different styles here yeah yeah but you could because you're

37. 00:29:32

    not looking you don't matter it's not a question of whether it's a manga or sci-fi or fantasy where as you're looking for color combinations pretty much yeah yeah they you can see here I have an eye like it's all over the place literally just oh actually like it's cars together expressly if I had a section of pink stuff yeah yeah so we go with pink and purple that's not too obnoxious well we've never concerned ourselves with being too obnoxious here and star citizen like wait absolute how aggressive pink and purple are we talking you guys want something like toned down or you're the artist do something that if you if you've now had

38. 00:30:20

    the direction to do something pink and purple but yeah go with your own personal carnations at this now I'm gonna go aggressive let's go let's go that's already tiny well what would Cory do with the design brief make it pink and purple I want to yeah I want to see what your process I'm not always a huge fan of like obnoxious colors in video games but I do like that they like I want games that have it right like I want to have the option if that's what they're into um yeah so I can show it actually show real quick all that speckly stuff I was doing in painter right so like here it is so kind of doing things like this so I pulling in just a little bit of pink and it's subtle but it you know it just adds that little bit the other thing that gives me is actually playing around with the

39. 00:31:09

    actual gloss value it's right now that's just the the spec response right so just to build up like some of that variance in there yeah and then like from here it's really just okay I kind of like these two colors and then I'm just going through and replacing areas with those colors for those folks who have been asking basically feature related questions remind you that we're sitting with an artist now feature related stuff for the are the areas of designers and stuff like that the system designers yeah so we don't have the right personnel here

40. 00:31:58

    to answer future questions I guess like it asked me what I would like but I don't know that's dangerous I've known you long enough that I'm absolutely not going to ask you fair enough very much yeah so you can see like this area you know it's this it's a subtle thing but it yeah it adds quite a bit like the pendant is underneath and then they painted the purple got somewhere down so the Purple's wearing down and exposing the pink underneath yeah you clarified it why you thought the UV map that you had for the helmet Maya wouldn't have worked well in perceptions painter I mean no it worked fine because that's what I did work off of all I'm

41. 00:32:47

    really saying is like this is sloppy like this giant piece me letting it be this giant piece not very efficient like I could have cut it here and then made instead of it bowing out made a little bit straighter and I could pack a little better so like if we look this is it this is the Odyssey helmet much better right much better layout you know I mean even just visually you're like okay there's a this seems oriented better this kind of chaotic yeah and this step rate comes down to the artists like what they're willing to try to get away with to save time no I mean like in the end you know we're trying to a lot

42. 00:33:37

    of content you make a good point you got to learn those corners that you can sometimes come even at a point it's very easy to go deep into the weeds I'm just one thing so it's people often lament how long video game development takes and a lot of that is knowing when to stop and to move on knowing when knowing when you've got it it's like do I got it yeah I could probably play with this another you know four days but I've got it here you know and knowing when to go to the next step it's a it's a difficult balance I know there's a famous quote about how art has never finished it's only ever abandoned and if you looked at oh sure yeah yeah certain certainly agree with that do they like the gold do you guys like the gold I like the gold I don't even ask what these people like

43. 00:34:24

    more shiny so I like the gold hey sometimes its perks to having your own show yeah like so this is like people just feel my my people your peas people are my people so I claim your people one of the functionalities like if you guys see me like just sitting or clicking on a sub mat I'm doing that so I can see it do this where highlights mm-hmm like the actual part because it's very important to have that because often like I I made this helmet so like I'm texturing all that sometimes you'll end up doing two variants or doing other texture stuff with someone else's absolute just if that's how the scheduling works out so it's super helpful to get a look like coming to a

44. 00:35:12

    setup that you're gonna do like I don't know where anything is and go to you know find those things a little bit faster somebody asked you can't find the question now but something has to disposable to do a transparent helmet I think I wouldn't man you got so transparent glass thing on that yeah I could I could make this all class we're not gonna do that today but so I didn't do that a while ago I made actually made an old glass everything armor on her suit helmet just I mean I did really fast and it was really fun we were joking it's like oh we'll give this to devs only it'll be a predator see it'll just be these creepy devs in the background wearing their full class armor but the only issue with that is like it would they still show up your head in your

45. 00:36:00

    body so you just be a guy in underwear running around with some glasses over you so I'm not the coolest I'm not even looking at chat I know there's at least 200 people that don't have a problem with that I didn't have to look at yet hey man you guys throw it out there or maybe we'll push that is that dangerous to try to get them to we want glass armed so oh what do you think the club last armor is the steeple of it Moses I'm not entirely sure about that - yeah it is fun mantis asks if the screws in

46. 00:36:53

    the helmet are actual geometry or is it a normal map for something a little bit above so these ones it's not very much Geo but there's something actually like you Mike made an indentation in the Geo to give it something yeah so basically I did the indent and then I did the dent up because we see right here the way light reflects light plays yeah it helps coil change if it's any smaller than this I wouldn't have done that because it would just be way too expensive and not really worth it yeah yeah and like this is another thing where it just comes down like the artist Cole like sometimes to justify sometimes it's not it just case-by-case yeah I mean here's we make Mohawk things

47. 00:37:46

    let's go let's go in that direction too it's like here's another thing we're like this top Mohawk part is bronze right now mm-hmm and because we have for freedom now it's painted metal you have an entire materials library I believe that we've kind of built up over time yeah and actually recently we had one of our parents our artist shame going through and actually updating that so pretty soon we're gonna start to roll that stuff out just we started to rebuild on materials just to bring more of a standard to it mhm yeah cuz like

48. 00:38:36

    one of the issues with like not having strict standards within the material library one material base diffuse gray value might be 170 other one might be 210 so when we're multiplying color over it applying this purple purple multiplying on those different grayscale values is very different one's darker so right that starts to get annoying so like weird unifying all that stuff out and yeah that's one of the advances in the unicorn horn would really make it if you ask todd papy he'd probably approve that I mean it's a good style come on right to Jimmy that's her my camera you sure anymore who gets another so you've

49. 00:39:26

    been playing yeah you've been playing a bit for the show just to see what we can do as far as the different types of yes yeah so orange creamsicle big fans orange white is awesome together I really like I'm a big bad the orange creamsicle because it reminds me of the clone troopers in the Clone Wars yeah person personally yeah yeah that's what it reminds me of yeah and like so the here I can showcase here's the og helmet and make this big yeah there's more the screen here which is more there we go I never tell you I'm gonna drop this deal if you don't a little bit nicer here we go like as you're making these the wort when you're using like the base metals

50. 00:40:17

    it really starts to matter base metal compared to colors so like with the creamsicle having the bronze it just just I don't know like it starts to not work so like that's why I swapped it out to like this brushed steel and like yeah we're about to take it that far and how do you determine if an asset is too expensive does that come from Spencer somebody else is that something you have to you have to do chá yeah I mean it comes from a lot of apartments for us we have some base guidelines we try to stick around CryEngine allows for like some pretty wide ranges so it's it's not super strict in a lot of ways if we put something in we're like oh this might be

51. 00:41:07

    a little too expensive or whatever sometimes it's better than we see what happens but we do have profiling tools - okay that's isolate this helmet if we can we can yes we can - right exactly how many drawer closed how expensive is geometry how expensive are the texture perhaps like we can get all that information yeah the profiling tools we've got QA we've got yeah multiple levels of engineering we'll get involved like if there's a like oh we're releasing a new landing zone both NPCs are really expensive like you know like like it's oftentimes in situation where you're like okay but why isn't why here why why why these characters and like you start to investigate further name I'm setting up a bot he'll hold up here got it going now folks in chat numbering one through

52. 00:41:57

    six from left to right so the blue one is one the red is to the creamsicles three the bumblebee is four and there's also a great combo you tell me which one if only one of these could actually go in to get you what would it be obviously take a closer look it would just be all it some hints of red in almost on what it was this little red symbol thing that's on the side that's a little bit a little bit there yeah so this is from the original right that's our cycle mark that attached it to the vas huh yeah honestly that I get to be captain and they got something different like other helmets where it's like yeah

53. 00:42:46

    I really might just be a bit that even see move on oh yeah I mean do they want to see me make a different variant or do I'm gonna go more than ready this is pretty evenly split here there's a lot there's a lot of people 5 and 6 is splitting the vote between itself there's a lot of people that like the neutral colors because it's gonna you know and neutral cars would go with more things yeah for sure but there's there's a there's a lot of folks who like the strong red yeah there's blood prophecies he doesn't like in you something trend should I show more shirt what else you got

54. 00:43:34

    so when I made these we have a base list of 20 materials that we I mean you can see it here mm-hmm yeah we often make now in terms of what goes in game that there's like a further layer of like art direction of like these are the ones that the art director ended up really liking so we're you know end up going in that direction but the roads not taken yeah the roads not yeah so like it yeah I mean like the teal one this is actually a blue variant and one of the artists was here is like doing baby blue and pink is really good common like sure I'll try it out why not yeah

55. 00:44:23

    and then like purple and going black usually look really nice this is the pink berry and I landed on and then back here it's like here's a black bear hands so like in this one I got rid of almost all the glows it is that the just moves by the one that's reflecting on the black one yeah that's cool yeah so it actually is glowing actually is doing an emissive something yes yes in the reflection of a you know reflective services around it will pick that stuff up there's a super nice looks cool that one's the and the Oregon hipster unnatural yes recycled materials yeah oh hi Jake P oh my god I apologize yeah so end up doing like a full list and then

56. 00:45:17

    refine that down and potentially slip in one of these yeah that's cool all right well that is actually it then it's actually it for our show this week everybody thank you for tuning in a brief much shortened and abbreviated toward the entire process that that our character our teen goes through for just just a helmet you can see it's one of those things it's a it can seen we're talking about this before it can seem easy and there are aspects of it that get easier over time as you build

57. 00:46:04

    material libraries and build all your boxes like that but the but though the work to get to this point the work needed to build the process is to build a pipeline to build the material libraries and stuff it's we're standing on the on the shoulders of a lot of the work that came before no for sure yeah it's like it's a constant thing of trying to find more efficient ways to go about these different processes so something I am end up doing when I'm making material variants I don't do pout the full 20 and go from there mm-hmm first I'll make like okay I'll make the first one which is red and the way I think that is basically like theming so kawaai step this red one I kind of like where all the colors are falling in terms of like a slightly darker red black and that so that once I make that I can then dupe a few

58. 00:46:53

    materials out of that mm-hmm and then when I'm gonna set those material variants all I'm doing is going oh the dark red and I'm gonna switch to white oh the light red I'm gonna switch to orange so like at that point that gets really fast because this replacing and like throughout the list of 20 I find a few themes and then go from there let's give it up for Tim who's just been standing there very still this entire times yes the perfect model Tim it's what that's where the phrase tipos comes from maybe I pretended you know I I don't think that's real at all no I just learned you something about your job you can thank me later your tiny days this way alright guys that's it thank you thank you for tuning in we'll be back next week with another show and uh yeah thanks for watching thanks for watching for the latest and

59. 00:47:54

    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