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[SUPER NERDY GAME ART THREAD] A completely un-asked-for art critique of the Death Stranding trailer:
The tiling pattern on the scalp of the baby at the beginning of the trailer is out of place; babies don't have skin this rough. That in mind, the art director most likely asked for more breakup in the skin because something realistic wouldn't look good.pic.twitter.com/iJ85hfSeSi
There are some noticeable shading artifacts here if you know where to look. Specifically, there should be more ambient occlusion on the eyeball around the edge of the eyelid, and the deep red tinge in some of the shadows is because of the skin shader not being dialed in enough.pic.twitter.com/xUGDdiNnH1
The feeling that the tongue and lips are one piece here is a skin shader artifact; there's screen-space blurring of the skin color going on, and if not carefully controlled, this can happen.pic.twitter.com/kclfH7J7Yl
This is a fantastic shot. Tons of very well-applied post effects here, and it's evident they dialed in the skin shading on Mads' head very well. Also, big props to the artist who made that open collar; these are notoriously difficult to work with in 3D.pic.twitter.com/EBZXC25KV9
Here on the edges of the image you can see several effects: HDR lighting Bloom Non-uniform blurs Color shifting/chromatic aberration Depth of field The color shifting especially looks very nice. Often this is done by simply offsetting the position of a single color channel.pic.twitter.com/HVzgMDCQAT
Something to note in this scene: Mads' hair moves independently of his head, swinging a little bit. Depending on your tech constraints, this can be a huge pain to deal with from a rigging and animation standpoint. Kudos to the rigging team who worked on this.pic.twitter.com/zh1ycfLRER
Something else for those looking closely: There's visible stubble here, probably made with lots of small cards stuck to the surface. It looks great in this scene because a lot of it is covered by post effects, but some stubble later in the trailer looks a little more iffy.pic.twitter.com/m0q9zU4FMQ
Two things about this shot: SUPER nice skin shading, especially on that thumb/thumbnail. The knuckles appear to have some scan artifacts, which is interesting if you've worked with scanned assets before, but it doesn't really take away from it.pic.twitter.com/L8fXhQy3JA
Something else to note: Some games go for a painterly look for photos of characters, or use modified photos of real people. This is interesting because it appears they used modeled assets. More than one artist had to work specifically on this one photo in this single shot!pic.twitter.com/FKhdmLlR5o
This shot has a TON of things to appreciate if you know where to look. The duct tape on the front area is especially noteworthy. Duct tape is slightly metallic and has very interesting texture, which they nailed. Also, the flappy bit was someone's headache for months.pic.twitter.com/V8921uZ6CP
Just to clarify, that flappy bit of duct tape most likely had to be rigged and simmed, and that simulation's properties would most likely have to change any time they decided to change the framing of the shot. More kudos to the rigging team!
This bedroll on the back of the bike looks like it was made in Marvelous Designer, then retopologized and baked. Rolled stuff like this is a huge pain to do because you get tons of interpenetrating surfaces, so I appreciate the work that went into this.pic.twitter.com/z1MXoZhQql
This big blurry rock in the foreground was someone's baby, and it had a ton of people working on it to get the moss looking right. Moss and grass like this is incredibly tough to do without it becoming super expensive to render. All the environments look amazing.pic.twitter.com/t9mBouhUNQ
Just like the previous rock, this cliff was someone's baby, and they worked on it for ever to get this shot looking good. All those grass blades were hand-placed to look good; you don't get stuff that's automated looking this nice.pic.twitter.com/raQVWNBnW3
There's some neato tech stuff happening in this shot, AND some great examples of art direction deciding to ignore iffy things in favor of telling a story.pic.twitter.com/NPvzQVrlgT
This hazy area right here is volumetric light. You can also see HDR bloom and a bunch of other cool things like floating dust motes. Everything here is super smooth and high res, and it's clear they put a TON of work into making the lighting here look excellent.pic.twitter.com/wH9tBJJ4sk
If I had to guess, I'd say the ambient occlusion under the bed is baked rather than being done in screen space. If it's some sort of actual SSAO, such as capsule-based AO, it looks fantastic.pic.twitter.com/GHxyAghhTI
This is my favorite part of the shot. There are some low-res baked lights, but it doesn't matter because they're telling a cool story and nobody's going to look over there... unless you're a crazy person like me. Cool note: Light transmitting through the surface of the curtains.pic.twitter.com/IOkbY1vqfy
This sequence is freaking unbelievable and I have no idea how they did it. Raymarched volumetrics maybe? No clue. I've never seen anything like it in a game, and their effects team should win awards for this shot alone.pic.twitter.com/jyAsm47EVZ
This shot was the work of at least four or five people, and most likely more, over the course of months. That crow and every single feather on it had to be modeled by hand, and the FX and shader teams probably had nightmares about it more than once. This shot is a masterpiece.pic.twitter.com/aAQ6OLjHXf
Other things to note: The distinctive jumpy animation look on the plants you get from time lapse photography, as well as plants with multiple leaves growing. The core engine programming and graphics programming teams would also be involved in stuff like this.
This is another example of focusing on the right area to tell a story. The pattern on the pillow and on her head wrap are kinda low res, but nobody's looking at that stuff. Good choices from the art team on what to prioritize. Additionally, the facial capture is wonderful.pic.twitter.com/sk3NT9LSZu
Also, and this is the character artist in me: Look at this. Someone modeled and textured that little loop and toggle. They spent their time looking at how these garments are made, and then made it in 3D. A+pic.twitter.com/ryQ4larxfF
Something else to note: The pillow squishes a bit when the lady leans into it. That required coordination between whoever made the prop, the rigging team, and the animation team. This is something nobody would usually notice, but they still did it.
In this shot, you can very clearly tell they haven't bothered to swap to a cutscene-only model. Lots of stuff baked in to the hood and support structure, making this more performant. If you're interested in these things: you can see they use cards for his chin scruff.pic.twitter.com/L4v2JEoky6
A point I find interesting: They don't seem to be baking hair into the face textures for things like Norman's chin scruff or anyone's eyebrows. That's something you often see filled in with texture work, but it works!
In this shot, those splatters look great. They appear to be fully 3D, so I'm willing to bet they're done with vertex cached animations using something like Alembic files. They probably did a bunch of simulations in something like Houdini and then baked them out.pic.twitter.com/98EXDX1NaX
Another case of great art direction: Using a fairly simple oily black material on liquids so they can get awesome volumetric effects. More smart choices.
This is nitpicky, but also pretty interesting if you're into game art: On his far shoulder, you can see a bit of volume loss at the shoulder end of his bicep, probably caused by the extreme pose. This could be fixed with a blend shape to fill it out, but probably wasn't worth itpic.twitter.com/lYaZgf3QwR
Big props to the character team for including armpit hair, and props to the rigging team for actually supporting it. That's a tight area to work in, so getting it right (especially in extreme poses like this) is super tough. Hard work all around.
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