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Porkchop

ACE Development Partners
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About Porkchop

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  1. Upgrade worked great for me. Thanks!
  2. After successfully completing a purchase with three items in the shopping cart on the Crowfall Store, the items did not clear from the shopping cart upon completion of the transaction. The items remained in the shopping cart after refreshing the screen and relogging my account, until I manually removed each item using the Remove Item button. Using Google Chrome, Windows 7, PC. (Please disregard if this has already been reported)
  3. Porkchop

    Need a Friend

    EDM is taking care of me. Thanks again!!
  4. After seeing the thread title on the dev tracker, for a sec I thought I died and nobody told me. Not sure about Courant, but I'm definitely still here and actively reading. I'm a backer, just haven't displayed my badge yet. Courant's a solid dude, so I hope his leave of absence is short-lived. Anyone know him that can check up on him?
  5. Looks great, guys, thanks for the extra work! I hope the process isn't too labor intensive for Krampus.
  6. Welcome, lowriser. Alpha isn't planned to start until late summer, so you don't need to worry about a download quite yet.
  7. Video Transcription Crowfall – Dave Greco and the Templar 4:19 04-28-2015 DG: Dave Greco 0:04 DG: Hi, my name is Dave Greco, and I am Art Lead at ArtCraft Entertainment, currently working on a lot of the concept art, and today I want to go through some of my process while painting the female Templar. As you can see, this is a sped up version of the painting. I generally spend about two days per piece for one of these, and this shows really where I go right off the bat. Basically, starting one of these pieces, it’s full of panic and fear, like I’m being air-dropped into some jungle on an alien planet, and I gotta claw my way out to survive. 0:42 DG: Right here I’m trying to get some really basic shapes, and I want a general idea of maybe the type of feeling and pose for her, and I also want to get a good look, base look on her face where it may show some of her personality. I think I remember on this piece that I really started to get a real feel for the character once I started doing her hair. I felt like it was a good place where I could really latch on to and then start building the piece outward from it. Also, as you can see that I tend to go from, I jump from piece to piece, part on that piece, to really work it in. So I’ll work on the arms for a little bit, I’ll go back to the legs, the breastplate, and the whole piece should be balanced as I continue to work on it. You don’t really want to focus on one part of it for too long. You really want to bounce around, and then when you go back to the face later, or to an arm, you have a fresh look at it, and it really helps a lot. 1:45 DG: So usually during this time I’ll start pulling out some highlights; I’ll push my darks a little darker. Usually when I’m starting a piece, I like to start really a lot of middle values. I don’t ever want to see my highest highlight or my darkest darks for a very long time. It’s always kind of in the back of my head while I’m working on the piece, but I want to really wait until I get to it. So right now you can see the face is pretty washed out, some of the shadows on her face are pretty muddy, there’s no real highlights in her hair. I still have weird blurry hands, you know, locked-off hands. I haven’t taken the time to finish that out yet. So sometimes, let’s see here, filling in some of the filigree and trying to get a little more detail down before I start bumping out color and some of the shadows. Right now there’s not a heavy sense of lighting direction and where I want the shadows to lay on the piece. I think I get to that in a little bit here. For a lot of the darker blues and shadows I use a lot of multiply layers, and then I’ll use, kind of blanket that over the piece, and then I’ll kind of erase little areas to create the shadow shapes that I want, and a lot of moving pieces around. 3:03 DG: As you can see from this piece, I was really unsure of where I wanted to go with the background. First I had a zombie in the background. Then there was a lot of the story about her parents had been killed, and she’s fighting for her parents, so some of the background I kind of just left a little sloppy, because I really didn’t know where I wanted to go with it. I knew I had to focus on it later, so I didn’t want to get too distracted with it. So you can see now the brown with the hilt and the shadows right here is a lot of multiply layers, and I can use that as a quick base, and I can still keep color in my shadows. Color in my shadows is really important to me, for I never want them to get too gray or too black. Sometimes I’ll color-select the shadows entirely and drop in more saturated color into them. Feeling really vibrant and colorful in a piece is important to me. A lot of color is what really makes me crazy about a piece. 4:05 DG: Whoa, and there we go. I guess it kind of shoots right to the end. But it was really just a lot of that polish over and over. Thank you very much for watching!
  8. Video Transcription Crowfall – Sculpting with Eric: The Female Confessor 10:07 04-17-2015 Behind the Scenes with Character Designer Eric Hart EH: Eric Hart 0:04 EH: Hi, everyone. Some of you might know me. My name’s Eric, and I’m an artist on Crowfall. Today we’re going to be looking at some of my character creation process for Crowfall. Specifically, we’re going to be taking a look at the lady Confessor, so let’s get started. 0:17 EH: What we’re looking at here is a program called ZBrush. It’s a sculpting program. Some of you might be familiar with it, some of you might not be. Basically what it allows you to do is work in 3D in a way that you would with clay or any traditional sculpting. 0:34 EH: Whenever I start a character, I like to jump right into the face. In this instance I was able to grab one of our other faces to use as a base, so I think this was the Templar face, and just grab that and start shoving stuff around to get started. I take the base, and I then take a concept from Dave, or Larissa, or Allison, and try to match the look of the character to their concept. As you can see, I’m taking the hair, and I’m mushing it around and blocking it out, matching the concept and figuring out what I want to do with it. I’m able to just jump around the face and push out areas, and smooth areas, and rough areas out, and just start to block in the shapes and the forms, and figure out what this character’s about, and how old she is, what her demeanor is, and things like that. So that’s what we’re taking a look at. 1:30 EH: One of the really cool things about ZBrush is you can mask areas off, and you can smooth around them and work around them. It’s very quick and iterative. Some of you might be familiar with Max or Maya where you’re doing traditional modeling, and it’s a bit more slow and methodical. ZBrush isn’t like that at all. You just grab shapes, pull things out, push things in, build stuff up, and it’s really cool. If some of you are familiar with ZBrush, some of the brushes I like to use, I use about eight of them, and those brushes are the clay brush, the clay tubes brush, standard brush, the damian standard brush, which you can find online, the move tool obviously, trim dynamic, inflate, and snake hooks. Those are pretty much all the brushes that I use for everything. Those allow me to build up forms really quickly, they allow me to flatten shapes out, and work on hard edges and stuff like that. It’s really great. 2:34 EH: You can see that I tend to jump around a lot, and I’ll always keep coming back to the face, because I see little things that bother me with it, things that can be improved. I’m getting feedback from Dave, or Todd, or other artists too, and just slowly working on it. She kind of looks surprised here, it’s funny, but I always jump back to it, and then I get kind of bored, or I’m like oh man I’m sick of working on this part, and I’ll jump down to something else, and that’s why you see me jump around a bit. You’ll also notice that I tend to switch the way it looks, the material of it quite often. Some other artists might think I’m crazy, I don’t know, but I like to try out different materials and stuff, because they give a different perspective of what the model looks like. They change the shading and the lighting on it, and it helps my eyes see it in a new light, so I’ll sometimes look at it gray, I’ll look at it in colors, sometimes I’ll put some paint on it, stuff like that. 3:39 EH: What we’re taking a look at is me jumping around to different parts of the armor and blocking stuff out. I never try to polish things too quickly. I like to get everything really rough and just start getting the shapes there. I can look at the silhouette of the character, I can get feedback from Dave and Todd and see if I’m going in the right direction with the character. We’re getting the personality that we want and stuff like that. Once I’m happy with that, and everyone seems like things are going in a good direction, I’ll start to detail. Just like with the face, I hop around a lot. I’ll work on the hair for a little bit, I might work on the gauntlets or the chest plate and stuff like that, and just keep iterating, iterating, iterating until I’m happy with things. 4:32 EH: We’re taking a look at me polishing the hair here, blocking in the big shapes, getting those big large chunks of hair, and then once I’m happy with those, I get smaller and smaller into more detail. I basically do that with every piece on the character. I start really blobby and then figure out what the major forms are, like this wrist guard, if it has some fancy trim or shapes, I block those out, adjust the shapes and make sure things look good, they match the concept, make sure things are nice and round. I always work in that iterative way, where everything’s super blobby at first, because I’m just trying to get the large shapes—I’m not focused about the detail. Once the form is kind of there, then I start to smooth things out, I start to refine things, make sure things are nice and sharp, stuff like that. Everybody’s different, this is just my process. I really like ZBrush, and I try to do everything in ZBrush. Some people like to hop back and forth, where they’ll do a little bit in Maya, and then they’ll jump back in ZBrush. But this works for me, and I feel like the more I can do in one program the better. It’s faster, and each new character I learn a little bit more, and I learn new techniques, and so it’s a process that works for me. 5:58 EH: So you can see that we’ve taken the wrist guard now from that blobby thing that we’ve seen a little bit ago and refined it and made it kind of nice, and I can go and position it on the character and see if it looks good, see if the size is right, stuff like that. 6:13 EH: Now we’re going to take a look at one of the ways to make chainmail in ZBrush. Basically I have this arm, and I was able to find this alpha texture online of chainmail, and I’m able to basically apply that on a whole surface, and it repeats, and I can figure out how much detail I want the chainmail to have, the scale of it, the depth, stuff like that. It starts to look pretty cool. 6:38 EH: So you can see that we’ve skipped ahead quite a bit here. The same way that I was working on the hair or the wrist guard, I just applied that technique to every piece individually. I actually did record the entire thing of this video, but we didn’t think you guys would want to watch two hours of me working on a character, so we condensed it and just picked a few pieces, so that’s kind of what we’re looking at. But yeah, I would recommend anyone who’s interested in 3D to take a look at ZBrush, because it’s really powerful, and it’s really fast. It’s the type of thing that you can look at if you’ve ever sculpted, or you’ve done traditional art, it’s easy to look at ZBrush and translate those concepts to 3D, rather than Max or Maya, where you’re modeling in a more traditional fashion. 7:31 EH: So once everything’s been blocked out, and things are kind of set in stone in terms of their shapes and their polish, I can go in and start detailing and adding, I guess what you would call personality. I’m going in and adding dings, and dents, and scratches, and wear on the armor, and stuff like that, really refining the shapes and cleaning stuff up, making sure that it looks good. I’m going in on some of this detail on the back and making it nice and sharp and clean. I’m trying to think about what material it might be, so I’m giving it some wear and tear. I’m just making sure things look good, add some seams and detail and stuff like that, making sure that the arms fit in there. Then as I get farther along, I break pieces off. At first I might just make the whole character out of one big piece of clay, but as I move forward I break them into pieces so that it’s easier to focus on each individual section without getting too caught up in everything else. 8:39 EH: Some of you might have seen the male Confessor that we put out a couple weeks ago. More recently you guys might have seen the armor customization sheet that Dave put out. If you were to compare the armor on this character versus the male Confessor we put out, the male Confessor, his armor is maybe a little bit of a lower quality armor set, or like more of a noob armor set, versus hers. Her set that she has here is probably one of the fancier ones, and you can see that it’s got a lot more detail on it versus the male Confessor’s. 9:18 EH: Now we’re towards the end here, and you can see that I’ve pretty much finished the model. Everything’s detailed nicely, I’ve gotten feedback to figure out what needed work, and after all of that, here’s the result. Thanks for sticking around and listen to me ramble and seeing a bit of how we make characters on Crowfall. Thanks for watching! 9:39 [Music]
  9. English transcription of the video, Crowfall: Artist to Artist. Using the same formatting that courant303 used for standardization Crowfall: Artist to Artist 11:16 04-21-2015 BG: Billy Garretsen AT: Allison Theus 0:00 [introduction Music] 0:12 BG: Hi, I’m here with Allison Theus, Senior Concept Artist at ArtCraft Entertainment. Allison’s been responsible for some of my favorite games of recent, Donkey Kong Country Returns, Tropical Freeze, Darksiders II, and now she’s responsible for coming up with some really cool stuff for Crowfall. So hi, Allison. 0:32 AT: Hey, Billy. 0:34 BG: You were the first artist assigned to Crowfall. I wonder if you could talk to me a little bit about the early days of creative development. How did it all begin? 0:45 AT: So first things first, we decided to do some visualization of the environments. How is this world going to look with the tech that we wanted to use? So I probably spent a few weeks to a month figuring out some environment stuff, so we had something to pitch to Voxel Farm to say, can we make it look like this? After that we got into the lore, and we worked on the map, and then we started getting into the gods, and that’s when Todd and I, we were working back and forth, trying to come up with cool designs for each one that fit in a set, that resonated with the lore, and that was that. 1:27 BG: Was that a pretty collaborative experience? Did you get a chance to influence a little bit how Todd was interpreting the story based on the visual feedback that you were giving him? Like he’d throw an idea your way, you’d respond to it, he’d come back with some new ideas based on that? 1:47 AT: Oh yeah, for sure. There was a lot of back and forth. There was a lot of opportunity for me to present some cool ideas to Todd, and Todd had his ideas as well, and we hashed it out pretty well I think. 2:00 BG: Well, that’s pretty cool. Some of my favorite work that I’ve seen you do here, aside from the concepting of the gods and the early character archetypes, are the creatures. I mean, you just have a way of drawing creatures and developing believable biology, and anatomy behind creatures, and that’s really distinct to your style. It’s almost like looking through a biology book that dropped in a fantasy world. So what’s your approach to creature design, specifically? 2:33 AT: So I always keep in mind the best creature design for me always has a basis in reality, and one of the things when you’re working on a project is to find where your project falls in the scale between super real-world type animals and super crazy, abstract, fantastic stuff. So Crowfall has a really good balance, so we start with normal looking animals, and so far I’ve had a lot of freedom to be able to push it towards more abstract sort of monstery type things. As for where I start, I generally do a couple quick roughs to figure out form and shape and silhouette, figure out what looks coolest, cause no point in doing it if it doesn’t look cool, right? That’s part of the fun of working with fantasy. It’s not...you don’t have to make everything a hundred percent believable. There’s still a very real balance of what’s believable and what’s just straight up cool. 3:34 BG: Yeah, I guess when something’s grounded, even if just a little bit, all of a sudden it makes it...the suspension of disbelief is a lot easier for the player, right, so they can kind of get into the game. Out of the creatures that you’ve been working on, do you have a favorite? 3:51 AT: I think my gryphon is the favorite so far, just cause it’s a six limbed creature, there’s a lot of fun details that I had the opportunity to get lost in, it was a fun design. It was a chance to do something different, something that was not generic. 4:11 BG: I almost forgot in discussing the believability in the anatomy, of course we have to consider all those things, because these creatures transform during the course of every campaign. You’re not even just bound by grounded reality in one state. You have to start thinking how this creatures going to decay, and how they’re going to be taken over by the Hunger. I don’t know if you had anything to add about your process there. What are the things you have to think about? 4:40 AT: It gets a lot more fun, the more crazy it gets. So basically for that, I just keep in mind the base forms, so with the hellcat you can kind of see it’s cat related. Trying to keep some element of the base creature in the final form is a fun challenge. 5:01 BG: But then you get to go really gnarly with it and exaggerate some forms so the claws become these crazy long spikes, and you’re not taking for granted what all those details mean when you have to pass off a design to someone else. You’re not leaving things open to interpretation. You’re not being abstract with some of these details, because they all serve a purpose. Nothing’s superfluous. It’s very methodical. Allison, being that you contributed so much early on to the world building of this game and the early character development, not just the gods and the backstory, but the actual player archetypes and setting the stage there, what’s it like seeing all these other artists, Dave Greco, Marc Simonetti, all these people take those ideas that you’re coming up with and putting their spin on it and further developing those characters? What does that feel like? 6:01 AT: It feels pretty awesome. I mean it’s fascinating to see others’ perceptions of the stuff that you’re putting out. It’s really interesting to see where a design goes when it’s passed off to other folks. 6:14 BG: I definitely can see when you put out a little piece of an idea and let someone else put their spin on it, that idea gets bigger, and then they pass it off to someone else, and then it gets even bigger. There were details on the Guinecean Duelist that I had to add after seeing Dave’s painting, and then I saw that there were details that Joe Madureira added in his sketch, and then all of a sudden this idea of what the Guinecean Duelist is keeps growing and keeps growing, and by the time we have the final model, it’s going to be something completely different, but probably way better. The collaboration between artists is so cool when you pass the ball like that. 6:54 BG: So we have really cool jobs, and each one of us has gotten here a different way, and I don’t know if you had any tips or advice for anyone aspiring either to become a professional artist or to work in games? 7:12 AT: Be persistent. It can be pretty tough. I won’t sugarcoat things at all. My entry into the games industry was pretty rough. Just be persistent, work on your portfolio, know what you want to do, have a passion for it, and try to get to know the other people working in the industry, cause having a network of friends is really, really helpful. 7:37 BG: I’ll say this...cool talented people love to work with cool talented people. Don’t burn bridges. Make a lot of friends, because if something doesn’t work out today, that relationship can continue to grow and lead to something bigger and better in the future. Allison, it’s been awesome having a little chat with you. I’m really, really excited to be working on Crowfall with you, and I can’t wait to see what happens next now that we’ve come over the Kickstarter hurdle, and we’re on to the next big challenge. Keep up the good work. 8:10 AT: Cool, thanks very much. You too. 8:15 [bonus Clip: The Guinecean] 8:22 AT: The Guinecean was kind of a fun thing... 8:24 BG: Yeah, when did the Guinecean happen? When was G-Day? 8:28 AT: It happened when I drew on the whiteboard out of a joke a couple of my guinea pigs, guinea pigs I used to have I should say, with little capes, and helmets, and swords, and they were just adorable things that I put on the board for fun. And then I drew one more beefy with a battle axe and a cape, and he looked kind of cool, and I just put him in the god lineup just for kicks, and Todd liked it. He was like, “Hey, that’s cool. We should maybe have that.” 8:57 BG: You heard it here. The Guinecean was a joke, for fun, and he’s turned out to be one of the coolest, most beloved characters already. It’s super fun to see how many Guinecean loyalists there are already in our community. 9:16 AT: I’m just thrilled. I love guinea pigs, and it’s awesome to see them in game. 9:21 BG: That’s kind of the point, right? Some of the best ideas happen by accident. Some of the best ideas—in fact, you can’t plan for ideas like that. You can’t plan for brilliance. You just have to let brilliance happen, and it’s cool being in an environment where that can happen. Especially early on, where nothing is set in stone, you can go in all sorts of directions, and I think, when the Guinecean happened, it also set a tone for the game that said, you know what, we really want to have the sincerity to the world and story of Game of Thrones, but we’re not this dark, depressing Game of Thrones world. We have silly things happening, because you have to have some color. You have to have some humor. It’s a game that still doesn’t take itself serious to the point of not being fun, and oppressing. I think the Guinecean happening was one of the best moments where it started to click for a lot of people, because I think early on it’s hard to get the tone of a new product, and getting the tone is super important for you. It helps build the brand, and it helps people understand how far to push the detail in a character, or where the style points go. So that was cool...when Guinecean happens. Sometime Guinecean happens! 10:55 AT: Sometimes it does.
  10. These gods are a tough crew to please. Thanks for the interview and video -- beautifully intimidating creature art. It will be exciting to see these bad boys brought to life graphically.
  11. Very nicely laid out! (The Dev Tracker link takes you to the wiki page...not sure if that was an intentional placeholder link or not)
  12. Only a little self-flagellation in this one. It's a good read on the challenges the dev team faced and the solutions they came up with in creating the large planet maps in SWG.
  13. Raph's blog is really a great trove of information...it's pretty amazing to read through all of his insights on game development and experiences that he's shared over the years.
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