Thursday, 27 February 2014

Unit 73 Sound for Computer Games

We're privileged to live in an age where a sound isn't limited to its initial output, we can alter them with ease through the use of computer software which allows us to take a simple noise and turn it into what ever we within reason want.

The screenshots below should hopefully go some ways to making a point of how quickly and easily you can alter a sound recording.


This screenshot shows how the original sound file can be quickly cut to remove any unnecessary gaps in audio. This makes for a much more concise audio segment which then requires no queueing and can be played


Here you can see how the all the processes you've used to alter the audio are listed in a table which allows you to easily rearrange and toggle them on or off.


This image showcases the interface for one of the reverb functions, PlatinumVerb. This interface allows you to play your audio sequence whilst altering all the settings, thus letting you hear every individual alteration without having to replay the clip a hundred billion times to try and pin down what the difference between one play-through and the other is.


The above 2 images show how equalising a segment of audio changes the waveform. The first wave is how the audio looked before equalising and the second one is post equalisation, as you can see there is a much smaller difference between the peaks and troughs. This means that the loudest and quietest parts of the clip have less of a range between them, reducing the chance of eardrums being burst by unexpectedly loud noises.


Sound in Interactive Media

The world of interactive media is constantly evolving and changing in pretty much every aspect. To use video games as an example, graphics are improving as polygon counts go up, the quality of the average game is going up as the computers that produce games are ever upgrading and evolving. You’d be forgiven for thinking that the sound aspect of games and interactive media on the whole is remaining the same or stagnating, though it definitely isn’t.

As we surge forward with advances to our computers the sound industry also benefits as the tools they use to produce audio also evolve and progress. Sounds needn’t at your finger tips in order for you to be able to record them anymore, today’s technology allows us to synthesize any noise through the use of audio-altering software such as Audacity or Logic Pro. These programs allow us to take a tone from a built in sample library or use a recording and apply a seemingly endless amount of downloadable or preinstalled filters, distortions, reverbs etc to it. Simply put, if you have the required proficiency with such software you can take one sound and manufacture it into what ever sound you require.

With all this talk of digital sound advancing and evolving you could mistakingly think that the world of authentic, organic sound is dead on the water and doomed to be left behind, though that’s far from true. If the specific sound an interactive media developer requires exists in the realms of our normal word and he/she has access to a decent Foley artist then there’s a good chance that sound will be produced au naturel. A Foley artist, if you didn’t know, is a person responsible for recording sounds to be used in media when that sound would be difficult to obtain at the clarity and volume required by the director. For example, if there’s a scene where a man on horseback rides onscreen then odds are you’re not hearing the actual sound made by that horse as it moves, it’ll be a man or woman in a soundproof room messing about with two halves of a coconut and some chains respectively, these sounds will then be placed over one another. Once you start thinking about how often Foley is used it’s difficult to ever see films or TV series the same way again, you’ll begin to notice that the sound of that man sipping his coffee or the sound of that raven squawking overhead are all made post filming. Unfortunately for me it’s seeming quite hard to disregard this knowledge and some magic has definitely been lost.

Stepping away from the doom and gloom of ignorance lost, interactive medias such as games often make very good use of voiceovers. These voiceovers help to set a narrative and without them the game could well be much less immersive in that the characters around you would be without a voice and as a result will almost always be less relatable. Just like a good Foley artist will be able to recreate the sound of a horse riding through down a cobble road or a good sound engineer will be able to fabricate sounds of explosions, a good voice actor can give life to a character and instantly and quite literally set the tone for how that character will be received. If you were to go back and rerecord the iconic voices of certain characters it would instantly change the feel of the game, think Duke Nukem with a high-pitched child’s voice. The tone of the game would instantly be set very differently.


In conclusion I feel like I’ve gone some way to explaining just how vital sound is in interactive media by explaining just some of the ways it’s produced and used. It’s hard to imagine what things would be like if we still were constricted by the limitations of sound production in the past, change from one year to the next is subtle and so it’s hard to notice them but when you look back at films such as the original Star Wars and imagine that the sound of the blasters was the pinnacle of audio production today as it was all those years ago then it’s plain to see how far we’ve come and how far we’ll likely go in another 37 years. If nothing else, it all sounds pretty decent to me.

Thursday, 9 January 2014

Unit 67 Computer Game Engines

The term game engine refers to software framework specifically designed to create video games for consoles, mobile devices and personal computers. Functions provided by game engines include rendering 2D and 3D graphics, a physics engine for collision detection and response, AI, sound, scripting, streaming, networking, memory management, threading and localisation support. Game development can generally be sped up by adapting or reusing the same engine to create multiple games or make it easier to port a game to multiple platforms.





The Unreal Engine

The Unreal Engine is a game engine developed by Epic Games and initially illustrated in the 1998 FPS Unreal. Though the engine was primarily developed with FPSs in mind, it has since been successfully used in a variety of genres, including RPGS, MMORPGS and stealth games. 

The code for the Unreal Engine was written in C++ and features a high degree of portability. As a result, the Unreal Engine is a valuable tool used by many game developers today.

The Unreal Engine has had 4 generations to date:

The Unreal Engine 1 - The first engine produced by Epic Games integrated rendering, collision detection, AI, visibility, networking, scripting and file system management into one complete package. The Engine became popular due to the modular engine architecture and the inclusion of a scripting language which in turn made it easy to mod including full conversions of games such as Tactical Ops, a port of Unreal Tournament which was rewarded with its own retail release.

The Unreal Engine 2 - The second version of the Unreal engine made its debut in 2002 alongside America's Army. The new generation of Unreal Engine saw the core code and rendering engine completely re-written. Additionally, UE2 featured UnrealEd 2, a map editor tool, which was followed shortly after by UnrealEd 3.

Among the final builds of the UE2 were the UE2.5 builds. These later engines included improvements to rendering performance and added vehicle physics, a particle system editor for UnrealEd, and 64-bit support in Unreal Tournament 2004.

The Unreal Engine 3  - The third generation of the Unreal Engine was designed for DirectX as well as systems using OpenGL, including PS3, OS X, iOS, Android, Stage 3D for Adobe Flash Player 11, JavaScript/WebGL, PlayStation Vita and Wii U. With the use of an advanced renderer the engine supported many advanced techniques, such as HDRR, per-pixel lighting, and dynamic shadows whilst also building on the tools available in previous versions. 

As well as being used as part of the games industry, UE3 has also seen adoption by many non-gaming projects like Lazy Town (during filming to generate virtual sets infront of a green screen), the animation software 'Muvizu Play', and in March 2012 the FBI licensed the Unreal Development Kit to use in a simulator for training.

The Unreal Engine 4 - The fourth in the Unreal Engine series was targeted at the eighth generation of PC hardware and consoles (Xbox One, PS4 etc). one of the major features of UE4 is real-time global illumination using voxel cone tracing, eliminating pre-computed lighting. UE4 also showcases new features aimed at developers to reduce iteration time and allow for direct updating of C++ code. There are also new features for a visual scripting engine called 'Kismet', these new features allow for developers to directly visualise code whilst testing. This then allows for the developer to jump to the source code and edit it, elements in the game can also be clicked on directly to change more easily whilst in the game world. These features result in a reduced time to compile code and allows game creators to tweak settings in real time.



The Frostbite Engine

Frostbite is a game engine developed by EA Digital Illusions. The Engine is currently designed for use on current and next gen consoles and has been adapted for a range of game genres. The engine was first used to create first-person shooters but it has since expanded to include various other genres such as racing and real-time strategy games. 

The first generation of engine was used for DICE's in-house games Battlefield: Bad Company, Battlefield  1943 and Battlefield: Bad Company 2. The engine launched with the release of Battlefield: Bad Company and subsequent titles employed an updated version referred to as Frostbite 1.5

Frostbite 1.0 - First debuted in 2008 with Bad Company. It features HDR Audio, which adjusts different types of sounds volume and lets players hear important sounds clearly even if other noises are being simultaneously generated (for example a gunshot being louder than the in-game music due to the volume of the music being lowered whilst gunshot noises are being generated). It also featured Destruction 1.0, which allowed for certain objects, like walls, to be destroyed in real time.

Frostbite 1.5 - Debuted with Battlefield 1943 in 2009, Frostbite 1.5 improved the in-game destruction capabilities with Destruction 2.0, allowing players to destroy entire buildings instead of just walls.

Frostbite 2 - Debuted in Battlefield 3 in 2011, Frostbite 2 took advantage of the DirectX 11 API and 64-bit processors yet didn't support DirectX 9 and therefore Windows XP. The Destruction feature was upgraded to 3.0, creating more refined physics than it's predecessor and quasi-realtime radiosity using Geomerics' Enlighten technology.

DICE gave several presentations on advances in their rendering technology, primarily focusing on animation, 
destruction, scale, rendering and audio.


-SIGGRAPH 2010:
"Tile-based deferred shading acceleration" via DirectCompute. This is being ported to the PlayStation 3'sSPUs.
Morphological Anti-Aliasing (MLAA), again implemented with DirectCompute, for bandwidth conservation.
Quasi-realtime radiosity using Enlighten from Geomerics.
-GDC 2011:
Improved environmental destruction.
-SIGGRAPH 2011:
Realtime approximated subsurface scattering.
Separable bokeh depth of field
Tile-based deferred shading on Xbox 360
-GeForce LAN 6:
Temporally stable screen space ambient occlusion (SSAO)
-Other:
DICE's lead graphics guru, Johan Andersson, presents an in-depth examination of Battlefield 3's game engine and visuals.
Streaming data from disc to memory: "We can have 512 megs every hundred metres if we wanted to."

Frostbite 3 - Frostbite 3 is the current Frostbite engine designed for use alongside Battlefield 4, Need for Speed: Rivals and the upcoming sequel/prequels Star Wars: Battlefront and Mirror's Edge. The new engine has several upgrades including improved tessellation technology and Destruction 4.0, which enhances the in-game destruction.

Torque 2D - Torque 2D is a powerful, flexible and fast open source engine specifically dedicated to 2D game development on OS X, Windows and iOS devices. Torquescript is a fast and easy to use C++ like scripting language that ties all of the various elements of a project together. It supports a large complement of functions including math, object manipulation, fileIO, and more. 
Features of Torquescript include:
-Object-oriented programming
-Transparent interconnection with external C++ objects
-Built-in fast 2D math (vectors, matrices, and quaternions with all corresponding functions)
-Well-documented standard library (hundreds of functions out-of-the box)
Most game functions can be programmed in Torquescript, and engine additions such as physics or intense AI coded in C++ are called from script.
This engine also uses a physics system along side it, which is done through Box2D. This allows you to simulate rigid bodies inside the 2D environments.
In terms of sound Torque uses the OpenAL sound library that features:
- SFX/Music driver
- 2D sound support for panning, volume, Doppler, cones
- Multi-channel prioritized manager




Thursday, 10 October 2013

Unit 68 Computer Game Design


Game Comparison


The Legend of Zelda
The Legend of Zelda is a single player adventure RPG that first came out in 1986. It follows the protagonist, Link, as he fights through the lands of Hyrule to claim back the Triforce from Ganon, the antagonist. It's a flip-screen overhead perspective side-scroller in which you hack and slash your way through multiple different enemies and environments, upgrading Link's inventory items all the time to make him a more formidable foe for his enemies.


The Elder Scrolls V: Skyrim
Skyrim is a modern RPG. It too is a single player adventure though on a vastly greater scale. It follows a character of the player's own choosing as they travel through the land of Skyrim, completing quests and defeating a variety of enemies in an attempt to cleanse the lands of everything the player deems evil or unacceptable. It's a third/first person game in which the aim is to complete multiple branches of quests, both main and side quests, whilst upgrading your characters gear and talent trees.



Comparison


Non linearity
At their core both games fall under the category of RPGs but Skyrim allows for a much less linear play-style, this is primarily due to the advances in game design that have been realised in the 25 year gap between the games. Zelda is non linear in the sense that you're given the task of moving between areas to go from one area to the next in search of quests and dungeons though generally you're set an order so freedom is limited. Skyrim was designed with non linearity in mind and as such you're given an immense amount of choice as to what you can do at any time. You have many varied questlines to follow as well as dungeons and areas to clear, you're also given professions and talents to level up.

Graphics
Ignoring the obvious differences between the games which are due to the vast age difference, there are big differences in how the game is set out visually and played. Zelda is played from a top down view which is slightly tilted forward so you can see more of the protagonist than just the tip of his cap, whereas Skyrim allows you to change between first and third person view whilst giving you near-enough free roam of the camera angle. Obviously due to the age difference, Zelda's graphics are made up of pixels, which heavily limit the capabilities of the game. Skyrim's environment and characters, like most of today's games, are made up of a vast amount of polygons which allow for a deeper level of detail and depth to in game models.

Character upgrade
As you progress through both games you're rewarded with character upgrades. In Skyrim you're rewarded with perks and talent tree points, as well as armour and weaponry, whereas in Zelda you're given a plethora of items which are required for further progression throughout the game. Once more, the age of Zelda has limited it further as there's simply no room on the game cartridge for the same amount of character upgrades as available in Skyrim. Skyrim allows for you to completely customise each playthrough depending on how you fancy playing, be it stealthy, using spells or going all out with a massive mace.

Reception
Both games had a great reception on release and Zelda continued to receive such acclaim for further titles in the series, Skyrim was fifth in the already successful series, The Elder Scrolls. The Legend of Zelda sold over 6.5 million copies since release and was the first NES game to sell over 1 million units and since then has received a number of accolades, including being inducted into Gamespy's hall of fame amongst other such titles. Skyrim has been received near perfectly since its release a couple of years ago and has snagged a number of awards in that time, including the titles of PC Game of the Year, RPG of the Year and Overall Game of the Year from a large number of different companies and review sites.

Rundown
As I've attempted to show in the previous paragraphs, there are a similarities to the two games as well as a number of differences. The similarities start from the genre the two games share, as RPGs they both have the protagonist running round and completing a series of quests in the hope of saving their homeland. The differences arise in how much more customisation and choice there is when playing Skyrim, though as previously stated this is because of how much more data is able to be stored for game saves and also as Skyrim is the fifth in an established series so it was able to build on techniques that had stood the test of time where Zelda, being the first in the series, had to think up all the gameplay mechanics for itself.


Ten Pager

>1

Game Title -
A Berkshire Hunt.

Intended Platform/s -
PC, Mac and current gen consoles.

Target Audience -
I'd expect the target audience for my game to be anyone interested in multiplayer cooperative RPG hack-and-slash-esque games between the ages of 16-28. I've intended to cater for this age range  as I intend for the game to contain a decent amount of gore and violence, whilst also being of a cartoony nature which will probably put off more mature gamers.

Intended ESRB Rating -
I imagine that due to the nature of the game the ESRB rating will come in at 18+, but I also think that the players won't necessarily adhere to these guidelines.

Projected Shipping Date -
I'd expect the game to release officially somewhere around September 2015. I'd plan to release around September as it's at the time that kids and scholars go back to their respective institutions after a summer holiday spent out in the sun, yet before the big boom of high end games that normally comes a few months before Christmas.


>2

Game Story Summary -
I intend for the game to be an arcade style game where emphasis is on running through and completing a series of levels in order to eventually complete a boss fight with the antagonist. The story will be a non-sensicle tale of a man clad in british hunting attire as he comes ever closer to his rival, an animal rights activist, who thwarts his plans as they arise. The game will be set out in chapters, one for each plan thwarted by the activist, and each chapter will contain an initial altercation followed by a chase and a mini-boss fight.

These chapters will include:
- A lovely steak dinner which is stolen by the activist
- A new fur coat which is swiftly covered in paint
- The desecration a new set of ivory-inlaid cutlery
- The theft and consequent release of the protagonists pet Rhino
- The demolition of the protagonists favourite shop

Game Flow-
Challenges and obstacles could include a troupe of vegans, a pack of angry cows destined for the slaughterhouse, a plate of vegetables, an elephant, his pet rhino and other such similar ideas related to the storyline.

Progression through the storyline will result in the characters leveling up their individual talents as well as gathering weapons which will grow stronger as the game progresses. The character levelling will be based on filling up an XP meter, XP will be given out for killing enemies and completing levels.

Victory for the player will be determined by completion of each chapter and subsequently the final boss fight, however there will be more to the game than just playing through the campaign in the form of hidden collectibles and a new game plus option with added weapons and characters.


>3

Character Info -


Character Profile Sheet

Character Name – Coogan Stringfellow Hawk

Nick Name/s – The Hawk

Gender - Male

Age - ???

Marital Status - Single

Hair – Jet black, covered by a hat

Eyes - Sunglasses

Origin - British

Ethnicity - White

Enemies – Vegans, vegetarians, the young, the old, people of opposing beliefs and values

Strengths – A strong jawline, skills with weapons

Weaknesses – The inability to go backwards, like a shark

Talents – Skills in combat and weaponry

Special Skills – A large AE whirlwind, a berserker rage.


Character is the main protagonist, campaign story line is aimed at his character, his reactions to the actions of the antagonist is that of anger and contempt.

Character Control Map -
Thumbstick/Dpad: Movement
A: Jump
B: Special Attack
X: Use Item
Y: Interact
Right Trigger: Primary Attack
Left Trigger: Secondary Attack

WASD/Arrow Keys: Movement
1: Primary Attack
2: Secondary Attack
3: Special Attack
Spacebar: Jump
Q: Use Item
E: Interact


>4 

Genre: Arcade/Hack and Slash/Sidescroller

Chapters: 5 and a final showdown, each chapter having a miniboss battle at the end.

Mini Games/Secrets: There's room in the concept for mini games all themed around the games storyline however I've yet to decide on any. Secrets will fall into 3 categories, there will be a secret collectible which will appear multiple times throughout each chapter, these could possibly unlock something at the end of the game, be it a character or a weapon. There will also be secret powerful weapons found in hard to reach or severely off the path locations, these weapons will be more powerful than the normal weapons found at those levels in the game. Finally there will be easter eggs implemented, these will have no real value other than to add a certain level of humour to the game.

Install Process: Digital Download, XBLA and Steam Store will be perfectly suited for distribution of the game.

Single/Multi/Coop: The game will accommodate for each of the prior playing options, it's made more for a cooperative multiplayer experience but will work just as well as an online multiplayer and single player game.


>5

Images and Descriptions of Game World:















The game world will look like a mix between the two above images. It'll be set in the rural landscape of Berkshire but styled to look like an old arcade game. The art style will change depending on the part of the game you're currently on, though the default will be either a sunny summers day or quintessential British rain, so if you're fighting a horde of vegans for instance the scene will change to that of a dreary landscape draped in a green fog.

The environments found throughout the game will include a big, Tudor mansion, the streets and parks of Berkshire, a shopping precinct and a vegan restaurant. All of these locations will contain enemies and obstacles relevant to their surroundings. For example the Tudor mansion could contain suits of armour and maids/butlers gone rogue.

Music used will be 16-bit arcade music to keep with a retro feel. The songs could easily reflect the feel of the current mission and a happy score could drop into an action drum beat as enemies fly in from the outskirts of the level.

Players will navigate through the map by riding a small horsey through a stage selection screen. The map will be primarily split up into the 5 chapters and the final showdown, though each chapter will be split into 3 or 4 subchapters. As you progress further through the game you'll be able to revisit old missions and rest stations. The map system in the game will be very similar to that of many older games, such as Mario or Castlecrashers, where the player will initially choose a world and then navigate through specific levels by unlocking them by completing the previous level.















>6

When the player first starts the game from the title screen they'll be faced with a short cinematic wherein the antagonist steals the protagonists steak dinner, the player will then be dropped in after the antagonist disappears off screen. The mood that's meant to be evoked is one of humour and tension as you wonder what the main character is going to do in retaliation as the game instantly portrays a slightly extreme and over-the-top feeling from the start. The music, as previously stated, will play a major part in conveying the mood of specific scenes. The soundtrack will alter as the protagonist gets into certain jams to reflect his possible emotions.

The interface of the game will be shamelessly similar to that of Castlecrashers, as it's a method of character improvement that I find pretty much perfect. It's clean, simple and foolproof enough that anyone can navigate it regardless of whether they're a veteran of the game or a rank newbie.

Beyond that the user interface will as clean as possible where each character will have his/her own character portrait, health and mana bar, as well as an xp bar. By keeping the necessary bars small and out of the way there'll be as much room as possible for the characters which is necessary as the screen could become rather cluttered with all the fighting and gore. For people who don't know the gameplay controls there'll be a brief tutorial to get the player filled in on the necessary know-how to complete the early levels.


>7

The game will include certain mechanics that allow the gameplay to stay fresh and challenging, yet possible. There'll be a set of specific mechanics aimed at every aspect of the game, so health, mana, level progression  and damage.

Health - Health will be restored through the use of consumables that will be dropped from enemies and contained in destructible objects.
Mana - Mana will refill over time and deplete through the use of special abilities.
Damage - The damage the player deals will be based on the players' talents/skillset and their weapon. Weapons will be a collectable available through completion of the game, dropping from enemies and obtainable through finding secrets.
Level Progression - To fully complete the game certain levels will require you to break down walls or objects. Some bigger walls or obstacles could require the player to have a specific amount of damage/certain rank of special ability in order to pass. This could cause the player to revisit a level at a later stage in order to complete it.


>8

There will be 3 tiers of enemies in the game, end boss, mini boss and general grunts.

The end boss will be the aforementioned animal rights activist, he'll be wearing the cliche activist get-up wherein he'll be clad in a green t-shirt with a logo and a clipboard in his hand. His abilities will revolve around the looks of his character, so he'll fling his clipboard at you and call on a horde of loyal animals to fight for him.

The minibosses in the game will be minions of the final boss, they'll be wearing similar costumes to the final boss though it should be plainly obvious that they're not in the same tier of enemy as him. This'll be seeable through the size and stature of the minibosses as well as their abilities. Each miniboss will have but one ability as apposed to the end boss's two, their costumes should reflect their abilities. For instance there'll be a miniboss who's ability will be to papercut with a whirlwind of flyers and his outfit will be the same green shirt and an arm full of flyers.

Beyond the minibosses the grunts or pawns will be a handful of enemies that will be relevant to the level that the player is on. For instance in the mansion level there'll be suit armour enemies and whilst traversing through fields you'll encounter a horde of foxes.


>9

Cutscenes will be used at 3 possible times throughout any given level, at the beginning of the level, midway through the level and at the end of the level. This doesn't necessarily mean that every level will contain 3 cutscenes but it may be helpful to making the game run smoothly as cutscenes are an ideal place to hide the game loading without having the player/s become frustrated with long loading times.

The cutscenes will be made using the default game models to cut down on processing requirements as well as allowing the player to seamlessly jump in to gameplay from a cut scene.

There will be a possibility of having a larger scale cutscene after boss encounters to give the player something to work towards as I feel like a decently epic cutscene is rather rewarding after a long and possibly frustrating level.


>10

As previously mentioned, the game will contain a certain amount of collectables and unlockables which I'll list below.

Collectables - Throughout the game there'll be hidden areas which will require a prerequisite or certain amount of damage to reach. These'll include special weapons and animal bones which'll count towards the 100% completion of the game. With this 100% completion stat there's the opportunity to also reward the player at intervals with new characters to play.

Unlockables - After completing the game there'll be an unlocked newgame-plus aspect in which you'll be able to replay the game with the weapons you've found already as well as an increased pool of playable characters. These new characters will have different abilities which'll keep the game fresh. There will also be the option of increasing the difficulty to make the game more of a challenge to veteran players.





High Concept Presentation

Roles -

Lead/Producer of Pitch: Hayden
Scribe: Rhoda
Visual Designs: Mike
Game Mechanics: Connor
Ideas Generation: Taliesin
Photoshop Guy: Myself




















































The above images are some quick ideas for alternate backgrounds to the plain black current one. As you can see there are a wide variety of colours and patterns that can easily be applied to the background to add varying levels of difficulty.

One easy way of upping difficulty would be to have the background take on the same colour as the bars coming across the screen. By doing this the bars can becoming somewhat hidden in the pattern and as a result a lot easier to lose track of and hit in to.

Also, as above, using a single block colour can fully hide the bars making it even harder than if a pattern was used, but as a trade off it looks a lot more simple.

The pattern option allows for a less static background as it'd easy to implement a method in which the hue or colour balance of the pattern were to slowly change. Having a moving background like this would make the game feel like it was evolving to more than just the same screen for the entire game.


Wednesday, 9 October 2013

Unit 11 Freelance work in Art and Design

The above is a map of my own skills against the required skills of possible professions that I may look into going in to after this course. I didn't write about the freelance area too intently but I have done research into it as required. 

Necessities for starting up as a freelancer:

1. The necessary software
First and foremost you need the software you plan on working with, be it Photoshop, Flash or whatever. Without these programs you'll struggle to create much or at least struggle to create things in any sort of manageable timeframe.

2. A place to work
You needn't have your own personal palace to work in, just a comfortable space with the technology you may need available to you. Such technology should really include a decent specced computer, a comfy chair and a butler to cater to your needs.

3. A way to market yourself
Without a decent way of marketing yourself, your skills will go entirely unnoticed. You could be the best designer out there but if people don't see your work then you won't make any money. A good way to advertise yourself to a wide variety of people would be to have an extensive online portfolio and take out advertisements wherever relevant and possible. Beyond knowing how to make yourself seen amongst the seas of other people, a good way of doing this would be knowing how to price yourself effectively and competitively depending on what other such people with similar experience are valuing their time at.

4. Time management skeels
The best of workers can be undone by an inability to manage their time properly. A basic yet effective way to avoid any issues would be to make yourself a calendar and map out your day to day schedules on a weekly and monthly basis. This can be done cheaply by purchasing a notebook/planner or creating a calendar on the computer.

5. Having basic forms
These forms could include invoice sheets, a full run-down on terms and conditions and a contract for jobs. Forms like this are not only a necessity for being properly prepared for each job, but also a form of protection for both the freelancer and the client in case of any legal discrepancies.

Obviously these 5 points will only give you a leg up and allow you to put a foot in the door. In order to succeed and prevail you'll require to put in a lot of hard work and network your brains out lol.

Friday, 4 October 2013

Unit 51 3D Computer Modelling

Tutorial 1 - 3D shapes

This was the first tutorial we were given and was just showing us the basics of the program. We simply had to place three differently coloured shapes on a checkerboard ground.

This first image shows my progress shortly after placing the shapes and the use of the multiple viewpoints. 
This screenshot shows the basics of creating a material for rendering. This particular material was a checkerboard for the rendering of the floor. It shows how you can alter the individual characteristics of different aspects, such as reflection, colour and transparency and how you can change values for each of these.








This again shows how the preview changes with all the other alterations made to reflection and such. It gives you more of a feeling for what the final product will be like.








Tutorial 2 - iDevice

This second tutorial was slightly more difficult and gave us a feel for combining objects together. In this case, a cube and a plane. We also imported skins onto the object for a more realistic final render.

To begin with we spawned a cube and changed the dimensions to give it the correct shape for the iPod. From there we placed a circular and square plane at the correct coordinates to act as the screen and circular dial whilst also making them the right sizes.









Again, this shows the placing of the planes using the coordinates to make placement as precise as possible.





This screenshot shows the final product, having imported the images for the screen and the menu wheel. It also shows off nicely the lighting tool, through which you can add precise lighting to your object.











Tutorial 3 - Glass and Bottle

This tutorial allowed us to begin using some of the NURBS tools, in this case the lathe NURBS, in which a 2d image is rotated and extended around the Y axis.

Using the Bezier tool I started off by drawing a slender champagne glass shape, making use of altering the anchor by holding shift and make for more precise contours. I had to make sure that the initial point had the coordinates of 0,0 to make it easier for the first and last point to line up properly.














This screenshot shows the near completion of the 2D stage to making a wine glass. From here I just had to link up the first and last points.

















This shows the new shape of the glass, post NURBSing. After looking at the rendered view I noticed that the stem of the glass didn't look realistic as it was too sharp an angle from the top half of the glass.














To combat this I went back to the side view and reshaped the stem, making the contours flow more instead of being a sudden angle.

















And this is the final rendered view. From here I simply made a clear glass material and applied it, as well as a floor material and adequate lighting.














Tutorial 4 - Perfume bottle

In this tutorial we carried on with the NURBS lathing but altered a specific setting to drastically alter the final outcome. We also were able to make use of the ability to colour each face independently.

We started by going Edit>Configure>Back and then selecting the appropriate image from the image menu.







After that I used the Bezier tool once more (though you could use other such pen-esque tools too) to outline half the bottle before lathe NURBING the Dickens out of it.
















Once the object had been successfully NURBed I selected it in the objects list and altered the subdivision value to a lower number. This gives the bottle a triangular/square etc shape.









With that alteration I was quickly able to make 3 different shaped bottles. The third one in the picture to the right is made up of 2 separate bottles placed on the same coordinates and rotated to form a star shape.







By using the face select option and holding shift I could then select ring around the bottle to be coloured a different colour to the rest of the bottle, again to make it look a little less flat.














This is the finished product. Made quickly and easily with minimal effort it's a very good example of the capabilities of the software.