This project was a wild ride. It started out as a PS2 title and when the opportunity arose for Incognito to develop a PS3 title it was the one tapped to make that next-gen move. At the start of the project I found myself in more of a lead artist role like I was on War of the Monsters, but since we were developing a completely new engine for a new platform it became quickly apparent that I needed to wear multiple hats. In the end I wore the Technical Art Director, Co-Art Director, Art Manager, Level Production, Character Modeler, and Vehicle Modeler hats on a regular and frequently changing basis. Good times :)
One other thing bears mentioning. When Warhawk started out it was a single player game with a multiplayer component. Several years into the project the decision was made to cut the single player portion and go with the multiplayer part of the game. This was extremely frustrating since at the time the decision was made, we were at a very good point art content and tools wise. The world was essentially "modeling complete", all the areas had first pass shader assignment, the final touches were finished on the terrain and town paging system, all of the features had been created and logged and were awaiting mass placement, much more I could list out here, I'm sure you get the point. So in the end a small fraction of the nearly complete assets were re-purposed to make the levels that will ship in the final game. I will say, given the situation, it was the right decision to make. I just wish the game playing public could have seen the world the team had created, it would have been truly next-gen. :)
Technical Art Director
■ Contributed significantly to the development of a art pipeline and workflow for using Incognito's new next-gen engine and tool path.
■ Setup the framework for manipulating the art easily and efficiently in an organized and intuitive manner.
■ Developed an asset logging and placement toolset to assist in placement of small features, such as rocks, trees, light posts, etc.
■ Developed tools to quickly generate UV's that adhered to a standard projection as well as assist in post generation manipulation.
■ Developed a complex Maya shader network to generate the necessary input textures for our terrain solution. Lovingly called the UberShader.
■ Developed a standardized tool for applying predefined shaders to assets as well as an extensive back and front end toolset for generation, remapping, and updating of applied shaders.
■ Developed the framework for a company wide "tool chest" where new tools and scripts could be quickly logged and made accessible to all within Maya.
■ Worked with Sony's external first party technology team. Tested and suggested improvements to the prelighter and uv packer that was used extensively on Warhawk.
■ Art directed the look and feel for each of the cities for the majority of the pre "multiplayer only" world.
■ Co-Art directed the final look and feel for the multiplayer levels that will ship with the final product.
■ Managed and tasked internal art staff as well as 2 outsourcing teams.
■ Towards the end of the project I had the opportunity to realize, from paper layout, a multiplayer level that is scheduled to ship with Warhawk. When all is said and done, it will be approximately 85% a one-man-show. Was great for a brief time to get both feet back in the "trenches" as it were.
■ I was heavily involved in both the art direction and modeling of the pre "multiplayer only" roster of high resolution characters used for the cinematics.
■ Unfortunately I can not claim any significant part in the realtime characters that will ship with Warhawk, which makes me sad since they rock.(Way to go Lars, Nate and Steven!)
■ Designed and modeled the counterpart to the Warhawk.
■ Worked closely with Programming Lead to prototype,define and design required shaders
■ Designed and developed externalized shader framework
■ Authored .cgfx files for Spire Levels upper cloud layer and god rays
■ Created and maintained the ArtWeb website that documented "all things art" for Warhawk. This documentation contained best practices, detailed instructions on how to generate lightmaps, level structure guidelines, budgets, etc.
In the beginning there was going to be miles and miles of terrain textures to generate. Having a artist hand paint hundreds of high resolution textures was not feasible. So I cooked up a mental ray shading network that would take input textures mix and blend them based on several criteria, some "natural" and some mask based and allow me to bake out terrain textures for all of the terrain.
While I cannot personally take responsibility for ALL of the art direction in this section, there is a high level of direction and contribution. I collaborated very closely with Dylan on refining and achieving the visual style of Warhawk.