Split Second Environment Art
A selection of assets and screen shots. Environments were created in Maya, Tomcat and Photoshop.
At the start of this project I was responsible for rapid-prototyping of tracks and Powerplays.
I was also integral to the outsoursing of assets at an early stage in the game.
I worked on the Docks, Airport and Powerplant levels.
I was also involved in the creation of Powerplay models. This involved building the pre-state and post-state of Powerplay models, which often involved creating the many interior layers of a building, such as bricks, plaster, joists, pipes etc, in order to convey realistic destruction during powerplay explosions. Artists created the initial assets for Powerplays, the animators worked on them for a few weeks/months and the models were handed back to the artists for post-state work.
With the large 'dam Powerplay' ( shown below ) in the Canyon level, this entailed adding an extra complexity; water.
During the final stages of the game I was responsible for environment reflection maps, updating liveries on various vehicles, polishing assets by adding normal map and specular shaders and general optimization of track art.
A selection of assets and screen shots. Environments were created in Maya, Tomcat and Photoshop.
At the start of this project I was responsible for rapid-prototyping of tracks and Powerplays.
I was also integral to the outsoursing of assets at an early stage in the game.
I worked on the Docks, Airport and Powerplant levels.
I was also involved in the creation of Powerplay models. This involved building the pre-state and post-state of Powerplay models, which often involved creating the many interior layers of a building, such as bricks, plaster, joists, pipes etc, in order to convey realistic destruction during powerplay explosions. Artists created the initial assets for Powerplays, the animators worked on them for a few weeks/months and the models were handed back to the artists for post-state work.
With the large 'dam Powerplay' ( shown below ) in the Canyon level, this entailed adding an extra complexity; water.
During the final stages of the game I was responsible for environment reflection maps, updating liveries on various vehicles, polishing assets by adding normal map and specular shaders and general optimization of track art.
