Cevap: The Last of Us : Part 2 | Teknik Analiz | Konsept tasarımlar

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Zak Oliver - Sony Interactive Entertainment

The Last of Us Part 2: Stadium

Environment Artist: Zak Oliver
Shader/Texture Artist: Max Golisiy
Lighting Artist: Steve Cummings

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Zak Oliver - Sony Interactive Entertainment

The Last of Us Part 2: Seattle streets

Environment Artist: Zak Oliver
Shader/Texture Artist: Max Golisiy
Lighting Artist: Steve Cummings

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Zak Oliver - Sony Interactive Entertainment

The Last of Us Part 2: Stadium market

Environment Artist: Zak Oliver
Shader/Texture Artist: Max Golisiy
Lighting Artist: Steve Cummings
Wide Artist: Mitchell Clayton

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Zak Oliver - Sony Interactive Entertainment

The Last of Us Part 2: Gas station

Environment Artist: Zak Oliver
Shader/Texture Artist: Max Golisiy
Lighting Artist: Steve Cummings
Additional modeling and set dressing by Julian Elwood
Gas station assets by Jose Vega and Jon Schmidt

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Matthew Trevelyan Johns - Naughty Dog

The Last of Us: Part II...teaser gallery

I had two roles on The Last of Us: Part II, one as the vehicle specialist (asset creation, art/technical pipeline, management of library) and the other as a level artist (textures, shaders etc) alongside Edgar Martinez (modelling and layout on our levels). These images are a small preview of some of the levels and vehicles that I had the pleasure of working on.
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I will be uploading additional galleries along with detailed information and break downs in the coming days and weeks, I've had to pace myself a little but I hope those of you that are interested will enjoy the galleries to come.
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This has been my second Naughty Dog title and it has been an incredible experience and as always, it takes a monumental team effort in order to make such amazing games. Without the hard work and dedication of the entire team, across all departments, none of this would be possible. Below you'll find a link to my model and layout partner Edgar, but please do check out all of the posts from the other incredible Naughty Dog artists!

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Matthew Trevelyan Johns - Naughty Dog

The Last of Us: Part II...Rescue Jesse

This gallery shows some of my contributions to the hands-on demo that we showed in September 2019.
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While I was not responsible for the amazing environments seen here, which were handled by a multitude of other extremely talented environment artists, I worked for around 8 weeks on the demo, supporting many aspects of it's visual development.
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I had two roles on The Last of Us: Part II, one as the vehicle specialist (asset creation, art/technical pipeline, management of library) and the other as a level artist (textures, shaders etc). For this particular section of the demo we were showing a new area of the game, a section in Seattle that needed to feel as though it was soaking wet after a heavy downpour.
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My first task was to to ensure all vehicles in the area were correctly placed and posed using our 'move-mod' system whose resurrection for The Last of Us: Part II I was heavily involved in. So each vehicle throughout this area, was tilted, had doors opened, wheels turned etc to ensure it's appearance was dynamic and appealing without impacting game-play. I was also responsible for the general look of the vehicles, where most of my focus was on refining the feeling of 'wetness' in the vehicles shaders and their attachments. This was accomplished using a shader that comprised of multiple layers to simulate the effects of porosity and rain streaks on the materials and the influence these effects might have on the rust and other wear features my shaders employed.
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As my experience with the wetness shaders grew and my work on the vehicles in this area came to a close I was then tasked with supporting the other shader artists responsible for this enormous level. My focus here was mainly ensuring that the multitude of shaders used on the ground/floor areas all were setup correctly for the wetness response that John Sweeney (Art director) was hoping to achieve; reflecting, darkening and exhibiting correct specular response in a consistent manner wherever possible.
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These levels also had around 4 or 5 'vistas' or 'wides' as we refer to them. These were large distant hills, covered with trees and low lying mist. I was also responsible for these vistas, creating the hills and low poly houses, and placing hundreds of tree cards whilst ensuring that the compositions matched the incredible concepts for the area that our concept team worked tirelessly to provide us with.
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This was a huge demo for us as a team, for me it was our moment of 'leveling up', seeing everyone involved working together to set the visual bar for all levels that would come afterwards. It was incredibly inspiring and I want to thank the level artists involved in these areas for allowing me to chip in to support the incredible work they had already accomplished.

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< Bu mesaj bu kişi tarafından değiştirildi A r c h A n g e L. -- 6 Temmuz 2020; 12:28:14 >

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Matthew Trevelyan Johns - Naughty Dog

The Last of Us: Part II...the burning car

This gallery shows the burning suv that I had the privileged of creating as part of my contribution to the cut-scene trailer that was shown at Paris Games Week in 2017. This cut-scene features in the final game also at the beginning of the 'saving kids' level. A looping video of the burning car was also made into a dynamic PS4 theme.
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I was responsible for the modelling, texturing and shading of the suv in it's entirety, it's design was based on reference and concept art hand picked by Neil and John. I worked closely with Elaine Kubik, who took great pleasure in burning my nice model to a crisp with her incredible vfx! The lighting for this scene was elegantly handled by Huan Tran.
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I had two roles on The Last of Us: Part II, one as the vehicle specialist (asset creation, art/technical pipeline, management of library) and the other as a level artist (textures, shaders etc). The creation of this vehicle was my first step on the path to becoming responsible for all of the vehicles that feature in The Last of Us: Part II
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As these images and videos also feature Abby, Lev, Yara and the villainous Scars, i'd also like to take a moment to praise our incredible character art and animation teams, though I am proud of my contribution, it must be said that their work is beyond compare in the industry and i'm honoured to have something of mine feature as a backdrop to their works in this way.
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As always, it takes a monumental team effort in order to make such amazing games and sequences. Without the hard work and dedication of the entire team, across all departments at Naughty Dog, none of this would be possible.

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Matthew Trevelyan Johns - Naughty Dog

The Last Of Us: Part II...Hospital entry

This gallery is the first of a series that I shall be posting to showcase my work on The Last of Us: Part II.
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As well as being the vehicle specialist for the duration of the game, I also continued my role as a texture and shader artist with my usual level responsibilities.
---
For this particular area, I worked in partnership with Edgar Martinez (modelling and layout) and Scott Greenway (Lighting) as well as the rest of the fantastic Naughty Dog team, without whose contributions none of these levels would be possible.
---
My main responsibilities included the creation and adaptation of textures and shaders for application to the environments and contained assets. The levels ended up being so huge that I also did quite a bit of modelling and additional set dressing, working back and forth with Edgar, to continually push and improve each other's work. I also spent a lot of time in researching a new asset pipeline for which these levels became our testing ground.
---
Working on The Last of Us: Part II has been an incredible experience and as always, it takes a monumental team effort in order to make such amazing games. Without the hard work and dedication of the entire team, across all departments, none of this would be possible.
---
I would also like to take time to thank our incredible outsource studios who time and time again prove to be so vital to our development of these worlds, their contributions are incredible and I am incredibly grateful to have worked with them.
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Edgar Martinez portfolio, please check him out!

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Matthew Trevelyan Johns - Naughty Dog

The Last of Us: Part II...Ellie infiltrates the Hospital

This gallery is the second of a series that I shall be posting to showcase my work on The Last of Us: Part II.
---
As well as being the vehicle specialist for the duration of the game, I also continued my role as a texture and shader artist with my usual level responsibilities.
---
For this particular area, I worked in partnership with Edgar Martinez (modelling and layout) and Scott Greenway (Lighting) as well as the rest of the fantastic Naughty Dog team, without whose contributions none of these levels would be possible.
---
My main responsibilities included the creation and adaptation of textures and shaders for application to the environments and contained assets. The levels ended up being so huge that I also did quite a bit of modelling and additional set dressing, working back and forth with Edgar, to continually push and improve each other's work. I also spent a lot of time in researching a new asset pipeline for which these levels became our testing ground.
---
Working on The Last of Us: Part II has been an incredible experience and as always, it takes a monumental team effort in order to make such amazing games. Without the hard work and dedication of the entire team, across all departments, none of this would be possible.
---
I would also like to take time to thank our incredible outsource studios who time and time again prove to be so vital to our development of these worlds, their contributions are incredible and I am incredibly grateful to have worked with them.

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Todd Foster - Environment Artist at Naughty Dog

The Last of Us Part 2: Burning Village

This was one of the last levels finished for the game. Anthony Vacarro & Jared Sobotta had already done a majority of the work, and texture artist Chad Russ, and myself were brought onto the level just to polish, detail, and get it across the finish line. The main challenge was building the environment efficiently, in order to leave plenty of GPU time for the FX artists to go absolutely crazy with fire.
Modeler: Anthony Vacarro
Texture Artist: Chad Russ, Jared Sobotta
Lighting Artist: Mark Shoaf
FX artist: MJ Whiting
As with all of the levels, this work would not be possible without the contributions of our FX, foreground, and tech art teams.

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Todd Foster - Environment Artist at Naughty Dog

The Last of Us Part 2: Downtown Seattle

The downtown Seattle level was challenging from a visual and technical perspective. It is a very large open space that the player can freely traverse on horseback, or foot, and can enter into a number of interior spaces. The level was a large collaboration between all of the departments, as well as within the environment art team. Jose Vega & Jon Schmidt worked on the freeway area, and Santi Gutierrez & Philip Weisfeld worked on the courthouse and synagogue. The teams had to work closely together to ensure that we shipped within memory and framerate.

Texture Artist: Chad Russ
Lighting Artist: Antoine Deschamps
Wide Artist: Mitchel Clayton
As with all of the levels, this work would not be possible without the contributions of our FX, foreground, and tech art teams.

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Adrian Castro - Senior Environment Artist

Patrol Path Up

This level was part of the Press Demo which was shown and played by the press in August of 2019. My shader artist (Jeremy Huxley) and I were tasked to develop the look of the snow levels. This level was used as an example to follow for the rest of the snow environments in the game.
-Modeler/Environment Artist: Adrian Castro
-Additional Environment help: Brian Recktenwald
-Shader Artist: Jeremy Huxley
-Lighting Artist: Mark Shoaf
-FX: Wataru Ikeda
-Designer: Jonathan Gregior
-Additional Design blockout help: Todd Foster

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Adrian Castro - Senior Environment Artist

Patrol Radio Tower

This level was part of the Press Demo which was shown and played by the press in August of 2019. My shader artist (Jeremy Huxley) and I were tasked to develop the look of the snow levels. This level was used as examples to follow for the rest of the snow environments in the game.
-Modeler/Environment Artist: Adrian Castro
-Additional Environment help: Brian Recktenwald
-Shader Artist: Jeremy Huxley
-Lighting Artist: Mark Shoaf
-FX: Wataru Ikeda
-Designer: Jonathan Gregior
-Additional Design blockout help: Todd Foster

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