TAILIEUCHUNG - Animating Real- Time Game Characters-P3

Animating Real- Time Game Characters-P3: My intent in writing Animating Real-Time Game Characters has been to share my work methods, thoughts, and ideas about animating real-time characters in 3ds max 4™ and character studio 3®. Any factor that affects the animation process using these two tools has been covered. | 46 Animating Real-Time Game Characters Quality of the Texture Achieving a great texture map when making real-time game characters is as subjective a process as they come. The truly great artists just start painting and don t stop until their digital opus is complete. Texture artists like John Mueller and Steve Garofalo of Epic Games have done and continue to do amazing work on character models for games like Unreal Tournament and the upcoming Unreal Warfare. Their innate ability to manipulate pixels and textures just as if they were painting with traditional color mediums is an inspiration to their peers. Making a good texture means you know your mesh. In an ideal environment you design the character you build the character you texture the character and you animate the character. However in the fast-paced world of making games and online content it s rare to have the luxury or the ability to master all four areas. The more preferable scenario is one in which the artist who designs the mesh hands it off to a modeler to create the modeler then hands it back to the artist who designed it so he can texture it. The modeler or another animator can be the one to rig weight and animate the character from there. This sort of hand off process is standard in Hollywood special-effects houses. Unfortunately in most game development studios everyone is expected to do everything. Specialization is generally discouraged and all artists are supposed to be able to design model texture and animate a character equally well. This is generally not a good situation productively or otherwise because it pits artist against artist each one vying to be the best artist and the ultimate content-creation contributor. It s bad for morale and it s bad for the health of any sneaky ambitious types. Every artist has his preference and area of specialization. Some are simply better at certain areas than others. Spreading yourself thin by trying to be a perfect 10 at all levels of game art creation is

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