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The shooting was successful, but as expected, everyone had trouble with the smell. There were times when they brought in a board that was corroded in just the right way or went out to buy animal organs in Tsuruhashi yakiniku stores. For background assets and accessories, the process of getting the right materials is essential.
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In game development, the way of making changes with the evolution of hardware”, says Tsuda.įor example, when scanning a person, careful comparison and image adjustments were done with professional make-up artists beforehand. Therefore, advance preparation may be the most important process. “In photogrammetry, the material at the time of shooting is the result itself. The generated high-resolution model’s shape was finely adjusted in Maya after re-topology work was complete. To improve efficiency, photogrammetry (a technology that constructs 3D data from images that were taken from multiple visual points) was fully adopted to the workflow in RE7.
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Sculpting software such as ZBrush has been used extensively to create high-resolution models in past projects. But with the physically-based workflow, the devs had to prepare more high-resolution data for textures from the normal texture map.įor this reason, RE7 did not reuse the data created with past works but recreated almost ALL the data. In the past, an asset may have been acceptable so long as the visuals looked good enough, even if it was not correct in the process of the real world.
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In the physically-based rendering environment of the PS4 generation, artists need to keep in mind that 3D data needs to be optically correct. Transitioning to a Physically-Based Workflow With a clear vision of “bringing out the world’s most terrifying horror game”, the team set out to develop RE7. Besides the visual, many players may have been shocked by the non-pre-established harmony that storms from the beginning and the sudden changes of characters. While this title keeps an exquisite balance without being averse, we sort of shook things off and pursued that feeling of terror to the limit”, comments Kawata. “We were somewhat conscious about not being too grotesque with the previous title. Many directors and development staff were horror fans and refer to works such as ”The Texas Chainsaw Massacre” and “The Conjuring” as visual inspirations. Screenings were held for the development team to get a sense of what this Resident Evil title aimed to express. The title’s codename was “Harawata”, taken from the film “Shiryo no Harawata (The Evil Dead)”, a film produced more than 30 years ago.
“Actively introducing new technologies such as photogrammetry was necessary, but I believe the secret of our success was that all of our staff shared a clear vision and strived to achieve our goal”, says Kawata. With game development pipelines becoming more large-scale and complicated in recent years, it’s surprising that a AAA title like RE7 was able to make its new release in just 3 years. From left: Toshihiki Tsuda (Art Director ), Masachika Kawata (Producer), and Makoto Fukui (Technical Director)