So nobody commented on the possibility of using Kinect to generate animated 3D models. I know it can be done because at the latest Game Development Association meeting in my area another developer actually brought a Kinect and demonstrated how to capture animations with it and then generate animated 3D models for use in Unity. The only thing I am wondering is, how feasible this really is, and how much work would it involve? Would it be more difficult than, say, modifying an existing stock asset?

It sounds like a really interesting idea, but I don't have any personal experience with it or know of any related resources -- I'd love to know more myself if you're able to find anything or if you end up trying it out though!

I've seen it used professionally at my last job. There's plugins for animation software such as MotionBuilder that can directly interface with the Kinnect as a motion-capture device. AFAIK, there's also some open-source standalone apps to do the same.

It's the same as any motion-capture system. Raw mo-cap data is never fed directly into a game, ready to use. Mo-cap data is a starting point for an animator, who then has to do a lot of work with it in their animation package (MotionBuilder, etc) to clean it up and get it ready for use as a final game-ready animation.

N.B. that even professional-grade mo-cap systems -- where you're spending tens of thousands on rent, actors and operators -- you still need a skilled animator to take the recorded data and turn it into a game-ready animation. Kinnect is a poor-man's replacement, so the data is worse quality, so there's even more work for the animator to do in the "clean-up" phase...

It's a great time-saver for an animator, but it's not a replacement for having a skilled animator.

There is no reason why someone cant be as good at both same time as being only in one of them.

There's one reason: practise

For every skill, is it coding, modelling, architecture, texturing whatever, you need a lot of practise to be good and once you reach a certain level, you need practise to keep it. Doing many things at the same time will bear a time-trade off and eventually a practise trade off. Therefor, being really good at multiple skills which are not related to each other (painting <-> coding) is really hard.

In the long term, you get what you pay as far as 3D.

Thanks for the answer. There a couple of problems with this though: as you said, finding someone who is willing to work for free would be very, very hard to do. Besides, I don't want anybody doing stuff for me for free. I wouldn't feel right about it and also, people aren't nearly as motivated when they work for free as when they know they have to deliver something good in order to get paid. And as soon as they find a job that pays them they'd be gone.

Bingo! The 3D artist spent years and thousands of hours to reach a level of quality worthy of most games. It is a profession in its own right.

The dedicated 3D artist who wants to earn a living at it is very motivated to promote a career. You must offer something to them of real value or they will not be interested. That could be money, it could be a share in the profits of the game, or it could be the opportunity to grow with your organization if you are found of value as well.

A true artist is looking at risks compared with a return on the hard work. As a 3D artist myself, I can tell you that it sure is hard work. We have current living expenses which are constantly reminding us that we need to get paid for our art work and long hours.

I have seen several disgruntled artists leave organizations because:

1) They were not getting paid enough.

2) Artistic liberty was infringed.

3) There was no future in the present project or maybe the whole company looks toward an inevitable dead end.

The result was that much needed 3D work was not delivered in a timely manner and sometimes not at all when a 3D artist left the company.

Coders are under a ton of pressure because if delays are too severe, then artists can jump ship like the plague hit the ship! Some companies with budgets keep the artists happy and food on their tables, perhaps by working on multiple projects according to priority. You would be amazed at how much art content can be created even before a single line of coding is written.

In the meantime, you can use place-holder 3D objects in areas that need to be developed and will allow for that. This will enable you to keep development moving and is standard method for indy and small game development companies. Even a Proof-Of-Concept version of your game can use a lot of placeholders.

Cost for 3D work ranges from $15 - $ 45 per hour depending on skill and experience. Some world class artists make six digit incomes per year in conjunction with their non-game related 3D work such as for Hollywood motion pictures. They fill gaps with game 3D work sometimes.

Students are your best source for 3D work at this stage, but you MUST offer them something of value to retain them past the first model or they will lose interest very soon.

loug,

Its seems that you found a perfect fit for your situation. I believe that your original post shows that you are pragmatic about your growth.

If things go well for you, then you may someday find the custom meshes, rigging, textures, and animations are the only way to:

1) Display an original game concept which sets your game apart from the large number of them out there.

2) Grabs the attention of end users will a unique gaming experience.

As you advance in game devevelopment, then you will realize even more how critical these issues are for profitability, but for now you have found a solution which takes you

to the next level.

I believe that you will do well.