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About jefferytitan

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  1. What do you look for in a hobby concept art request?

    Thanks, very good point about guaranteed credits. I totally understand your point about promises of money after sales, I've worked for rev share, and the film industry is of course notorious for their accounting that gives creatives almost nothing. I was more suggesting preferred payment for the artist, e.g. if any money goes into the project (including investment or gross profit) the artist gets paid.
  2. What do you look for in a hobby concept art request?

    Thanks for the reply. I'm assuming this is not a regular day job. I guess the reason I floated those options was whether it makes much difference to an artist whether it's a hobby project which is guaranteed to never make them money, or whether it's something which tenuously might maybe kind of make some money. Beyond that, creative freedom is eminently fair to offer, but is there anything else that comes to mind?
  3. Hi all, I hope it's okay to ask this here. As a developer I occasionally get hit up for free work, and I gather that it's very common for artists. I would imagine that it leaves a bad taste in the mouth, especially if you're a professional. If someone does want concept art done for free for a hobby project or speculatively based on rev share, what factors would influence your decision to do the work and feel respected in the process? Is the nature of the work much of a factor, e.g. creative freedom, a subject that you like, an intriguing concept? Are there any things they can provide which you'd consider a plus, e.g. trade in kind, payment up front if it goes commercial, etc? Thanks in advance for any replies, even if I end up losing an arm. JT
  4. 3D Fast ray/cube intersection in shader

    Thanks, that might be a good start. I'll have to look through and see which bits are relevant. However I suspect that it doesn't address which cube face is hit. Thanks, it's not shader code but I'll see what I can make of it. Question: What do MulPerElem, MinElem and MaxElem do? Are they some sort of vector operations?
  5. Hi all, I have a situation in a shader where I know that a ray will intersect a particular axis aligned cube. I know the standard approach of intersecting with the 6 planes and looking for the closest hit. What would be a faster way to determine which of the front-most three faces of the cube will intersect first with the ray? I would use this to determine the color, so if it's possible to set a variable without branching that would be ideal. Any answers would be much appreciated! Thanks, JT
  6. Texture/Buffer persistence in VRAM

    @MJP Thanks for the in-depth explanation! It definitely demystifies a lot of things for me. Do you happen to know whether frame buffers can remain in VRAM between frames? And whether you can copy a buffer to another buffer purely on the GPU? I'm wondering whether a big bank of static security cameras could be rendered on the cheap by keeping pre-rendered low res frame buffers (with depth) and simply drawing dynamic objects on top of them. My guesstimate is that it may work well due to: Low number of meshes Low pixel coverage The majority of pixels failing the Z Test
  7. Hi all, I've written the odd shader but I must admit my overall understanding of the pipeline is lacking. I'm wondering how VRAM memory management works. In particular: Which objects persist in VRAM between frames? I assume textures and vertex info? Can a framebuffer be persisted on the GPU between frames, e.g. if you have a bunch of security cameras in your game that don't need to be updated every frame? Or for temporal reprojection for fancy screen-space effects. What happens if you have too much in VRAM? Does it get paged out, or something worse? If you can answer any of the above it would be much appreciated. Thanks, JT
  8. Tools for creating HDR sprite sheets

    Thanks for the reply!   Correct. If that's true, it's a shame. I suspected it might be the case. I think we're on different pages here. I'm not going from source photos like a skybox, I want to make an HDR texture from scratch using drawing tools, e.g. circles, boxes, blur, etc.  Maybe that's something engine specific. I'm already using full colour emission maps in Unity. The problem is that using SDR full white isn't very bright.  I want the ability to have brightness levels that cause bloom and have a significant effect on Global Illumination (currently GI is only noticeably affecting objects fairly close to the texture).   Good to know!
  9. Hi all, I want to make animated emission maps, so I'm looking for a tool for creating HDR sprite sheets. Is there such a thing out there? I imagine that HDR isn't a common requirement. The sort of features I'm looking for are: Can clone a frame Pixel editing Image effects, e.g. blur Can choose how they're layed out in the sprite map, I just need vertical stacking Any suggestions would be appreciated! Cheers, JT
  10. Hey all,   I don't know if there's a better place to do this on here. I'm looking to make some contacts who are involved in game or level design. I don't have a specific project on at the moment, unless you count having just had a baby, which is in ways a very significant project! I've been involved in a moderately successful indie project as a developer, and I feel like there are some disciplines we would have benefited from having more experience in.   I'm not trying to get unpaid work out of anyone, what I would like is indie people who enjoy talking and sharing knowledge (both ways) and might be interested if a paid project came up in the future.   Cheers, JT
  11. No Man's Sky

    I feel like they spent too much effort on tech/marketing and too little on game design. Endless procedural landscapes eventually get boring. For a great procedural game of this type I think you need: Deep systems, e.g. people can spend ages mini-maxing combat/economy/whatever and arguing about it online. Procedural generation actually affects the deep systems, e.g. different combat opportunities present themselves on low gravity moons/lava planets/whatever. Procedural storylines/quests, even if it's like Bethesda's accursed Radiant Quests.
  12. Hi all,   Recently I worked on an indie game with procedurally generated levels. Obviously there are pros and cons. At some point I'd like to be involved with something a bit more designed but I have no experience with level designers, so here's my questions: What does a level designer expect, e.g. tools, guidance? What should you expect from a level designer, e.g. complete levels, unskinned but working levels, diagrams? How does the role overlap with other parts of the creative process? How does a level designer work with the rest of the team, e.g. do they directly ask for art assets, leave it to someone else, etc? For example could you say something like the below and expect a reasonable result? Here's a bunch of prefabs for my levels Here's the general theme and background Here are the basic mechanics available in my game Here are the types of challenges I want the player to face I want a level with X rooms, Y entrances and Z exits Here are some gameplay moments that I want, e.g. getting chased down a mirrored hallway by a monster Thanks, JT
  13. Dynamic sound effects

    Thanks Kasu! Just out of interest, did you have trouble finding the individual sounds, or did you foley them yourself somehow? Also what sort of things would you tweak with hi/lo pass filters?   I've lost the link, but I read an interesting article about creating creature sounds from a simple human voice. Creating a whole bunch of layers, e.g. pitch-shifted, reverse-reverbed, vocodered, etc, then combining them. It sounds quite promising, although with creature noises because they're much longer (and may in fact be continuous) it seems like it would be harder to hide the repetition of the time signature. I'd think you'd need a way to piece different length segments together almost like a dynamic music system.
  14. Dynamic sound effects

    Hi all, I'm part of a team that recently released a game on Steam. Personally I wasn't quite happy with the variety of the sound effects. Watching Let's Plays of our game it became painfully obvious how often the same sound effects repeated, e.g. creature sounds and weapons despite having a few variations of each and using simple pitch shifting. Has anyone used techniques or assets to increase variation? For example I could imagine breaking a gunshot into different phases (e.g. click, shot, shell ejection, decay) and vary the individual samples/pitches/timing. Creature sounds seems more complex though because I can't see obvious segments, although I have heard that in movies they often compose creature sound effects from a variety of sources layered and transformed separately.   Personally I work in Unity, but I'm open to hearing about general techniques that you've used with other systems. Any advice appreciated, JT
  15. Can you clarify on "Everybody's Gone to the Rapture"? I was under the impression it didn't have puzzles per se...
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