#Nier automata 2b's ass polys how to
#Nier automata 2b's ass polys Ps4
#Nier automata 2b's ass polys ps2

Since a previous title exists, my first resolution was to create the model in a way that seems like the two worlds of Nier and Nier: Automata are connected (and by doing so, receiving forgiveness from fans of the previous title).

#Nier automata 2b's ass polys how to

This stinks.īut in my job as a character modeller, I’ve thought about how to resolve that issue. On top of that, the image players have of characters are generally based on illustrations, so players may have a negative sentiment towards character models from the start. The difficulty of this is that the charm of an illustration gets lost as the character design is transformed into 3D and becomes more realistic. The most important job of a character modeller is to think about how to implement a 3D model that moves in the game without it losing the charm of the original illustration. I had written about what we do, but that was only the part of the process where I move my hands. This involves figuring out how to configure the model when it gets wet, how things should move, and reducing the data size for the game so it would move at 60fps … but I’m only going to remember the fun times. On top of this, there is a dark side to 3D modelling. I take the raw polygon → add images with surface contour information extracted from the high quality model → designate textures using different types of images → designate colour information using images → one last bit of creativity to bring out the texture of the model and – boom! The model is finished. The image below is where I’m adding image data onto raw polygon. You’ll also need more than that if you want something more detailed…

#Nier automata 2b's ass polys Ps4

However, the polygon count for the PS4 is approximately 100,000 and it needs about eight types of images.

#Nier automata 2b's ass polys ps2

The polygon count for the PS2 was a few thousand, so only one to two types of images were necessary. In basic terms, the process involves pasting the images onto polygons, but the number of polygons and images increase each time a new generation console is released. I get absorbed during this process, refining the character model bit by bit. I create it digitally like I would knead clay. Next is the part that is the most fun: I work on adding details on a high quality model. It is difficult to regress 3D models these days, so it is also necessary to design the data while looking ahead to the impact that it may have on the project in the future. Is this silhouette going to be final? Is it created in a way that the animators won’t have a hard time animating? How many bones will it have and how will we control the parts that will move?ĢB was also a character that would become the benchmark for the project, so I had to think about the basis for body proportions and modelling, designing the shader, and even the cost associated with mass production, all while creating this rough model. When we mention a rough model, you may think that it can be very rough, but this is actually where I have to tax my brain quite a bit. I then had our game director Yoko Taro check the model as well and received a “great!” from him! I had referenced many things to create this model, such as games that Yoshida-san had worked on in the past (the character models for Final Fantasy XII are amazing…). I believe it took me about one to two weeks to create this rough model. This was my first job since I joined the NieR: Automata team. I love it.Īnd this is the rough model I created. Yoshida-san’s tastes were clear to me through the images I hid in the above image (don’t worry, they aren’t weird or anything, they’re just reference images I can’t show), and with that, I understood what he was looking for without even talking to him.