Apart from the Titanfall Beta taking up a fair bit of my time, my week has been fairly productive. It didn't start off that way, I had to kick myself into gear for once, because I know if I laze about now the whole project will fall apart. Modulars may be the most tedious and boring part, but they're also the most critical, so I can't skimp on them! Above is a screen of when I was creating my painted brick texture. Considering these are all interchangeable textures, I had to make sure it was the same scale as my previous brick texture, so I placed that behind the photo I took and adjusted and clone stamped accordingly. This'll also be great when it comes to vertex painting, as I can then blend between a painted brick and degraded brick texture to break up the texture even more.
Crazybump's specular creator is usually pretty bad, but it came in handy for certain parts of certain things. Here it helped me create some more depth on the normal map, which the displacement tool wasn't doing as well for some reason.
And hurrah, I finally finished the models and unwraps for my modular roof pieces! I'm gonna get these textured by the end of the week, it's just finding the patience with Zbrush again to help sculpt the details.
Something I also quickly dabbled with today was the lighting in my level. I had originally planned to have it at midday, as this was bright and vivid, reflecting my level's mood. The problem with this though is that the shadows were almost flat across the whole level. I changed the time to 3:15pm as this still retained the brightness, added some nice shadows in appropriate places (I also tweaked the Sun's placement in the sky to position where the shadows were cast) and also added a subtle orange hue to the level. The great thing about CryEngine is its day and night cycle though, meaning when my level is more developed I can experiment with timed lights and glow maps and perhaps introduce a cycle to the level.
Something I've been reading up on as well is a little bit of colour theory. Colour Proportions is something Michael Freeman mentions in his book 'The Photographer's Eye'. In addition to having complementary colours, they also have relative proportions - i.e. you should use more blue in your image pallet than orange as orange is a more vivid colour. I'm going to try to apply this as best as possible where I can in my level, and I already have in some places with things like the rooftops being both dark-ish shades of red and green. For composition, I tried to use what I learned from the whitebox playtests to help improve the flow of the scene. In earlier tests, people were drawn more to the right alley so that's where I took the path, while still keeping the left one open. In order to help show the player that the left alley is still in an option, I have made it so the shadow from the tram rail crosses over the building and sort of points at the left area. Hopefully this will mean players will look at the right alley first, then be drawn to the left via the shadow (or vice versa).