Dev Blog #4: Implementation, Interruptions, & Art
Sprints 6 - 10 2/20/20 - 4/15/20
Almost 2 months later and the Camera Shy Dev Blog returns. In those two months a wild number of things have changed, but the main one being the shift to remote work. During this trying time Camera Shy continues to march forward as a project and as a team. Luckily for us the push for remote work came at a time during which our remaining work can be implemented quickly and smoothly. The planning phase/pre-production of Camera Shy was completed before spring break/the closing of Champlain’s campus and so the remainder of our work just requires we create all of the planned content.
That being said, my work in these last two months has been exceedingly straightforward. With my design planning work done I have just pushed straight ahead with the implementation of levels. Just before spring break (3/9 - 3/20) the Camera Shy team was pulling the kitchen level to a complete close. I had had my hands off the level for a short time by then already and so I was gearing up to tackle the Witch Hut level next. For the last month of work I have been focusing on this Witch Hut, a level consisting of two 10x10 rooms. The remote working schedule has cut most members of the team’s (including my own) to about 8 - 10 hours down from 12. However, the time crunch has not been a problem, as we were ahead of our work already.
The Witch Hut, An In-Editor Shot
My primary responsibility during this period has been implementing props created by the art team into the Witch Hut. Part of this process involves the tweaking of assets provided to me by the artists, a process that has helped me greatly familiarize myself with Maya. In general, a day’s work of implementation involves having both Unity and Maya open and moving fluidly between the two to adjust model shapes to my liking as I go.
The Second Floor Geometry In Maya VS. In The Unity Editor
A secondary role I’ve taken on during this time is as a back-up artist. Essentially I’ve adopted many of the art tasks that rely on 2D knowledge in order to help expedite the artist’s work and allow them to create more of the low priority and stretch-goal 3D props. Pieces I’ve created for the artists during this period have included a tablecloth, windows, a carpet, cobwebs, and a wall hanging.
Sampling of The 2D Assets Created