Then the meshes were posed to match a base mesh and refined further. Modo's topology tools came into play here to create unique topologies. Some of the clothing and accessory assets in the game are also based on scans created using a mannequin and a motorized turntable.
We then moved on to a sculpting program for further refinement and texture work.” Using a shared facial topology lets us share much of the setup work between different characters and makes creating background characters easier. We fitted a common face topology to the scans in Modo. To achieve the best possible result, we constructed our own 3D scanner for faces out of 26 DSLR cameras, some flash lights, polarization film and lots of Styrofoam. “We based our main cast likeness (physical, voice and performance) on real actors. Fast rendering times enabled us to iterate quickly and test out different moods and looks for the product.”įor a specific example of Modo's use, Antti told us about how the character realism was achieved in Quantum Break. And in the pre-production phase of Quantum we did some look development and visual target work using Modo's rendering tools. For example, in the past I have done some character concept art using Modo's sculpting tools and MeshFusion. “Usually we are quite specialized in our day-to-day work, but sometimes we wear different hats in production.
“Right now the Character Art team is almost exclusively using Modo for modeling,” says Antti. So where does Modo® fit in? All over the place, it turns out, though mostly for character modeling.
“Having our own technology enabled us to do many unique things in Quantum Break, ranging from state-of-the-art Global Illumination lighting to handling large-scale destruction scenes unfolding in time-distorted gameplay environments,” he elaborates, going on to add that Remedy’s facial animation pipeline is built around DI4D facial capture system from Dimensional Imaging, Autodesk Maya and a lot of proprietary tools and scripts, and that body animations are made in Autodesk MotionBuilder.
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Antti told us about Northlight, a proprietary technology that encompasses in-house rendering, game engines, world editor software and more. As Antti explains, “There are lots of people I work with at Remedy who have been here since the early days of the company, so we have an interesting mix of veteran talent as well as the next generation of developers.”Įager for a look under the hood, we asked about the tools Remedy used on Quantum Break, described on Steam as “a time-amplified suspenseful blockbuster part game, part live-action show-where decisions in one dramatically affect the other.” (The ratings, by the way, are top-notch). As a result, there’s been great retention, as well as no shortage of new talent wanting to join the team. Having the right culture at a company is always a good place to start, and Antti feels Remedy fosters the right work/life balance, something that the Finnish in general value highly. Founded in 1995, Remedy is based in Espoo, part of the Metropolitan area of Finland. So how do they pull this off? We talked to Lead Character Artist Antti Puomio, who was kind enough to share some insights about what goes on behind closed doors at Remedy’s offices. Together, these factors form a winning combination that results in a highly playable game. And if there’s a combat experience, it’s essential that it’s fluid and fun. Apart from the visual quality, Remedy focuses on developing narrative, character and mood, often bringing in an element of offbeat humor. No easy task, but so far they’ve been nailing it, with titles like Max Payne 2, Alan Wake, and most recently, Quantum Break to their name. Remedy Entertainment’s mission is clear: to create cinematic blockbuster action games that break media boundaries and push the envelope of 3D character technology and visual effects.