Export Tool Features (python)

• Asset Batch Exporter​

  • Processed animation, rig, and model files automatically with appropriate handling depending on the scene.​

  • Performed source control processes for both Plastic SCM and Perforce, in order to ensure proper handling of files in a multi-artist environment.  Automatic workspace collection and processing that would take the guess work out of the artist's hands.

  • Automatic reference path corrections based on incorrect user environments.

  • User friendly asset list consolidation and filtering that would only provide a list of assets that contain the desired asset types.

  • Cross-platform friendly with built-in Blender processes to allow for headless export of blender files.

  • Built in asset wellness checks to ensure an asset would only be processed if it is clean of errors and checks all the requirements.

  • Automatic folder creation/pathing to ensure clean consistent folder structuring between game assets and source art.

  • Ability to handle multiple referenced assets in a file with proper scene export to appropriate asset file locations.  For example, a mace would receive an animation export from a character animation scene with a matching export name to provide direct link-ups between character and weapon.

  • Automatic Unreal Engine implementation and utilization of metadata stored within the source asset.

  • Bookmark utilized sequence exports that would allow the animator to animate a full sequence and automatically export the appropriate sections based on bookmark length and naming.

• ​Bookmark manager

  • Built in bookmark manager to provide a more user friendly experience to the standard tooling in Maya.​

• Prop/Armor Manager​​

  • Built in asset referencing and automatic structuring.​

  • Armor welding allowed for animators to test armor deformations prior to game utilization.

• ​Weapon modifier additive/override layers for global scene use and multiple exports​

  • A multi-weapon animation layer tooling that allowed animators to utilize a single animation scene with multiple weapon type modification layering.​

    • For example: A combat stance idle could provide the animation for bows, crossbows, one-hand swords, staff, and two-hand swords.​​​

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Artist Tool (python)

• Source File Browser and Asset Structuring

  • The artist tool had built in source control processes as well and easy to use scene structuring and asset creation.​

  • The file browser had multiple quality of life features such as sub-string file filters and user friendly file sorting.

  • The artist tool automatically found the art asset directory for artists, so there was no setup necessary for any environment.

  • Artists were able to perform all source control processes within their Maya environment, making it quicker and easier to perform their tasks more effectively.

• Headless Unreal Processes​

  • Multiple functions that allowed the artist to perform global project processes quickly.  This ranged from a full catalog export, a full screenshot generation of all assets, and global meta data ​manipulation.

• Armor Gen

  • I developed in Bifrost, a system that allowed body morph generation primarily for armor and outfits.  This system utilized the deltas with a radial blend between vertices (order matched or not) of two meshes that would then be cleanly applied to the target armor.​

  • This system was automated so much so that it allowed for quick iteration, refinement and output of assets in a matter of minutes.

  • Armor genning was also leveraged for hair and facial hair assets based on the deltas of different face shapes.

  • Notable features:

    • Shape memory - I built in the ability for an asset to retain the shape memory of it's original source mesh.  This allowed for instance like armor to not get too heavily skewed by the organic shape of human portions.​

    • Softening and radial scale - The user was allowed to set the resolution of the radial point test in order to get a sharper or wider lens of a point pool providing for a more specific outcome.

    • Automatic rig integration - Morph shapes that were generated were able to be automatically ingested into the scenes rig structure, replacing and updating existing aspects.

    • Multiple morph shape processing - A standard character would provide multiple body shapes.  This required the tool to have the ability to process multiple different global shapes at once to ensure quick artist iteration and turnaround.

    • Skin Tightening - A built in feature allowed the user to pull in the mesh closer to the shape of the base body shape.  It took in delta size to strength of change, so points closest would get little to no affect, while further out points would be affected more heavily, providing a better output in the final product.

• Driver-Driven System​

  • I developed a dynamic weapon system that utilized metadata for characters to communicate with interactable props.​

  • Dynamic Grip

    • A system that took into account the characters grip size and palm width to decide on the type of grip interaction they would have with a prop based on the props grip size and spacing.  This means a goblin with small hands would utilize a larger two hand grip with a human's one-hand sword.  This provided more realistic world interactions with props for characters of all sizes and allowed for all characters to utilize a global set of props.​

  • IK Weapon Lock Points​

    • We leveraged IK arms in Unreal to allow for dynamic link points so all weapons would be gripped appropriately to the weapon's design.  This allowed very little constraint on the artistic side of weapon design.

• Character Portion and Level system​

  • I developed a portioning and leveling system for our characters that allowed for cross-asset sharing between outfits and assets.​

  • Levels are utilized like the layers of a Jaw Breaker.  A level covers a certain volume from the character's base nude level.  Asset's can own multiple levels of a given space.

  • Portions are simple divisions of the character's anatomy.  An asset can utilize more than one portion.

• Component Weapon System

  • I developed a component weapon system that utilized metadata recipes as constructs for the weapons.  This allowed for cross asset sharing and clean randomization, producing thousands if not eventually millions of variations of assets from a very efficient and minor pool of actual art assets.​

  • The system had automatic batch rigging built in that would scan the topology of an asset and build out a rig based on a blueprint structure and metadata to properly dress an asset with the correct rig structure.

  • Assets were easily editable and could be tested in Maya to ensure proper use across the catalog of assets.

  • Branches, the grippable portions of a component collection were provided automatic metadata and link points to be utilized in the driver-driven system. 

• Body and Face Bone Offsets

  • I automated a body and face offset system that allowed for global unification of characters and the offset poses that would be utilized.​

  • This system allowed for quick testing and updating.

• Automatic Rigging and Morph Shape Integration

  • I developed rig tooling that allowed the modeling artist to quickly auto rig their assets based on a source rig.  This allowed character artists to quickly iterate and implement their work without the need to utilize tach art support or be blocked.

  • Automatic morph shape import and integration allowed artists to import in a morph shape scene and apply it to the rig, which in turn allowed for quick testing and integration of assets.