Sprint #4 Delivery

 Sprint #4 Delivery

1. Melanie and I spent a lot of time organizing our sound inspiration and direction with some new people working on our foley &background music and the main cafe music. 

2. I also worked with Melanie to characterize the barista and make sure she will work with some of the selected mocap.

3. With a new low poly Sol model, I was able to push a better version of the rig to the animators. I created set driven keys for the fingers as well for easier animation.

4. I spent a majority of my time trying to implement a facial rig that utilizes nurbs planes to create a better translation and rotation space for the animators. I got stuck on skinning because I accidentally had elements that were extremely high poly in the scene that prevented Maya from working at all. Planning to finish skinning soon and push this to the animators as well!

Sprint Delivery #3

 For this sprint I did a lot of pipeline and personnel management. 

1. Tried to revert the project to 5.6 so that we could use a link plugin between Maya and Unreal, however, all of my attempts to do so failed.

2. I gave feedback about the character and environment development. I helped Jocelyn to create feedback in the form of a draw over for the Sol character.

3. I completed finger controls for Sol and a full rig for the barista character. The rigs are mapped in HumanIK, so they are compatible for use with mocap retargetting. All of the skeletons are also pushed into the engine.

4. I worked on lighting inside of a new lighting sequence that will be added to the main sequence. I tested out some various colors and moods, referencing our original color script. Additionally, I created a 3 - point lighting setup on each character blueprint so customizable lighting is accessible for any of the characters. 

Perforce:

Sprint #2 Delivery

 First, I completely fixed our folder structures in Perforce and Unreal to be more asset effective. 

Next, I worked on the character rig for Sol. The rig is still missing finger controls and an advanced facial rig. However, the rig does have Fk, Ik, stretchiness, space switching, and scalability. 

For this sprint, I also looked at pipeline techniques and attempted to integrate a Maya to Unreal live link for our character rigs and cameras. This workflow would speed up our process when exporting and importing to and from Maya and Unreal Engine. However, I have not yet had luck with installing the plugin and getting it to work for us.

Sprint #1 Delivery

1. Worked on assigning tasks and ran meetings for In Plain Sight team.

 2. Debugged camera issues in Unreal and rendered out the sequences in Unreal that contained the proxy cameras.

3. Perforce Project Setup:

Third person Unreal project setup with correct Perforce ignore file and matching source folder structure.

2. Dispatch Style Reference Collection:

 

3. Proxy Set Dressing

4. Detailed Sprint Plan

Artist Interview Presentation

 Artist Interview Presentation

Perforce Proof

Industry Review Final

 Industry Review Final

Medusa 'A' Stage

Medusa 'A' Stage

• Two in game cut scenes to move object that are obstructing the escape route. They are triggered by user keyboard input
• Beginning cut scene using sequencer to establish the story
• Updated all character blueprints with newest models, rigs, and animations
• Helped integrate gameplay flow from menu to playing the beginning cutscene to playing the level.

- This last video shows the blueprint pathway that illuminates and helps the player navigate in the correct direction.

- Additionally, the video shows the use of mirrors in our scene.

-Lastly, you see the end lose condition where Medusa catches you before you can escape the garden.


The screenshots below are for the cut scene sequences, the mouse character blueprint, the illuminated path blueprint, and the blueprints for moving the soil bags.