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Rocket league octane 2d4/7/2024 And it’s true - it’s a powerful system for what it is, but it’s very rigid compared to Photoshop or After Effects… where making a change to the order of effects is a simple layer drag and drop, compared to re-arranging and relinking nodes in Blender. I’ve been asked why I don’t do compositing in Blender before, since Blender’s compositing nodes are reasonably robust. These options are things that I wish were a little more accessible. Rendering out multiple passes (like depth, mist, normal, etc) is very possible, but it requires setup in nodes and setting an export path individually for each new file.Īlso, new tools like Cryptomatte (which I thank the engineers at Tangent for daily) have node-setups that require a custom setup for every file… it might sound lazy to complain about this, but when you have to set it up manually for every shot of every new project, it really starts to wear. That being said, Blender’s render exports could be aimed at integration a little more. Since I’m not integrated in the game art pipeline, it’s much simpler for me.Įric will likely have more to talk about there. This works really well for video… I don’t need Blender to work with any tools other than handing off good renders to After Effects or Premiere for additional compositing. Cycles, as well as Eevee, continues to become faster and more powerful too. It’s got great tools for modeling, shading, and animating. How does Blender cooperate with other software in the pipeline?Įthan: Blender is very powerful for me because for the most part it’s the full package. I like using a variety of software for other things, like Allegorithmic’s suite of software, but modeling is all Blender. I’d say I’m probably in Blender for 60-70% of what I do.Įric: All of my modeling at this point is done in Blender.įor years, I used more mainstream software, but after seeing what 2.80 was going to have and then seeing all of the amazing add-ons available I switched over. I’m also working in Photoshop and After Effects a large portion of the time. When I’m working on motion graphics or logos, I’ll often jump over to Cinema 4D, since it has tools that make working on those things much easier. How much work do you do with Blender?Įthan: Almost all of my work involves Blender in some way. I do make a lot of art, and although I do make a good bit of wheels and hats, I primarily am in charge of map (Arena) production. Really what that means is that I’m here to support the rest of the art team, so if someone is trying to learn something new or to solve a problem, I do what I can to teach or to fix things. I end up being a 3D generalist I take any ideas we have through full production-from design and blocking, animation, lighting, and shading-all the way through rendering and compositing.Įric: Hello! I’m one of three Lead Artists at the company. My role on the team is working on custom animated scenes for videos or trailers, so anything that’s not recorded gameplay or doable in the game engine. I’m part of the Video Production team where we make all the promotional video and trailer content for Rocket League. Buckle up for an exhilarating conversation! Hi Ethan and Eric! What are your roles on the Psyonix team?Įthan: Hi, I’m Ethan. In this interview, Ethan Snell and Eric Majka share valuable insight into how Blender fares on the front lines of professional game production. Recently, I connected with two artists at Psyonix who use Blender as their primary tool. Take it from me, a dedicated casual player. The game's physics engine fosters an ever-expanding skill ceiling and competitive scene while perpetual cosmetic upgrades fuel a thriving in-game marketplace. Rocket League is one of the most popular eSports today and has maintained an active community for nearly 5 years.ĭeveloped by San Diego-based studio, Psyonix, the game revolves around a simple (yet brilliant) concept of rocket-powered cars playing soccer.
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