This basically shows different ways to layout the code so programmers can read it easily and make sense out of it. 1TBS shows the opening brackets connecting to the end of the first line of code which could represent the literal connection whereas Allman separates creates a new line for a new bracketing section… like a quarantine in a way. Keeps everything away.
Doing either bracketing will not affect the workings of the code of what target you apply it to. Ultimately this should show what code is supposed to look like and also show an easier way of bracketing the code. Below is an example of 1TBS bracketing, I wouldn’t expect you to read it all but if you want to, I highly recommend looking at the way the brackets are set in comparison to Allman.
Back to the game in hand, there have been major improvements such as including collectable objects in my game to finally trigger the door, the idea.
Get the Collectables.
Avoid the Enemy.
Get to the goal.
Simple, it’s just… making more levels & having the gameplay flow at an equilibrium alongside an increasing difficulty. Throughout the duration of the game…
Let’s say in a film, there is a scene which simply takes your breath away. Maybe a storm brewing above, the atmosphere changing in the environment. pretty interesting right?
This blog shows the magic of a changing in the skies and the feeling in which it brings to the environment you are trying to imply as the developer of VFX artist. First let me show you this image…
Firstly, this composition may consist of a JPEG image and either a still, panning or any other footage for the effect to really take hold. To start off, the linear wipe tool needs to be used to add the feather effect on the horizon as most would see any other sunny day. Applying this will show immense realism and give the audience extra to look at rather than a blank canvas.
Next, the ‘Linear color key’ will keep the JPEG image from being show on anything but the ground and by doing this there will be more room for safety and less for risk of positioning images or effects.
Finally, adding colour balance to your composition should give the overall effect and footage a more natural feel and with the right adjustments; everything should look more natural.
This video should show many other tutorials about Linear colour key and sky changing tutorials;
Going into the second week of my 2D game, I have made additional improvements in some aspects of the game such as extra assets & physics.
I have included the means for the player to pick up then complete the level, this can therefore have an impact on the players role within the entire game-play. On the other hand, I have learned that there are some adjustments to be made within my assets art wise… specifically, I mean changing the orientation of my characters to therefore work with the rotate to face function ‘Script’.
Furthermore, I have included an additional asset being a brown wallet with money scattered around, by doing this I am suggesting that it may be a collectable item that can be the key for succeeding the level thus moving onto the next stage/level. This will hopefully be added by next weeks blog.
Working under restrictions can sometimes call for planning, compromise and creativity…
I have been set on a task to create a 3D model as a practice project leading up to the world skills event; a treasure chest is my first and by the time you are reading this I am still making progress with this model, just need to start texturing.with the Uv maps and hopefully learn more about PBR texturing.
The use of spikes and a large set of horns gives a hint of character to this model, but the horns could also be vines or tentacles which consequently can lead to confusion upon the eyes of a player, modeler or mere inspector.
To create the horns, I had a chance to try a new tool which I had looked into. The NURBS curve tool, this tool allows me to draw out a more accurate line for my polygons to follow through elevation. Additionally, these lines allow me to be more interesting with the wackiness of my poly’s…
moving on to the Texturing in Photoshop… after an hour of unfolding the entire model including the external assets. I learned these new skills/tools;
After I finished the UV editing, I found that with the new tools and skills I developed during that time and that UV unwrapping doesn’t take the duration that people take it for. It mostly consists of a lot of prior planning and is easier to do when there are external assets which leaves out the worry of having to cut out odd seams where you can alternatively have more straight forward UV layouts.
Further venturing through the paths of game design and coding my way through the basics of my top down stealth game.
I start by creating my assets first, such as a protagonist ‘main character’, walls, enemy, a backdrop for my game, all I need now is a goal and I can reach further development. I create my assets all on Adobe Photoshop. By using the brush tool and tampering with the brush settings, I can give out better fake lights on the assets giving out a 3 Dimensional look without altering the lighting of the scene nor the renderer.
Beginning my development on Unity, I made the mistake by selecting the game to be a 3D game, I had to therefore change the camera to ‘orthographic’ so of can therefore render the sprite images all together.
To conclude this blog I have also considered having a feature where the player must collect a specific object to therefore pass except the first stage which the player should be able to get to grips with the controls and the environment around him/her.
This piece of code is for a projectiles script which in simpler terms means ‘When shooting each bullet has two seconds until it is dead’, sounds odd… Bullets don’t die, but it does cease to exist after leaving the screen from source within two seconds.
Tony stark flying about yet again whilst fighting of hordes of enemies which seem to look pretty steamed up… literally.
This effect gives an immense amount of depth in the characters face from within, the effect mimics that of a photo shot of a hand with light shining through revealing the inner skeletal and vein structure.
Applying this effect required a MP4 sequence of a face in any view preferably being;
This alongside a JPEG image of veins and the fractural Noise which can give the cloudy effect between the veins. Furthermore, the use of the external software of ‘Mocha AE’, movement can be tracked using the bezier tool and the data from that process will then be copied and moved to the mask & pre-comp.
Veins for facial depth
Fractual noise to add lifelike asthetics
Going back to the tracking for the scene, this can be explained with a short gif that I made in another composition to show of Mocha AE tracking capabilities within any environment;
Using the Bezier tool I can select a specific point on the video, preferably with contrasting colours and hit the track forward button to begin gathering tracking data and this tracking data can the be applied to the masks within After effects of the image layers.
Like a puppet, the theory and practice of rigging both in 2D & 3D is basically bringing something to live which has come from a mere idea tucked up in your head.
Rigging in after effects is just like rigging in Maya just without the work of taking it to a higher dimension… picture this if you will; one would need four tires, another would only need two.
For this blog, I will be explaining the process of rigging in After effects alongside the practice of joining through an asset hierarchy method.
Firstly there had to be assets to rig, we started with a robot asset with backgrounds and added effects to add aesthetics to the overall composition. At this point I had a slight idea to the concept of rigging for VFX animation but needed extra insight to come to use it for further projects. I have these few screenshots from the process of animation used in after effects.
Character rigging or in other words ‘Puppet making’ in my opinion can only really be effective with pictures such as humans or and other animal as long as it has a natural concept to be bent or have joints which can bend, unlike inanimate objects unless an animator is thinking about the fantasia times from Disney where anything is possible.