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| | For those of you who are interested not only in the finished product but would also like to know some more about its development, this is where we'll show you with a few examples what's going on behind the scenes when a game is being developed.
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How do horses learn to gallop?
Although virtually everyone has seen a horse gallop, nearly everyone would fail when asked to describe the exact sequence of movements involved. This is of course also true for our 3D graphic designers.
This is why we recourse back to old shots that show this movement sequence in hundreds of individual pictures. These pictures were taken by a pioneer of photography and film. He really discovered films with his pictures of human and animal movement sequences. His name was Eadweard Muybridge and the pictures originate from the time around 1878.
We do of course include horses in our model collection as this is not the first game in which we need horses. So Thomas Egelkraut picks a suitable horse and tries to teach it to gallop.
A skeleton containing all main bones and joints is created for the horse. The skin is then linked to this skeleton. This means that it will follow all movements of the bones in future.
Now the skeleton is adapted to the individual movements step-by-step. You can well imagine that this involves more work than would seem at first glance. The movement must be repeatedly checked to ensure that it really looks genuine.
One of the biggest problems is that a very fluid and realistic movement should be simulated using as few single shots as possible. The appropriate compromise solution must be found in this case.
At the end the horse gets its coat and can be set free onto the meadow.
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On the shipping wharf
Vehicles are not always constructed according to photos. With some types you can be lucky to be able to use available models as the starting basis.
It is of course much more fun to gage a model rather than a photo. And this type of model can be stored in a much more decorative way.
Here you can see our master ship builder Jürgen Wagner measuring a ship's model built by himself.
The model is now replicated in the 3D studio part for part using a measured diagram. Larger parts such as the stern are built first. The superstructure is situated on top as rough blocks subsequently.
Once the proportions are correct, detailed work can begin. Cranes, winches, anchors, supply boats, radar masts and many other parts are designed with great care. Now the model is nearly finished and only the paint is missing.
Various textures are applied in Photoshop and corresponding materials are searched for in the giant material libraries. These are the almost “stuck onto” the 3D model. The ship is then ready for launching.
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Spoilt for choice
One of the most difficult jobs in TransportGiant consists of selecting the vehicles. This task often gives rise to lively discussions. After all, there is a vast number of interesting vehicles of every type in real life, and everybody naturally wants their favourite vehicle included in the game – even if it's only for sentimental reasons.
Before we can even start making our choice, we need to embark on a detailed research. This involves browsing through towering stacks of books and frequently also the internet. The players' wishes also have some influence. This way, in the course of time a huge fund of data and pictures accumulates.
All vehicles that could even remotely fit into the game are registered on vehicle sheets. Then a first selection is made. This includes comparing all vehicles which came on the market at the same time. The two most interesting vehicles stay in the running.
Now the game designers have their say. Based on their treasured Excel sheets, they declare that there is only space for so many vehicles in the game. And what's more, they also want these to appear in certain years. The sheets are then consulted again to make the final choice.
Now all vehicle sheets are laid out on a big table, and the discussion begins. Many factors need to be considered, above all the playability of the game. For example, it would be pretty boring to have a lot of new buses in a short time, but not a single new lorry.
Finally, after many discussions, having weighed up a lot of options and having talked till we are blue in the face, we make a final decision, always hoping that we have reached the best possible compromise for all players.
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How do meadows, deserts and fields come into being?
Some of the most important graphic features in a game like TransportGiant are the ground bits, or ground textures. They play a significant part in the way the game looks, and they must be in harmony with all other graphics, even accentuate them.
Given the enormous variety of different ground types in our game, it would be impossible to draw these graphics manually. Therefore, we use specialised software.
First of all we must determine which ground bits are needed. To this end, we use mainly aerial photos and select characteristic views for certain areas.
This is where Martina's tough job begins. She is responsible for conjuring up meadows, deserts and a lot more out of thin air. With our software, we can layer various computed textures, superimpose them over each other and have them influence each other. Though this may sound easy, it's a very complex and time-consuming procedure really, which demands not only a lot of patience, but also a great amount of experience.
This way, a great many different textures are produced. These must all be in harmony with each other. Finally – like in a beauty contest – the most beautiful and suitable textures are selected.
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Graphic artists doing research, or ...
what exactly does a locomotive look like anyway?
Here you can watch a short video of our 3D graphics department on a fact-finding trip to the railway museum at Ampflwang (Austria), where two seasoned railway experts explained and showed them just about everything you need to know about steam locomotives.
Research trips like this one take place because it's a great help particularly to 3D model designers to know how the models they are working on would function in real life. No photo, however good, could ever replace the impression a "living model" can leave with you.
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