Hello,
I did prop modeling as an outsource artist. Every prop got at least a zbrush micro texture/wear pass and all detailing was done through sculpting (no tiling detail maps). One of the many advantages to working this way is being able to localize the intensity of micro texture around the model.
Here is a selection:
Absolutely gorgeous work! Really outstanding! Well-deserved top row! 
Simply stunning.
I hope you guys get more control over your future projects. I’ve been told working on a [de facto] launch title isn’t ideal 
But whatever the game’s faults, it was certainly visually spectacular!
beautiful work,
Good God, Almight! This thread is so beautiful! Thank you guys for sharing!
A little late to the party, but here is my little contribution to the thread with some of the highlights of the year long period as part of the outsource team.
Initially I was responsible for some organic models to be used in the environment. This specimens and objects were part of that initial cycle.
Later, I was put to work on character clothes. I sculpted lots of single parts like: pants, shirts, skirts, vests, coats, so on and so forth, that were then mixed and matched to create the background characters. These are some of my favorite pieces:
I love seeing professional works, Thank you for sharing with us.
That is a whole lot of awesome work. Great job all.
Stunning work RAD team ! It’s great to have you guys post all together in one place.
Here’s a questions for the character artists: how much time did each step of a lead character took you to create ? I’m especially interested in face sculpting time and body sculpting time.
I can feel nuclear winter of dismay descent upon me. This is a standard I will never reach. T_T
The quality and attention to detail on all of these is insane!!! Even for a game of such fidelity, it’s still a pity these amazing sculpts had to be downgraded – much is still lost in the process.
massive
Congrats for the amazing work. It’s stunning. Are this renders realtime or render with vray u others renderer?
and how much polycount has at the end the characters? 
Thanks a lot.
I’d like to ask…are the textures done with Quixel, Substance Painter – neither, both, or other? 
They are beautiful, the textures. The modeling is exquisite, also. Just fabulous, but I always notice textures.
Especially gorgeous antique textures.
Congrats on your top row billing!
Incredible job. The bar is now raised absurdly high.
You can say that again. But raising the standards constantly, is good. Isn’t it? 
Shows us that there is no end game, in the Zbrush world. No ultimate, no peak that can’t be topped.
Absolutly amazing… What a great stuff here 
awesomasticallistic fantasticallistic marvellastic lovellastic legendarallistic epicallistic art…as i always say keep 'em comin
I just finished the game last night. Very amazing work indeed! I am completely blown away by the work and also that the PS4 can push this level of graphics in real-time.
I have a few technical questions if you don’t mind. (More to help understand what is possible on the PS4 side.)
The hair turned out great, did you all use a hair cap and card system? Or was the base of the hair just sculpted into the base head topology and cards were added to that to finish out the shapes? What kind of budget were you given for hair?
The heads, was the topology for heads ended right under the collar line (looks this way from your head sculpts) and if so what type of resolution were you getting for your head topology?
For the heads were you deforming with a pure bone system, morph targets, or a combination of both?
I am curious as to what you had for total poly counts for characters, there were times where there were a fairly good amount of characters on screen at once.
I really am blown away by all the beautiful work. Thanks so much for sharing with us all! Very inspiring!
totally amazing
inspiring thread !
Congrats to all the team
you guys did an amazing piece of art!
Outstanding!
To answer a few of the questions so far:
Most of the zbrush sculpts were rendered in keyshot. All the other pieces that were fully textured are the final game assets, running in our real-time engine, within Maya (same features as on the PS4).
The materials team can probably go into more details on their process, but generally speaking, most hero assets got a detailed 3d paint pass in Mari, and then went on for final tweaks and tuning in Photoshop, used in conjunction with our proprietary material compositing system. Simpler assets sometimes skipped the Mari step, but the end result was the same with our material system. We didn’t use Substance or any other applications in the process, although we are looking to incorporate it in the future in some capacity.
For more information on our material system you can check out an older Siggraph presentation by two of our graphics programmers here: http://blog.selfshadow.com/publications/s2013-shading-course/rad/s2013_pbs_rad_notes.pdf
Just scroll down to Crafting a Next-Gen Material Pipeline in The Order: 1886 to find a PowerPoint presentation on the material system and video showing our 3d scanning process for textiles.
The hair on the characters were done by the texture / materials team, so one of them can expand on it further. Adam can speak to so of the character topology, poly budget, and creation time questions.
Hopefully a few of us will be doing a few different talks later in the year on the art production process on The Order: 1886, so we’ll be able to give even more detailed looks at our various processes.
