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.
I’ll go cry now. I would give my arm to work on a project like this. Oh wait I wouldn’t be able to work. 
beautiful work for sure. congrats to all involved.
-r
Outstanding work. 
You people rock. Realy amazing, awesome pieces!
Incredible work! I’m a big fan of the world you guys have created.
congrats on the much deserved top row!
Sensational! I’ve got no words! Every little piece is amazingly and beautifully crafted. Thanks for sharing such master pieces with the community.
amazing work
beautiful sculpts! such a natural feel to all of this!! congrats on the top row, absolutely deserved!
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/publicati…_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.
Thank you for taking the time to answer the questions!
Mari and your own material system, for the textures. Awesome. I have Modo and love it, but have never tried Mari.
It will be interesting to check out your link! Thanks again.
What’s that written on the blade? I can’t see clearly. AWESOME game, AWESOME story, I don’t even have words. Thank you. 
very amazing work …
I even don’t know what to say with so much tallent presented to my eyes
things like this inspire me to push harder my trainning and learning, thanks for share this.
Me and my friends used to say you guys is the “new naughty dog” at sony, because this level of excellence and strong artist foundations i barely see on other teams. Keep doing the good work, we only have to win with this
Wonderful sculpts…!! Really amazing and inspirational stuff. !! Thanks for sharing.
Great work!!! thanks for the share!
Is there any chance to get wireframe?