One thing I noticed about Starfield is the character smiles have an issue with the orbicularis oculi muscle not contracting to give a "Duchenne smile".
When you smile and this muscle doesn't contract, you get a "fake smile" or a "liars smile".
This muscle here has to contract for a smile to read as a genuine smile. The cheek apples should also rise, otherwise you look like you are actively resisting the smile, giving a constipated look.
This smile probably bugs you for some reason you can't put your finger on as will. Allow me.
This is the zygomaticus major muscle. It contracts when you smile, pulling the corners of the mouth up towards the Zygomatic process.
But here it isn't
If you activate the buccinator muscles without the zygomatic muscles you get this.
(The masterful Anthony Starr)
András Arató is famous for his smile. It appears his orbicularis oculi doesn't contract very far even with a genuine smile, resulting in that classic "dead inside" meme.
The crows feet suggest the muscle is tense, but it just doesn't seem to go as far as your average joe.
The zygomaticus major is here, and tense enough to create the nasolabial fold, but not lift the sides of his mouth as much as the buccinator pulls his lips back.
(Bless you András)
See what I mean?
I am not sure what solution they are using for their faces- if it facial capture fed into bones or blend shapes, but it definitely needs a manual tweak pass to get those smiles working.
It's just creepy.
I do see movement in the orbicularis oculi, and crows feet so they are in the set up... but they don't engage in coordination with the mouth.
Quite often the mouth moves and the cheek apples follow a bit, but they don't reach far up enough for the mouth motion.
Also, for the love of god people, stop rolling the eyes around in the sockets without moving the upper eyelid to cover the upper eye white.
The upper whites of the eyes are only exposed on humans when we have a fight or flight response.
We open our eyes wide to allow more light in. This means we are either terrified or about to attack.
The only time the upper eye whites should be exposed is when you pull out a fucking gun or if they do.
To fix this needs a little code, but the upper eyelid stays just above the pupil as the eye rolls up and down.
See?
The upper eyelid moves relative to the pupil.
Exposing the upper whites of the eyes should be intentional.
Note how Margot exposes just a little white at the start, but it is relative to the pupil, as she looks around the upper eyelid follows it.
Upper eye white exposure is a choice of the performance. It shouldn't be a symptom of your character rig just tracking the player camera.
Aaaaanyway, I hope that helps.
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I hope this thread makes you smile. Just... not a smile like this.
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A video game that simulates #ADHD. The mission objective changes at random every few minutes and whenever you walk into a new room, your inventory shuffles one item and sometimes it becomes invisible for a few minutes.
You auto steer into table corners.
Whenever you get more than one sidequest there is a chance you go into overwhelm and your controller will pretend it is unplugged.
The corners of the level starts filling up with laundry.
You put down an item and it vanishes when you look away.
You have timed missions but during loading screens that can dramatically shorten by an hour or five.
In Life Is Strange Before The Storm, one truth Rachel Amber tells Chloe during "two truths and a lie" that she is a Leo.
The brilliant thing is later if you pay attention, her birthday is the day after Leo ends. But her starchart has her on a cusp.
This is brilliant.
The series has a few moments of absolutely brilliant subtle clues in it that add layers of meaning, but you have to be sharp to spot them.
But if you miss those, there are still blatant clues around the place that give some level of depth.
The main mysteries of the game aren't hard at all, probably to a fault, but on replay there are far more little ones.
A technique I highly recommend to #gamedev artists is to look at actual shipped game assets.
There are various ways to get hold of them, such as programs like Ninja Ripper, Utiny ripper or via archives.
And I must stress this is for learning purposes ONLY. NEVER use them.
Being able to look at models from a wide range of titles, see how they are rigged, how their Uvs are layed out, the triangle count and modularity... it all helps you understand the ACTUAL end result you are aiming for.
I think it is really important that students bridge the gap between where they are at, and what the end products are at.
You may think "oh, the models in X game are super high end, high tech stuff" but when you actually crack it open and examine it in your DCC...
There is no future for humanity in a world where all human endeavour is stolen and boiled down to something that replaces humans.
What do humans do in a world where humans are not employed to create?
Is that a world you want to live in?
If you take away the creative process of human artists into pool, the zeitgeist becomes entirely manufactured from an ever decreasing pool of looping cannibalism.
Pop literally eating itself.
Endless product without exploration. Product feeding on product.
No art movements, no re-evaluations of our place and relationship to the world.
Draw calls are responsible for a good 50 percent of the chugging issues I have helped games with.
A draw call is "okay now draw me an apple, and come back when you are done for the next instruction."
Then you ask for another apple. Then when they return you ask for another...
So the GPU is running back and forth to the CPU when it could just do that once and "draw me a pile of apples".
Rendering an apple, in this example, takes a tiny amount of what a core on the GPU can render. So by welding all the apples into one bigger mesh, it can be done faster in one draw call than all the fucking around to draw them one by one.