What do you yhink about my last work?


#1

Here is my last work,Mercedes AMG GT63S,
is it good for presentation at Game Developers?


#2

It’s not a bad start, but it’s not even close to being finished. There are a number of fairly obvious issues.

  1. It’s clear that some areas are very WIP, especially around the framework surrounding the windshield.
  2. The GT63s has some fairly hard edges that define the hood, side panels, wheel well, and so on. Your model has none of that detail.
  3. Auto exteriors are generally built from a series of separate panels that hook into the frame. For example, the door is a separate object, but so is the hood, the corner panels, etc. While you could still cut your model into those sections, isolating them early on as unique sub-objects would’ve probably been easier.
  4. The front end doesn’t seem be very GT63s-like. It’s missing numerous elements and just feels abandoned.
  5. Some potentially glaring symmetry issues across the hood and the roof. They’re evident here and VERY evident in the wireframe views.
  6. I think that you’re proportions are a off. Go back and compare it to your reference images. Be especially careful because working from flat blueprints isn’t the same as working from photos. Working from photos can be beneficial for when you’re working in perspective correct 3D space. However, you’re going to run into problems when you hit your orthographic viewports. Matching elements up will be a pain in the butt, tbh. On the flipside, working from flat blueprints (if you have them) makes modeling from ortho views easier, but can be a little tricky when you try to use them in perspective views. IOW, if your working camera projection is wildly different than your reference material, you might be in for a few headaches. Tweaking vertices in one view ends up messing with its spacial alignment in another. You’ll spend more time tweaking points and edges than is absolutely necessary if you’re not careful.

TIP: If you’re going to model exclusively with perspective enabled, see if you can match your camera settings to those used in the photo. Default FOV and such for 3D cameras tend to differ from real world cameras. Matching settings minimizes potentially odd distortion and makes it SO much easier if you want to integrate your finished model with a photo plate.)

One final, very important tip… DON’T sell this model. I’m serious. Why?

  1. It’s nowhere near finished. Not even close. Honestly, feels like it was ripped from some game’s alpha test. It’s that raw. At this stage, it’s most definitely not worth $60. Sell ANY model in this unfinished state and you’ll end up creating a bad reputation for yourself. Be known for quality workmanship. Aim for that.
  2. You’ve got Mercedes logo work on the model. You’re opening yourself up to a world of hurt. Car manufacturers have become VERY protective of their IP in recent years. That model won’t last long online and will probably get yanked at Mercedes’ request. Doubly true since you’re profiting off of their legally protected and defensible IP. Pretty sure that a number of forum members have run into this problem over the years, much to their chagrin.
  3. Since you have no license to the Mercedes IP or branding, no, this is not a good model for game developers. Racing game developers typically pay licensing fees to use those well known, branded vehicle designs. When it’s impossible or too expensive for them to get those licenses, they just come up with their own versions that are just (legally) different enough to avoid nasty lawsuits. Your model, being unlicensed, would be of zero use to pro developers.

My opinion? If you remove the branding, rejig the body design as to make it seem LESS like somebody else’s, finish it properly… THEN it might be worth putting up for sale and buying, depending on topology and poly count - of course.


#3

Not sure whether you’re being extremely naive asking for critique after the fact or simply just taking the piss…but yeah, either way please do take it down and save yourself at least the embarrassment of assigning a laughably overpriced cost for which seems at a glance, an hour or two worth (…if that!) of ‘work’ outputting a less than favorable, outcome.

Now on the other hand, if indeed there’s a shred of seriousness here?!

Then a few points to keep in mind generating class A authored content, for realtime environments:

For Example:
LowPoly Mercedes AMG GT63 2019

Lastly, from memory spanning 16 years as a 3D Artist. I recall just two instances where automotive manufacturers sought legal recourse against 3rd party publishing of their individual protected IP but for clarity’s sake both defendants were high profile entities with very deep pockets.

So, at the end of the day, responsibility still falls upon a given artist if they so choose to flout copyright law respective too their jurisdiction, regardless of a widely accepted presumption:

“I don’t make enough for the big boys to bother with”


#4

I don’t think that it’s either. He’s got an ArtStation portfolio full of this caliber of work that dates back as far as a year. This is not a joke post and I feel that he’s very serious about showing off his stuff. It’s clear that he’s proud of his accomplishment(s), but you know the story:

He either doesn’t get/request serious feedback, only gets “great job” responses, doesn’t take direction, or thinks that he knows better because nobody “gets his style.” Alternatively, it could be an issue of somebody who feels this raw sense of achievement and personal growth, but can’t see his work for what it is compared to what else is out there. Consequently, because he feels super awesome, he overvalues his work and believes that it deserves validation on a level not yet reached.

I can relate because, some 26 years ago, I applied for a job at studio in Texas. I got called in for a phone interview and thought that I was the s-h-i-t shit. Totally.The first words out of hiring manager’s mouth were, “So, yeah. I’ve looked over your portfolio. What exactly is so special about your work?” I felt crushed. I was so proud of my work that I was blind to the sort of competition I was really facing. I was totally out of my depth. Completely and utterly. It was a nice splash of cold water and dose of reality that forced me to take a step back and work even harder to improve. If I didn’t have an objective eye before, I certainly grew one after that. :slight_smile:

Generally, the problems with the OP’s stuff are pretty simple.

  1. Much of his work feels unfinished and abandoned. I don’t know if it’s because he gets bored after a certain point or what, but it all has this Ed Wood type quality where he just takes one pass at it and then moves onto the next piece. No self-evalution. One take and done.
  2. If he has references, well, he’s either not using them properly or just not enough.
  3. He’s trying to master the tools, but not the techniques or underlying concepts. He’s learning the how, but not the why.
  4. His grasp of traditional art theory and anatomy are rudimentary. Whatever he might know, well, he’s not connecting the pieces.
  5. It looks like he’s trying to tackle everything all at once. It’s the sort of problem we tend to see with sculpting newbies who don’t understand that you can’t block and do fine detail at the same time. Otherwise, you’ll end up with a gnarled, malformed mess. There’s no sense that he iterates, moving (and polishing) from the general to the specific.

I sense, perhaps, that he’s in dire need of a breakthrough. We’ve all had them. You’re learning and progressing, but the curve reaches this plateau at some point. You might not grow much for weeks, months, or even years. Then, suddenly, something finally clicks and you hit this amazing growth spurt.

Practice makes perfect, but it really does takes a “eureka” moment sometimes to drive you forward past your personal wall. Unfortunately, there’s no telling what his breakthrough moment will be. It’s different for everybody. For me, it was the moment when I decided to fiddle around with real clay. After, I could finally understand the connection between the digital tools and the traditional concepts that actually birthed them.

I don’t think that the OP is trolling the board. I don’t. Seriously. He’s been at it [CG] for a year plus now. That’s one helluva long game for a troll. Too long. He’s on the level. I just think that he needs more “real talk” feedback and a bit of a reality check to push him on the right path towards true mastery, or at least enough to where he could sell/show his work.


#5

After 24 years on these forums, I lose track of what thread was where and on what site. CG Talk. Polycount. Cubebrush. It all sort of blurs together at some point. I do know, however, that there have been numerous incidents where people have had such models yanked from online markets. Naturally, it’s all anecdotal, but reports of this behavior is not all that uncommon. Whether it’s the market removing them out of an abundance of caution or they received DMCA take down requests, I don’t know. Either way, it all come down to IP. My take on the whole matter is, if I didn’t make it or it doesn’t pass the fair use “sniff test”, I’m going to try and steer clear of it. Better safe than sorry.


#6

Ok fair enough, may’ve jumped the gun a bit with my accusatory tone, although to be honest it’s not unreasonable to suggest that the same could not be said if posted 10 or so years ago on this board.

I’d dread to think of the ‘feedback’ the OP might have attracted then…just say’n.


#7

Thats great


#8

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