Myles Lambert is a Freelance artist who has worked on series including Wolfenstein, Gears of War and Batman: Arkham.
Hell Knight introduction – Doom 318 May, 2020
The Hell Knight adorns the Doom 3 box artwork. The monster is also featured in arguably the best cinematic sequence of the entire videogame.
The Marauder – A love letter8 May, 2020
The Marauder is one the most significant and divisive additions to the Doom franchise. Personally, I love him. Here's a few reasons why.
For week four, I've decided to break the habit of the lifetime and actually try to make some of the results here vaguely useful. I emphasise the term vaguely.
We're into week three of my self/Covid-19-isolation imposed daily photogrammetry challenge. I honestly thought I'd get bored and pack it in after one day. Go me.
Week One's entries to my daily photogrammetry challenge, revolved around Doom. This week I'm going with a similar theme - our garden.
Robert Hodri is a Senior 3D artist at id Software, having most recently worked on Doom: Eternal. He was kind enough to answer some questions about his experience in the games industry.
Opening cutscene – F.E.A.R.22 March, 2020
I kick off my obsession with game cinematics, with a shooter often overlooked in retrospective discussion of action games at the time. 2005's F.E.A.R.
Previously, Tom and I created the single greatest hyperreality game experience known to man. Today, we raise the quality to diety-like standards.
Hyperreality Target Practice – Building hyperreality games, Part One21 November, 2019
It's time to take our awesome new motion capture stage and create something that could actually resemble a game. I emphasise my use of the term 'could'.
T-Rex follow-up – Laser Scanning v Close Range Photogrammetry11 November, 2019
I recently compared laser scanning with photogrammetry for creating game assets, to see which would be the superior approach. Turns out, combining both might actually be the preferable solution.
T-Rex Skull – Laser Scanning v Close Range Photogrammetry4 November, 2019
Laser scanning and close range photogrammetry go head to head. Which will transpire to be the superior solution for getting my lovely, replica Tyrannosaurus Rex skull into a game engine?
Laser scanning my face into Unreal Engine 4 (and id Tech 4)16 September, 2019
Can you imagine a bigger waste of time for a game engine? Except for Alien: Colonial Marines, Lawbreakers and anything Peter Molyneux released post Lionhead Studios.
Building hyperreality games – Introduction2 September, 2019
Our motion capture stage at Staffordshire University was recently the subject of a massive upgrade. One of the benefits of which is live streaming into game engines such as our beloved UE4.
I recently put together a small journal entry which explains some key lighting principles, demonstrated as predictably as ever with Unreal Engine 4.
An introduction to lighting using Unreal Engine 415 January, 2019
Despite what my portfolio might lead you to believe, creating a compelling sense of tone, mood and narrative through lighting requires more than just chucking a load of blobs at the screen and hoping for the best.