This presentation is part of my talk at the FMX 2013 conference in Stuttgart. The session goes through the different phases of the art production, from concepting to full production. Tiago Sousa describes some of the technical features implemented to create one of the best visual experience to date in a video game.
Official Nanosuit renders used in a few magazine covers for the release of Crysis 3. Fully rendered in real-time.
Notice: no overpainting at all was involved in the creation of these pictures, which is extremely rare when it comes to magazine covers.
Realtime renders of the aliens of Crysis 3, with in-game assets and high quality realtime studio lighting.
Official in-game screenshots captured for Crysis 3 release, featuring the single player campaign. No retouching. Fully representative of the final game.
Notice: these images are captured while playing, thus some of them might present relatively strong in-game realtime object motion blur.
Official renders captured for the release of Crysis 3, featuring the 7 main environments of the single player campaign. 100% realtime, no retouching. Representative of the final game.
Notice: some assets might have been hidden from a couple of scenes before capture, in order to prevent spoilers.
Marketing renders of the Nanosuit. 100% realtime, 0% Photoshop. Fully rendered in Crysis 3 Editor with in-game assets and medium-high poly Nanosuit.
Marketing screenshot of “Psycho”, one of the main characters of Crysis 3. 100% realtime lighting and postprocessing with in-game character.
First official in-game screenshots of the Fields environment, presented to the press in November and December 2012. 100% realtime. 0% Photoshop.
First official screenshots of the E3 demo of Crysis 3, featuring large scale environment with sandbox gameplay. 100% ingame realtime lighting!
Official screenshots for the announcement of Crysis 3 in April 2012. Realtime environment and lighting with high poly nanosuit model.
