Author: gregremote@gmail.com

Big milestone today — the storyboards for Time Shock’s first cutscene are done. This is the opening sequence that sets the stage for the entire game: the inciting moment that pulls the player into the conflict across timelines, establishes the threat, and gives context to the vehicle combat chaos that follows. Getting it right on paper before committing to animation was essential, and we’re happy with where it landed. The boards cover shot composition, pacing, camera movement, and key story beats. Having this visual blueprint locked down means the next phase can move forward with confidence What’s next: Animation. We’ll be bringing the storyboards to life and integrating the sequence directly into the game. That’s the real test — how […]

Read More… from Storyboards Complete for Time Shock’s First Cutscene

People have been asking, so I wanted to walk through how I create my artwork with AI. First I start with a pose. This can come from anywhere really. This is from a pack I purchased online. Then a rough Photoshop sketch is created. Then I use control net and SDXL, which I run out of ComfyUI and Stable Diffusion. I generate a lot of images in this phase, often bringing them back into Photoshop to edit and refine. Then I use Z-Image and an image to image technique to add realism, improve backgrounds. This gets me pretty close, but I go after an anime art style. I have created a custom Lora from my image cbring ollections takes images […]

Read More… from AI Art: Reforging Tutorial

Quick note on how I’m using AI—and why an art background counts more than ever. The zone is flooded with mediocre AI art. Anybody can make their fantasy dreams come true in under a minute and practically free. That doesn’t make their dream any good.

I come into this with decades in the industry: drawing classes, art history, design work, production pipelines. Learning anatomy, composition, value, color theory. Studying painters. Shipping real projects. That foundation is still doing most of the heavy lifting.

I have been drawing all of my life, worked in the game and video industry in L.A., and have a career in design. AI is now an essential part of my concept workflow. Not as a replacement for fundamentals, butt as a productivity tool.v […]

Read More… from Space Pirates: New Concept Art Charts a Grittier Future

Another shift in my workflow is using image to 3D to help with creating models.

You can start with any image, traditional, AI, 2D paintover, and feed it into a 3D pipeline to get a respectable model almost immediately now. This technology has come a long way. In minutes, you’ve got geometry and textures that you can build upon, reforge, detail, retopo. […]

Read More… from 2D to 3D: A Revolution in Modeling

This is what “reforging” looks like when I create a AI art.

I usually start with pose reference. Real photos. I bring those into Photoshop, push the pose, proportions, and silhouette until the foundation feels right. 

From there, I run it through image models to clean it up and push toward photoreal. Sometimes I’ll try different background passes with tools like Nanobanana or Seadream, to explore mood and context. Props get rendered separately and composited back in Photoshop. Weapons, gear, accessories, most often handled as their own pieces. […]

Read More… from Dev Log: Reforging