One of the rules for the programmers was not to create the "engine for the engine's sake", meaning to only create coding for mechanics which would serve a purpose. Rather than keep with a third-party engine, the purpose-built engine was proposed by Takeuchi since it would be for the next-generation console, would be designed specifically for the game, and could be of use for later games in the series. As it was found that the PlayStation 4 could not load MT Framework properly at the time and wasn't PBR ready, it was decided the game would be developed in Unity for approximately a year as a purpose-built engine was devised. Prototype development began as a "grey box" demo, which could be added to over time. The downside to the proposal was that a studio had to be constructed, which was finished at the end of 2014, using 150 high-performance digital cameras. With enemies planned to be mostly human-based the use of photogrammetry was also offered for humanoid enemies by taking photographs of actors wearing prosphetics. Whereas the department was expected to take some forty days of work to finish individual objects, photogrammetry took only twenty days and a single photography session. The system, which converts digital photographs of real life people and objects into 3D objects for games, was found to half design time. To save money on the design budget as Takeuchi envisioned, artist Makoto Fukui proposed that photogrammetry be used to create objects. Though they enjoyed their great freedom, the lack of a script meant the proposed cast and their designs could radically change. Art design gradually evolved to consist of three leads: Hiroyuki Chi who would propose an idea, art director Tomonori Takano draw it, and Toshihiko Tsuda who would explain its purpose. Rather than drawing settings and characters to fit an established plot, it was decided instead the scenario would be created based around designs. The art department was given great freedom in visualising the game. Used as a proof-of-concept piece, the core team was happy to find it was well-liked by the staff. Early staff members would watch the film to get an idea of Takeuchi's and Nakanishi's intended style, and the derelict house was used as the basis of the guest house in the finished game. Takeuchi had Toshihiko Tsuda create a short film which visualised his idea of the game, a first-person view of a corridor in a derelict house where the character is harassed by a ghostly woman in a dress. The unease they felt while recording their experiences would serve as insight into how to keep the player feeling tense, as well as inspiration for the Sewer Gators subplot and found footage element. To get inspiration for a realistic derelict house, Nakanishi had the core team tour Osaka for abandoned, supposedly haunted houses. Early-developmentĮarly production began in March with the founding of three departments: Prototype development, art design and engine development, with the intention of creating a playable section of the game. Makoto Kodono was also hired as Project Manager to handle the administration. Takeuchi's core team consisted of Kawata and Tsuyoshi Kanda as producers and Kōshi Nakanishi as director. Reminding himself of his work for the original Resident Evil, Takeuchi wanted the story to be contained within an isolated house, echoing both the original game as well as The Evil Dead, which Masachika Kawata watched for further insight. Online play was rejected due to concerns a two-player horror game would be practical, while an open-world setting was rejected due to the belief that by keeping a more constricted setting it would be of greater visual quality. Focus on atmospheric horror and item management were agreed upon. In the first two months a development team of ten people was formed, and they began listing things what to and not to have in the game, based on Takeuchi asking what Resident Evil meant to them. He also gave himself the duty of finding a cost-effective solution to art design, the price for AAA development of which was becoming a serious problem for Japanese gaming. Wanting a new Resident Evil title in development after Resident Evil: Revelations 2's release, the game was greenlit for a second time, now with Takeuchi in charge. On 4 January 2014 Capcom CEO Kenzo Tsuhimoto personally telephoned Jun Takeuchi, who had previously produced Resident Evil 5. An attempted sequel to the game produced by Masachika Kawata in the same style was cancelled in 2013 as a result of this reception. The game, while Capcom's second-highest selling title, received mixed-reception due in large part to its increased focus on gameplay over atmosphere, which alienated older fans of the series. Resident Evil 7: Biohazard's genesis originates with 2012's Resident Evil 6.
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