Torbjorn Laedre, our tech lead, and I worked together in a previous company and shipped two Unity-based games together. A game industry veteran, he’s the backbone of our productions.

I joined Unity in 2014 as the writer/director and only artist of our previous demo “The Blacksmith”, which was revealed in March 2015. Robert Cupisz, who had been a graphics programmer in Unity with the focus on lighting for several years, decided to join the demo team soon after. When we needed to expand the team, I reached back to some of the most talented people I had worked with before, and that’s how our Animation Director Krasimir Nechevski and 3D Artist Plamen ‘Paco’ Tamnev came on board.

Most people on the team had some Unity experience already, and some picked it up when they started. We are always working with upcoming and experimental Unity features during our productions, checking them out and feedbacking to developers, so there are always new things to learn.

What were the main features and parts of Unity 5 that you wanted to showcase from with this amazing project? What are the technical highlights of the ‘Adam’ film?

We wanted to put to test the upcoming SSRR and temporal anti-aliasing effects, which are already available as packages on the Asset Store. In “The Blacksmith” demo, we had deliberately avoided having very reflective surfaces. But this time, the existence of these effects called for pushing them to their limits, so already at the early stages of ideation, I was thinking about a story which was bound to include lots of shiny metal.

We were already well familiar with the physically based shading in Unity 5, but while in “The Blacksmith” we explored more natural materials (wood, leather, cloth, stone), in “Adam” it was time to expand the palette with more variety, so we included artificial, industrial ones (metal, rubber, plastic, concrete).