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I don’t know how much artists were drawing, compiling for the console and viewing on a TV to make pixel by pixel adjustments.
It’s inevitably highly variable, but many computers at the time supported composite-out natively, as it couldn’t always be guaranteed that a consumer would be able to afford a dedicated monitor as well. This was less common on PC’s, but Amiga’s (Deluxe Paint’s native environment) and Atari ST’s both came with composite out built-in. It wouldn’t have been difficult at the time for an artist at a game studio to mirror their high-definition monitor output on a standard composite TV to have a real-time comparison, and make adjustments to suit the fuzzyness of a consumer TV.
The bigger Japanese studios developing for the home-consoles of the 80’s and 90’s would’ve had access to custom development hardware and software specific to each console, but even then, they would usually have a lower-res TV nearby to see how their zoomed in sprite-work on an RGB monitor would translate to a TV, you can see an example of that from a dev-station at nintento, working on Mario 3:
(Picture source is from this video, which goes into more detail on how games were developed in that period).
I could be wrong but I think that photo shows the workflow I was describing, the PC compiles and loads the game onto the console that runs it. You can run it and see how it looks, and while no doubt streamlined, makes the act of drawing and viewing the final output a bit disconnected.
That said I seem to be totally proved wrong by another part of the video showing hardware I’d never heard of, the Sega Digitizer System. It looks like a tool to draw with a reference screen that’s updated in real time. It seems really helpful for drawing sprites in situ and surely enabled artists to fine tune pixels to look good on the monitor.
It’s inevitably highly variable, but many computers at the time supported composite-out natively, as it couldn’t always be guaranteed that a consumer would be able to afford a dedicated monitor as well. This was less common on PC’s, but Amiga’s (Deluxe Paint’s native environment) and Atari ST’s both came with composite out built-in. It wouldn’t have been difficult at the time for an artist at a game studio to mirror their high-definition monitor output on a standard composite TV to have a real-time comparison, and make adjustments to suit the fuzzyness of a consumer TV.
The bigger Japanese studios developing for the home-consoles of the 80’s and 90’s would’ve had access to custom development hardware and software specific to each console, but even then, they would usually have a lower-res TV nearby to see how their zoomed in sprite-work on an RGB monitor would translate to a TV, you can see an example of that from a dev-station at nintento, working on Mario 3:
(Picture source is from this video, which goes into more detail on how games were developed in that period).
I could be wrong but I think that photo shows the workflow I was describing, the PC compiles and loads the game onto the console that runs it. You can run it and see how it looks, and while no doubt streamlined, makes the act of drawing and viewing the final output a bit disconnected.
That said I seem to be totally proved wrong by another part of the video showing hardware I’d never heard of, the Sega Digitizer System. It looks like a tool to draw with a reference screen that’s updated in real time. It seems really helpful for drawing sprites in situ and surely enabled artists to fine tune pixels to look good on the monitor.