Experimenting with some Sci-Fi design here in Unreal Engine 4 with the main focus on getting a nice motif for the structure and style for the painted metal hull and bulkhead. Started off with some sketches to get the shape in my head and then went straight into fleshing it out in Maya. Initially I modeled the HD version without any wear in Maya with straight up hard surface modelling and then took the frame, pads and footplate into Zbrush for the dents and scratches.
An LD version was created in Maya from the parts and spares I used to create the HD version. Once masks were baked out in Turtle for base color, the paint stripe and scratches etc I created the texture using Photoshop, adding grunge and extra wear to the door scratches from photo reference. Some vert color was added to the LD for the light fitting and the exported into UE4 where I created a simple material and added a directional light and a spot light.
All in all the Door took 20 hours to complete.
Getting stuck into the Photoscan reference from SF Earthworks that I gathered whilst at EA. Never had a chance to really explore these sets till now, so I’m having a lot of fun fleshing these out and developing the process.
Marmoset example is low resolution for quick loading.
- Gather reference images with Sony RX100 M3 and process in Adobe Lightroom export as 8bit Tiffs. Don’t have the power to try 16bit yet.
- Process in Agisoft Photoscan. Once again, not enough power to get the results I would ideally want for production.
- Re-UV scanned mesh for opitmal photo texture baking in Photoscan.
- Bake texture out in Photoscan
- Removed lighting with ambient occlusion bake and edited in Photoshop
- Retouched scan in Maya and patched in bottom section.
- Created low poly bake target in Maya with optimal UV layout and baked Normal and Diffuse textures with Turtle
Mucking around with techniques for sculpting the back wall in the concept image in Zbrush. Made a single brick to duplicate and then sculpt into various pieces with cracks and chips. This was then projected back onto a plane with the vines sculpted over the top with a mask for the cracks. The result, whilst pleasing, is a little too soft and want to achieve a more chiseled look with tighter cracks etc. Will investigate a different technique. Also I would like to achieve a more geometric and precise feel to the vine relief.
Once I have a workflow down I want to create the rest of the room and take it into UE4.
Here are a few VRay renders of an “Off-World Refinery” environment I’m developing which I intend to take into UE4. The premise is a pumping station extracting some form or liquid fuel from deep canyons in a meteorite, off-world mining colony. Make shift conduits are tunneled into the cliffs to pump the fuel to refineries further afield. I’m concentrating on an example of one of the conduits at the moment. The model is still WIP and just sketched in currently.
Modelling wise I was interested in developing a dynamic cable modeling technique which I could use for complex self-colliding cabling which would only require roughly plotting out splines, some passive bodies and a few constraints. I will post an example video of this soon.
Rendering wise I was interested in exploring volumetric fog within VRay, particularly the “VRayEnvronmentFog” as this has been something I have required before and not had the time to test.
Sculpted in Zbrush and rendered in Keyshot. Much more detail to go into the head and still not happy with the proportions but it’s a start. Wanted to start messing around with Keyshot already so here it is…
Whilst developing a workflow for baking out Photoscan data to usable assets for game development I’ve been experimenting with delighting the objects texture based off an Ambient Occlusion lightmap used in Photoshop. You can see a loose workflow in the order of the images in the gallery below.