As a collaborative effort, this project was completed with former colleague Bryan Bothwell. Our aim was to explore the science fiction genre through a more intimate setting than the frigid and empty expanse of a cargo hold, hangar, or hallway. This cave serves as an ancient, sacred place where Venusians come to appeal to their deities and the powers that be.
Thank you to SilverTm at the Unreal Marketplace for the ivy blueprint.
All other assets were created by Bryan and myself.
All other assets were created by Bryan and myself.
PROGRAMS USED: 3DS Max, ZBrush, Substance Painter, Marmoset Toolbag, Unreal Engine.
During the process, I worked on asset creation and environment art direction: specifically the organic props and foliage assets. My time was spent sculpting and texturing the cave walls and steps featured in the tunnel, developing the rock and plant props and their shape language to fill the scene, modifying foliage textures, and the first pass of asset integration and set dressing.
Plants and rocks were modeled in 3DSMax, sculpted in ZBrush, and textured in Substance Painter.
Bryan focused on hard surface assets and larger props, as well as further implementations in engine; a second pass of set dressing, skybox, water shader, and caustics effects. Both my partner and I were responsible for set dressing, lighting, and compositing.
Bryan focused on hard surface assets and larger props, as well as further implementations in engine; a second pass of set dressing, skybox, water shader, and caustics effects. Both my partner and I were responsible for set dressing, lighting, and compositing.
Find more of Bryan Bothwell's work here.
Six rock assets with various glyphs. Rocks can be turned, scaled, and rotated in engine
to populate a scene. Emissive color and intensity can be adjusted in engine, or turned off completely.
Three alien plant assets with a varying number of clusters
that can be scaled, turned, and rotated in engine to populate a scene.
A tunnel within the cave that was sculpted in ZBrush initially and placed in scene.
The cave tunnel is broken up into nine meshes, each utilizing procedural materials and trim sheets.