During the process, I worked on asset creation and environment. My time was spent sculpting and texturing the cave walls and steps featured in the tunnel, developing props such as rocks and plants to fill the scene, modifying foliage textures, and the first pass of set dressing, importing assets, and material setup in engine.
Plants and rocks were modeled in 3DSMax, sculpted in ZBrush, and textured in Substance Painter. Using Unreal Engine, we composited the scene and arranged the assets we completed to create a compelling space, utilizing 2k PBR textures. Bryan focused more 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 were added. Both my partner and I were responsible for set dressing, lighting, and compositing.
Find more of Bryan Bothwell's work here.
Environment captured in Unreal Engine.
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 and placed in scene.
The cave tunnel is broken up into nine meshes, each with their own texture set.
Individual environment assets rendered in Marmoset Toolbag.