This is one of the refreshing, holiday scenes that typically inspire me (and make me nostalgic when I live far from the ocean). I first tried to process in Substance Alchemist some sand and pebble surface scans I did in Brittany a while ago, but lighting conditions on the field were not perfect and my scans were not good either, so I went for a material study in Substance Designer instead. This is what I came up with.
The material is 100% procedural, created in Substance Designer and rendered in Blender Eevee.
Some reference pictures from Beg an Dorchenn, Plomeur, France:
Some shader and particle study I did after work for the last couple of days, playing with Shuriken particles, Amplify Shader Editor and ShaderGraph in Unity 2020.3 and URP. This is spontaneous inspiration (the effect isn’t based on any particular reference), although there might be some seismic charge influence from Star Wars.
No VFX Graph here. I wanted to make some simple game fx, to work on basic features such as dissolve effects, shockwaves, distortion, and experiment a bit more with custom vertex streams to make the most of what shaders can do and avoid using scripts to controle them. The whole fx uses a single packed texture of noises and patterns I imported from Substance Designer.
Shader for the solid sphere:
Shader for the custom distortion effect:
I came back to it a few times to adjust the timing, bring improvements on the different parts and add some camera effect.
From something that looked quite linear at the beginning I managed to get to more interesting and punchier results I am starting to be happy with, although it could still be improved on some aspects (optimizing shaders, removing artifacts, adjusting timing again…).
First glimpse of my graduation project, a game demo running on PS4 which we worked on as a team of four people.
This is a third person adventure game featuring live combats against otherworldly creatures. The player is invited to explore an old temple from which these creatures first appeared and unveil the mystery of their origin.
Along with a team mate, my tasks focused on creating and building the environment (mostly modular). I played a part in the lighting and the visual effects, like the torches and some particle systems.
The demo had to run at 60 fps on PS4, and was made with Unity 2017.
Here is a first overview of my second end year project: a medieval / fantasy scene made with Unity 5.
Time was running out and this is what I managed to do before submitting the work.
Specific shaders were provided to improve the performances on the target platform (GPD-Q9 with Android 4.4).
Everything is there: A landscape generated with WorldMachine, a sky, a castle, a forge, some trees, rocks and medieval props.
There are a few things that need to be reworked, like the lighting of the interior as you may have noticed. I also plan to create more foliage, improve some textures and tweak the moods, among other things, so I can bring more variety and harmony to the whole.
Finally. Here is an overview of my very first modular game environment created and rendered in Unreal Engine 4.15, for an end-of-year project.
This is a living room which is part of a space bioengineering laboratory.
The story behind tells us that some advanced alien civilisation invested an asteroid, trying to recreate a habitable biosphere after their star died and blew up their home planet (hence the project name Revive).
The scene consists of about 70 different modular units and props, created in 3ds Max.
The maximum texture resolution allowed for this project was 2048*2048. Also I could only have 1 material ID per object. For all the 3D assets (except the organic elements) I decided to use 1 texture set, which I progressively filled up throughout the process, primarily in Photoshop.
The main shader uses:
– Diffuse RGB texture,
– Normal RGB texture,
– Emissive RGB texture,
– Roughness, Metalness, AO and Opacity mask packed in one RGBA texture,
– A triplanar mapped dirt texture.
Textures used for all props and modular units.
The final render looks very new, clean and shiny, but since we are in a bioenginiering lab it makes sense, somehow.
Hey, this is Frank! In fact I don’t know his name. But he is a very good scientist, working at some bioengineering laboratory in… well, in space. On an asteroïd. Yes. That’s it. I will explain everything, just later.He (we assume Frank) is part of my end-of-year project (which is coming next).
The high poly model was done entirely in Zbrush (including the high frequencies of the organic).
It was the first time I worked hard surfaces in Zbrush.
I did a retopo in 3D-Coat, then I exported to Maya to tweak the UVs, skinned the model onto an existing rig, and some other adjustments. The final low poly model counts about 30k tris.
I did some vertex painting in Zbrush to bake the colors into an ID map in xNormal, along with a first Normal map, AO and Curvature before importing everything in Substance Painter to finish the texturing.
Then I integrated Frank in Unreal, tweaked the shaders and made him use his legs a little bit.
Making a humanoid reptilian Character was part of the original request. I didn’t want to go for a feroce space tyrex in steel armor with a lasergun, I went for a … let say a peaceful scientist thinking of his own place in the universe when he raises his look towards the cosmic space the eyes full of wonders…
An arrangement of modular rocks sculpted in Zbrush and textured in 3DCoat.
The final set has 11 rock units and a polycount of about 14k tris.
Roughness, Albedo/Color and Normal map:
Rendered in UE4 (4K textures) (do not pay attention to that random ground texture):
I wanted to make them look realistic so I made my textures out of raw pictures (actually of a piece of an old rock wall) that I projected on the low poly models. The cracks and most of the details in the normals come from the baked high poly.
The set also includes 3 little clumps of moss. Timewise not very efficient for filling an entire scene or even covering a single rock with these, but, anyway… this was part of the experiment.