Virtual Art Production - Window Room
This interior scene was created in Maya and Unreal Engine.
The 3D modelling, UV and layout work was produced in Maya. Additional textures were created in Substance Painter.
I did have stock furniture and smaller props from another project that were used to dress the set.
All assets were imported into Unreal Engine where the textures were connected to shaders and applied to the models.
The lighting was created using a HDRI and a directional light. The same HDRI was used for the background to provide consistency.
I chose an overcast image to simulate normal lighting conditions in the UK for a bit more of a familiar context.
The viewer can move around the set to view any detail or area of the room.
This project provides an example of work that can be created to help Art Directors and Production Designers visualise set designs in 3D before committing to constructing them for filming - potentially saving time and money for the production.
A typical workflow example within an Art Department might be as follows:
- Receive CAD/Rhino files from the Art Department.
- Clean up/optimise geometry from CAD/Rhino for VR use within Unreal Engine.
- UV geometry for texturing and lightmass baking in Unreal Engine.
- Create textures in Substance Painter/Photoshop
- Import geometry and textures into Unreal Engine
- Apply textures to shaders which are applied to geometry.
- Create lighting for the set.
- Create camera/player movement and additional functionality so the user can move around the set.
The above is a small list of the work that needs to be created to make the set suitable for VR. Additional optimising/procedures are also required.
The set can either be viewed on a computer monitor, large TV, IPad or headset and can be controlled either using VR joysticks or an IPad.