Following is a brief description of the processes that went into the creation of Circadia (final images & videos on my profile), from 3D environment & prop creation in Blender, to 3D model texturing in Substance right through into finalisation & optimisation in Unreal Engine 4.

Aesthetic inspiration for this project came in three broad categories: 3D video games/experiences, 2D animation and concept art. From the start I pursued a retro-futurist appearance, and as such took a great amount of inspiration from Star Wars (both classic and modern),  Ridley Scott's Alien and Neon Genesis Evangelion.

Working with Blender built on both my previous experience in my first, second & third years at University.

I used numerous processes which are evidenced here and visible in the final project:

-Basic shape creation and movement tools.

-Bevel, inset-face and extrusion tools to create smooth edges and more complex geometry.

-More advanced individual vertex slide and snapping controls, allowing me to maintain very strict measurements.

-Subdivision tools to effectively create precise extrusions to exact measurements

-Array modifiers to create repeating patterns.

-Spline and ‘path’ mechanics, used to draw out a 2D path to then have a tube-shaped mesh follow to create dynamically shaped objects such as handles, pipes etc.

-Mirror modifiers in order to create symmetrical models, often along two axis at once.

-Creating custom Normal Map stamps to be used in Substance Painter, giving me the ability to add detail to my models without straining my hardware.

-Optimisation passes, ensuring that every Vertex, Edge and Face were totally necessary.

-Meticulous manual UV unwrapping of each of my models.

-Assessing models in Unreal Engine throughout to make sure the scale and aesthetics were exactly what I wanted.

Every base material used in Circadia was created from an array of presets made with Substance Designer. This comprehensive set covered metals and plastics as well as miscellaneous materials like fabrics & rubbers. I exposed a few parameters for each of these to grant me more control later in Substance Painter.

Pictured here are my custom 3D models textured to various finishes within the software, demonstrating the use of:

-Base texture application and polishing

-The use of Generators  to create and control realistic edge ear and recess weathering.

-Emissive painting & masking, allowing me to paint on lights.

-Painting on Heightmap details such as panel lines, reccesses and other details.

-Painting on Normal Map details to create strong illusions of  3D detail, such as panels, bolts and miscellaneous sci fi effects.

-Adding and blending in Decals/Atlases of things such as arrows, lettering, warning signs etc. These had to be custom weathered in order to make them not seem out of place.

All told, I textured about 45 models for this project.

The final stage would be to bring together the disparate parts of my project into Unreal Engine and make something of them. Some of the steps taken include:

-Used blocking geometry to build up a sense of space and scale.

-Import all my 3D models, marrying them to my Substance textures.

-Build and arrange the scene according to my initial spatial study. I created BluePrints of some sections whereby I could drag everything I needed and instance the template wherever it was needed (aiding optimisation).

-Created Spline meshes, used for both piping and wiring as I could drag them out to set length and then have nice smooth curves around corners quickly and effectively.

-Applying decals.

-Planet & skybox creation. I used a planet generation tool whereby I could input my parameters and it would generate a planet texture to my specifications. This was paired with Unreal Engine's atmosphere systems to create an effective planet suitable for a backdop.

-World lighting, making use of multiple lighting channels to dynamically light my interior, exterior and backdrop separately.

-Detail lighting using a combination of baked and movable lights.

-Creation of atmospheric fog. As I’m not on the surface of a planet, Unreal Engine's HeightFog was unavailable to me so I had to make my own. I created a Particle system where it would spawn once and hold its position forever, creating a subtle fog.

-Other particle effects such as steam (designed to come out of vents) a subtle heat shimmer effect as well as an ambient reflective dust gave the scene some life.

-Post Processing to give it a retro look, using grain, grain jitter, a pallid green-blue colour grading, bloom, lens flares and chromatic aberration.

-Animations were created as seen in the attached video. Everything was done using keyframe animation within Unreal Engine and designed to mesh with the interaction system.

-Interaction system was needed that was made in UE4’s Level Blueprint. Using the node system I built up a network of trigger boxes in the level  that would allow the player to hit a key to make a sequence of events occur. Some of these actions weren’t interacted with via a key press, but entering the trigger zone would make them occur naturally.

-Experimented with cloth physics, seen in the yellow sci-fi looking mesh hanging from walls and ceilings. This is effected by gravity and movement entirely in real time.