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Sunny Picnic
Softwares: Unreal Engine 4, Maya, Substance Designer and Painter
Responsible for layout, lighting, look development, and texturing. Models from CG Trader and Turbosquid. HDRI from PolyHaven. References from Unsplash.
This was my first project utilizing real time rendering with Unreal Engine 4. I loved getting to explore the engine through lighting and materials, especially through the use of raytracing later in the project. Geometry and UV edits were completed in Maya, procedural materials were created in Designer and applied to meshes in Painter, and then all assets were brought into Unreal for material set up, lighting, and final export.
I completed this project over the course of 10 weeks in three parts: a materials exploration, manufactured materials, and organic materials. Once these primary sections were completed, I went back and made several improvements and edits including switching to raytracing. The piece also is comprised of both a new and old version of the scene. This page will go through each section of the project with the breakdowns for that section, and then a final adjustments section which goes over the final improvements made to the scene.
This project was completed with the help of several resources including:
https://docs.unrealengine.com/4.27/en-US/
https://docs.unrealengine.com/4.26/en-US/
https://forums.unrealengine.com/
http://wiki.polycount.com/wiki/GrassTechnique
https://www.palmpiraban.com/salmon-steak
https://genlifx.com/miscs/2022/03/08/creating-realistic-fruits-in-ue4-with-substance-suite/
Scene Reference and Inspiration
Part One: Material Exploration
For this portion of the project, the I developed three procedural materials in Designer and applied them to a sphere and cube in Unreal. These three materials were later applied to models in the picnic scene, with an old version as well.
Because the focus of this part was manufactured materials, in some cases emission is used to fake the look of subsurface scattering.
Model Sheets
Part Two: Manufactured Materials
For this next part of the project, I developed the remainder of my manufactured materials for the scene in Designer and then applied them in Painter. I then created an old version for each material in Painter. Maps were then brought into Unreal to set up the shaders. Wherever a map was not needed, I used a constant node switched to a parameter for efficient use in a material instance. I also utilized multiply and add nodes with constant parameters to edit maps in Unreal.
Because the focus of this part was also manufactured materials, in some cases emission is used to fake the look of subsurface scattering.
Model Sheets
