My goal when making the wall materials was to guide the player’s eye movement by dividing it into at least two different colors or materials. Designer made this process incredibly easy as I could just create the height of the new trim and the feed it into an empty place of the main chain of the graph and it would propagate through the entire material and all like edgewear, grunge, etc would be updated for the material. The process was sort of similar when I made my trim materials and throughout the process, I kept adding more and more trims to the textures as the project went on when a new specific trim were called for. At the very end I usually go for a global grunge pass adding dust, sand, dirt etc to tie all of the elements together into one cohesive material for that extra finish. I start by gathering references, then I work my way through from macro to micro details and when I feel like I have nailed the forms I move on to the roughness pass and lastly the albedo. To keep everything sort of consistent in scale and texel density I made my tiling materials representing 2 metres per 1024×1024 texture but authored everything at 2048×2048 in case I wanted to go higher at some point.Īs for the creation itself, I’m going to sound boring but I’m pretty much doing the same things most people do. I chose this as I needed a flexible and iterative center point that could permeate through all other aspects of the process. MaterialsĪll the tiling materials and trim materials were made in Designer. While I had to make a few unique meshes for certain cases the majority of meshes could be reused in several parts of the environment, again trying to stick to my original goal with game ready optimization. All of the mesh related stuff were made in 3ds Max. But when correctly mapped with trim-textures they faked a bit of intricacy enough to sell the setting. As such many of the models were extremely simple geometry-wize. My goal here was to make the materials express this elegant feeling which meant that I could skimp out on building more intricate models in order to reach the same goal. The architecture is very Victorian and I tried to make it look elegant but not too flashy. This change gave me the space I was looking for and it also allowed me to take better images compositional-wise following the rule of thirds and other techniques, which can be a bit hard sometimes when dealing with corridors. So to counter this I went with a high field of view between 90-100 degrees while also widened the aspect ratio. While this resulted in the scene feeling more eerie I felt it leaned too much towards the horror side and the goal was to make something in between that and a calm soothing feeling. I tried various types of field of views and aspect ratios in the beginning and very quickly found the scene to feel a bit claustrophobic. The biggest drawback was of course that the props suffered a bit in terms of uniqueness which in the end wasn’t a big deal because the assets themselves weren’t really the focus of the scene. The draw call count was also kept to a very low number thanks to this. By going with trim textures combined with tiling textures it not only saved me several days of work but also maintained a consistency across the border in terms of texel density and material quality as making one change to a material would propagate to all other instances. In the end I think only one prop was uniquely textured, which one it is is up to you to guess. I realized at that point, (about day two in production) that I wouldn’t be able to make everything, so I opted for a quantity over quality approach by utilizing trim textures for most of the modules and props. When the my first blockouts and materials were ready I compiled a list of stuff that I needed to include into the scene and the sheer amount of assets quickly became daunting given the timeframe I had for the scene.
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