This interior scene was created in Maya and Unreal Engine.

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The 3D modelling, UV and layout work was produced in Maya. Additional textures were created in Substance Painter.

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I did have stock furniture and smaller props from another project that were used to dress the set.

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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.

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I chose an overcast image to simulate normal lighting conditions in the UK for a bit more of a familiar context.

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The viewer can move around the set to view any detail or area of the room.

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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.

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A typical workflow example within an Art Department might be as follows:

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- 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.

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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.

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