Creating a Stylized VR World with UE4 and ZBrush
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by Hannah Cuthbertson
3 hours ago

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by Rowlan
16 hours ago

If you go for Unity and Biomes, as you wrote in your article, please do support Vegetation Studio Pro. Your work is awesome, can't wait to see it on the store.

by Dara Burke
17 hours ago

Great breakdown of the process and optimization, thanks for sharing.

Creating a Stylized VR World with UE4 and ZBrush
1 October, 2017
News

Secret Sorcery shared a nice story on how the team created the worlds of Tethered with the help of ZBrush, Substance Painter and Unreal Engine 4. The game is all about brights colors and a hand-painted style, so what are the tricks behind the production.

Here are two tips to get you excited: 

05. Batch texture rocks

A Substance Painter template is perfect for texturing a load of rocks

Once sculpted, a template file is created using Substance Painter. By layering up tones using MG mask builders, the goal here was to highlight the rock edges, with tints of green within the occluded areas to help push the forms of the bold rock surfaces.

With this template file setup, all rocks for subsequent levels can then be batch processed for efficiency and continuity by simply changing the project mesh, high mesh and re-baking.

06. Generate the custom landscape

Unreal Engine’s landscape system is full of navigational benefits

With the landscape layout locked down, we can now use Unreal Engine’s landscape system for the raft of navigational benefits that it can offer. The proxy terrain is imported into ZBrush and with the level that’s been viewed top-down, the document is ZGrabbed to create a heightmap.

The heightmap is then imported straight into the Unreal Engine 4 landscape system and, with a bit of tweaking, it creates an almost identical layout as the proxy mesh that was provided. From here the sculpting tools within the landscape system can be used to refine any areas that didn’t quite transfer correctly.

 Andrew Entwistle 

Make sure to read the full article here

This article was originally published in 3D World issue 225.

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