Realistic EVA Unit-02 Beta With Booster In Substance 3D & UE5

Introduction

My name is Xiaorui Ma, and I am an Assistant Art Manager and 3D Hard Surface Modeler at Six Foot. With six years of experience in the game industry, I specialize in creating high-quality weapon and vehicle models for AAA titles. My journey into 3D art began with a deep-rooted passion for drawing and fine arts, heavily inspired by Japanese animations from the late '80s to the early 2000s.

Growing up in the '90s with a love for Japanese anime, I was naturally drawn to figure collecting, especially Eva figures from renowned manufacturers like Bandai and Kotobukiya. This fascination with intricately designed models sparked my interest in 3D art during college in 2016, where I began to seriously explore my passion. Initially, I focused on modifying existing artworks to create replaceable kits using ZBrush. Despite having no formal training in 3D modeling – my major was in 2D concept art – I was determined to learn.

The real turning point came when I pursued my master's degree at SMU Guildhall in the U.S. This experience allowed me to dive deep into the standard production pipelines of the gaming industry. I taught myself many industry-standard 3D software programs during this period, and after landing my first job at Six Foot, I continued to expand my skills with tools like Blender and Plasticity.

Throughout my career, I've had the opportunity to work on a variety of exciting projects. At Six Foot, I contributed to the environment and hard surface art for major IPs such as Dreadnought and Wanted: Dead. In addition to my work in the gaming industry, I've been involved in three indie projects that successfully launched on Steam and Google Play.

Beyond gaming, I've also created 3D print replaceable kit packages for 3A Toys and Kotobukiya for non-commercial use, and I'm a regular contributor to Wonder Festival Shanghai as part of a third-party studio.

Evangelion Unit-02 Beta Project

I initiated the Evangelion Unit-02 Beta Project during my spare time as a way to expand upon my previous work, which focused on Evangelion figures rendered in a toy style. My goal with this project was to showcase my versatility in adapting to different art styles and push the boundaries of my creativity.

I was particularly inspired by Albin Merle, an incredibly talented 3D Generalist. His work on the Space Shuttle Atlantis posted four years ago, demonstrated an impressive level of dedication and skill, which motivated me to take on a large-scale project. I wanted to use this opportunity to display my ability to manage complex projects and create high-quality assets suitable for both cinematic and game industry standards.

With the growing trend of artists using Blender and Unreal Engine 5 for portfolio creation, I saw this project as a chance to demonstrate my technical skills in a game-oriented engine. While Marmoset Toolbar is often regarded as the standard for 3D portfolio rendering, its optimization for offline rendering can sometimes mask the true quality of texturing. This can create a significant gap between portfolio renders and actual in-game renders. By using UE5, I aimed to create renders that more accurately represent the in-game assets.

References

References play a crucial role in 3D art, especially when texturing assets with a specific vision in mind. For this project, I drew inspiration from concept art by Studio Khara and video references from the Evangelion: Q 3.333 Blu-ray content. I also gathered references from the movie itself, as well as from various sci-fi and mechanical content, to add depth and detail to the model.

Here's how I approached the project:

• Modeling Phase: I used concepts, official production documents, and screenshots from the movie as primary references.
• Redesign Phase: For surface details and design elements, I focused on incorporating intricate patterns and hard surface details.
• Hard Surface Style Phase: This involved adding secondary curved surface designs and paneling.
• Rendering Phase: I took inspiration from toy renders, movie visuals, look development resources, and ArtStation portfolios to guide the final look of the model.

One of the challenges I aimed to tackle was elevating the asset quality to the next level. Traditional Japanese animation designs, particularly mechs, are often simplified for animation purposes, emphasizing clean, readable linework. These designs are typically less complex than what we see in modern video games, which makes translating a 2D animation design into a realistic 3D model challenging. The risk is that it might end up looking too much like a toy or a CG render.

There's no single approach to using references, but when creating assets that haven't been made before, it's essential to test, combine, and refine existing elements. Finding a style close to your vision and learning from reality are key steps in the process.

Here are five typical ways to use references in art creation:

1. Create assets for concept usage (procedural).
2. Create assets based on reality (mimicking existing real-world content).
3. Create assets with a complete art guide, working closely with concept artists.
4. Create assets based on an existing style.
5. Create assets based on original research.

The fifth approach – creating assets based on original research – is the most challenging, but it was my chosen path for this project. My aim was to explore new styles and learn how to add logical detail to an existing design. Additionally, I wanted to fully control the rendering outcome by using a more complex system like Unreal Engine. While Marmoset Toolbag is optimized for portfolio rendering, it can sometimes conceal issues that become apparent when the assets are used directly in a game engine. By using Unreal Engine, I aimed to produce a more authentic representation of the model's in-game performance.

Modeling

For the modeling process, I primarily used Blender, utilizing a technique known as flow modeling, which is my standard approach to asset creation.

Tips and Tricks:

1. Creating Key Outlines/Silhouettes: Start by establishing the key outlines or silhouette of the 3D object. Think of this step as laying down the wires that define the shape of your asset.
2. Key Checking Points: Regularly check your shape orthographically in a 2D view. This helps you ensure the consistency of key outlines and evaluate the curved features. When creating organic shapes, remember that no two key outlines will be identical.
3. Surface Examination: Pay close attention to the surfaces, ensuring that their shape is well-defined and that the topology is smooth and even.

Topology

When it comes to topology, I employ a few tricks to streamline the process. For polygon modeling, I rarely use support edges for high-poly creation. Instead, I've found a more efficient method in Blender. I start with mid-poly creation using creases and subdivisions and then apply a bevel modifier for the final high-poly model. This approach allows me to achieve perfect shading without relying on traditional support loops or what is typically considered "industry-standard" geometry.

You can see above even without supporting loops or "industry standard" good geo, the shading still looks perfect.

UV unwrapping:

1. Initial Unwrap: I use Blender's UV Smart Projection for the initial pass, marking seams based on the existing layout. For the final check, I refine the seams as needed. For hard surface UV creation, I often use the "Select Sharp Edges" feature, then mark sharp edges and seams accordingly.
2. Custom UV Checker: To ensure all UV islands are organized and facing the same direction, I use a custom UV checker. This helps maintain a consistent and clean layout.
3. Refine UV Rooms: I will enlarge the smallest parts to give them more texture resolution and to make the most use of wasting UV rooms.

I use UV Machine specifically to optimize my UV layout, taking advantage of its highly efficient UV packing algorithm. This tool allows me to arrange UVs based on materials or UDIMs, ensuring that the layout is both organized and space-efficient.

Texturing

I begin by setting up the main materials, starting with the base color for each material. From there, I focus on the top three materials that dominate the asset in terms of quantity. These serve as a foundation for the rest of the texturing process. Once these primary materials are established, I move on to more precise materials that I'm confident with, using them as benchmarks for the entire project.

I categorize materials into groups such as metal, plastic, and painted surfaces, though these categories can vary depending on the asset. It's common for these categories to overlap during texturing, which I manage accordingly. For the texturing process, I use Substance 3D Painter, applying textures to each material in a specific, methodical order to ensure consistency and quality across the asset.

This image showcases the basic structure of one material, the other material is a modified version of this one.

Color management is a crucial but complex aspect of texturing, especially when working across different software with varying color space presets. Since each software handles color spaces differently, it can be challenging to maintain color consistency across platforms. For example, textures created in Substance 3D Painter using the default color space settings may display differently in Unreal Engine 5 or Marmoset Toolbag, even if you use the same lighting setups. It's important to note that while color management won't magically improve your texture quality or render, it does keep your color production logical and manageable.

Key stages of color management:

1. Understanding Gamma Correction: Most monitors automatically gamma-correct the images we see, meaning the colors we perceive are already adjusted. Typically, a 2.2 gamma curve is applied to linear color values to simulate natural vision. This gamma correction is what allows us to produce and view colors that appear accurate post-gamma.
2. Software and Engine Compatibility: Different software and rendering engines have unique presets for input recognition and color calculations. This means that the same texture might look different depending on the software or engine used. Understanding the input format and calculation settings of each engine is essential to ensure that your textures are rendered correctly.
3. Color Correction and Look Development: Once color consistency is managed, you can focus on color correction to achieve the desired visual outcome. This stage, often referred to as look development, is crucial for directing the final appearance of your renders.

By carefully managing these stages, I ensure that the colors in my textures remain consistent across different software and engines, allowing for a cohesive and polished final product.

Lighting and Rendering

For the final model, I used only two UDIM textures, carefully scaling the asset slightly smaller than its real-life size to make lighting more manageable within Unreal Engine. I employed a standard light rig structure to compose the lighting:

1. Environment Light: This provides support for reflections and sets the overall mood. While I used to rely on cube maps for Skylight, many artists prefer HDRI maps for their full light rig. However, HDRI maps are often more effective for smaller assets like weapons or vehicles. For larger assets, they don't provide enough lighting diversity, so I adjusted my approach accordingly.
2. Main Light: This light source is crucial for showcasing how the asset is illuminated, as it casts the primary shadows. I mostly use RectLights for cinematic scenes because they produce softer shadows and contribute to a more realistic appearance.
3. Support Light: This light breaks up shapes in the shadowed areas. Here, I also use Rectlights to maintain high quality.
4. Rim Light: To highlight the silhouette of the asset, I use Directional Light, which emphasizes the edges and enhances the overall form.

I utilized cinematic cameras for the final render, adjusting the screen percentage custom override to 200 for higher render quality during screenshots. This setting ensures that the rendered output is crisp and detailed.

Unreal Engine 5 differs from Marmoset Toolbag in that it's primarily a real-time render engine rather than an offline one. The default settings in UE5 are optimized for gameplay, which can significantly impact render quality.

For cinematic rendering, I focused on several key render settings. I didn't use Nanite, as it's more suited for environmental projects, nor did I use Lumen, although I might explore comparisons later. While Nanite can resolve some tangent display problems, it often just masks these issues. Instead, I manually tweaked the normal and tangent settings for my assets to ensure accurate rendering. By default, UE5 import settings can lead to normal display issues.

Working with decal meshes on large assets in UE5 can lead to display problems, especially if the decal is translucent and the shader is complex. The mesh might disappear or glitch. While decal cards can sometimes replace decal meshes, they aren’t always feasible due to complexity. I adjusted settings to mitigate these issues as much as possible.

UE5 has a system called the texture streaming pool, which is useful for testing asset efficiency. However, if the pool size is too small, it can cause display issues, such as textures not appearing correctly. To address this, I increased the texture streaming pool size, and for cinematic purposes, I disabled texture streaming for certain textures. Additionally, I used texture streaming stats to monitor and resolve any streaming issues, ensuring the render quality remained high.

Conclusion

The main challenge of this project was its extensive scope. To manage it effectively, I had to develop a proper Asset Development List (ADL) to estimate and organize my workflow. This project took over 600 hours to complete, requiring a great deal of persistence and self-confidence throughout the process. Along the way, I gained a deeper understanding of color management, look development, lighting, texturing, and render optimization. The technical knowledge I acquired in computer graphics during this journey was both challenging and rewarding.

This project also honed my design skills, particularly in integrating real-life design details into a game asset. Sometimes, a design can appear more complex than it actually is at first glance. To reach a true level of complexity, you need to research and understand the elements that contribute to that visual complexity rather than just assuming it's inherently intricate. It's essential to allow yourself time to explore different approaches and see how they fit your assets. While working within an existing art style can be a shortcut into the game industry, it's not the only way. Real-life design offers a vast, copyright-free resource that can inspire and elevate your work.

Future Plans for Evangelion

I have exciting plans for future Evangelion projects, including Unit 5, Unit 2 γ, Unit 8 β, Unit 8 ICC, and Unit 2 Booster, all slated for toy manufacturing next year. I plan to sell these models at the Wonder Festival, utilizing a one-day copyright from Khara. As usual, these models will be rendered with a toy-style look.

This year, I've already applied for the one-day copyright at Wonder Festival Shanghai 2024. My lineup includes the Evangelion Production Model-08γ, Evangelion Unit-04 (Rapidborer Equipment), and Evangelion Unit-02α-EIV replaceable kits for the Kotobukiya Evangelion series. 3D printing and toy production are other topics I'm passionate about, and I may delve into them further in the future. You can check out my past works on ArtStation, including Units 9 through 12. I take pride in creating obscure models and pushing the boundaries of design.

Turning Animated Inspiration into Realistic Projects

Transforming animated inspiration into a realistic project can be quite tricky, especially with mechs like Evangelion that have highly stylized designs suited for 2D animation. The closest realistic reference I found was the Pachinko cinematic shots. The challenge of achieving realism increases with the size and complexity of the 2D animated object. For instance, the latest Gundam series on Netflix, produced in Unreal Engine, achieves a cinematic feel but still retains a CG look.

My advice for creating realistic projects inspired by animation is to use live-action movies as references. Observing how animated characters or props are translated into a realistic style in live-action films can provide valuable insights for achieving a similar look in your own work.

Advice for Beginners

Understanding and evaluating the structure of a model is crucial. It helps you focus on overall design consistency, layering, and surface characteristics. Whether you're modeling or sculpting, the core challenges you face remain the same: dealing with surface properties, partitions, patterns, curves, and shape designs. Using procedural textures can be a quick way to achieve concept-like renders.

For beginners, starting with small or mid-sized assets like weapons or vehicles is a smart move, as these allow you to focus on creating well-considered and detailed textures without becoming overwhelmed. Creating appealing props doesn't t mean making every detail perfect. In reality, due to time constraints, most artists can't fully polish every part of an asset, which is why camera-based renderings are so common – anything outside the camera's view may not be as refined. To create appealing props, you can set up scenes and cameras strategically to highlight the best aspects of your work while masking less polished areas. However, always be aware of the parts you didn't fully develop, as these gaps can impact the overall quality of your project.

Lighting plays a vital role in showcasing your hard work. It can significantly enhance the appearance of your textures, even if they aren't perfect. Experiment with HDRI maps and main lighting to find the best setup for your prop. HDRI is particularly important for lighting smaller assets. I recommend finding render references to help you define the mood or look development direction you're aiming for – this will guide your choice of HDRI maps and lighting strategies.

Feel free to connect on LinkedIn and follow on X/Twitter. Cheers!

Xiaorui Ma, Hard Surface Artist

Interview conducted by Gloria Levine