Train Interior in 3D: Lighting, Materials, Details
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Love your stuff! thanks for the info. You achieve surprising graphics using Unity which is great news.

is that images related to coc generals 2? zero hour ?

by Nils Arenz
18 hours ago

@Tristan: I studied computergrafics for 5 years. I'm making 3D art now since about half a year fulltime, but I had some experience before that. Its hard to focus on one thing, it took me half a year to understand most of the vegetation creation pipelines. For speeding up your workflow maybe spend a bit time with the megascans library. Making 3D vegetation starts from going outside for photoscanns to profiling your assets. Start with one thing and master this. @Maxime: The difference between my technique and Z-passing on distant objects is quiet the same. (- the higher vertex count) I would start using this at about 10-15m+. In this inner radius you are using (mostly high) cascaded shadows, the less the shader complexety in this areas, the less the shader instructions. When I started this project, the polycount was a bit to high. Now I found the best balance between a "lowpoly" mesh and the less possible overdraw. The conclusion of this technique is easily using a slightly higher vertex count on the mesh for reducing the quad overdraw and shader complexity. In matters visual quality a "high poly" plant will allways look better than a blade of grass on a plane.

Train Interior in 3D: Lighting, Materials, Details
17 July, 2017

Abigail Jameson talked about the production of her amazing train interior and shared the way she builds materials, assets and lighting.


My name is Abigail Jameson, I’m 20 years old, and I have recently finished my second year at Teesside university studying a (BA Hons) in computer games art. I began learning 3D two years ago, and I am currently developing my skills, with the intention of becoming an environment artist.

In this past year, I have worked on university focused projects, individually as well as in a group. However I hope to continue learning and developing for my final year project, that I am due to create next year.


The main aim of my project was to develop my skills in accurate hard surface modelling as well as detailed and realistic texturing. Furthermore, I wanted to further develop my engine skills in lighting and creating atmosphere, as well as my UE4 technical skills, for example creating my own master materials.


I was first inspired to create the subway from a trip I took to New York last year, however I was also inspired by various TV series, such as Mad Men which inspired me to create something using a 1960’s aesthetic.

I initially spent a lot of time gathering references/resources, looking at areas such as the materials, colours, compositions and 1960’s advertising. However, I eventually choose a key image that I aimed to reproduce. 

Modeling: As I aimed to get my subway looking as accurate as possible I set up perspective match within 3DS Maxe (This is a good video tutorial on setting that up!). This allowed me to model very precisely. Making the subway modular was rather instinctive as the components were simply repeated several times down the carriage.

Below shows my wireframe, and how it is matched to my main reference image, the wireframe colour also shows the different modular pieces.

My general modeling pipeline was to create a mid-poly, then deriving a high and low poly from that, I then baked the high poly down using Marmoset Toolbag 3. I then evaluated if extra normal map detail was needed such as screws, bolts etc, and add them in NDO. (I would highly recommend these alphas!)

Project Management: As I created each modular piece I put it into a spreadsheet which helped me to greater organise my project, understand my progression and decide what was my next priority. 


Texturing: I used PBR for all my textures and they were mostly made with a mixture of Quixel Suite and Substance Painter.

I really like how in depth Quixel’s materials are, especially the metals, however, I find it is more efficient in substance painter to add greater levels of grime and dirt. Therefore, I would start with the ‘base material’ in Quixel and then import it into substance painter, if needed to add more wear and tear.

In Substance Painter I just used simple dirt and edge wear mask and altered the parameters until I got to my desired outcome. It may not look like much but It makes a huge difference overall! In this image, I also added extra detail to the roughness map.

The floor material was made slightly different using substance designer, I ended up doing various iterations based on feedback from friends and online, and it was one the most challenging materials to get right. I found it best to create a clean version to begin with, and then create a damaged/cracked version, which I then vertex painted in engine. 

This was the progression of texture passes throughout the project, which took a lot of iterating to get it right. 

One my favourite parts of the project was adding all the advertising posters, I ended up having around 30 different posters, because I loved how much life and interest it added to the scene,as well as breaking up the modularity.

Smart Materials

Master Materials: To really push my materials further and save time I created a master material, this meant I could make simple adjustments in engine to aspects such as the albedo hue and saturation, roughness and metallic values. 

My master material also allowed me to separate my textures into metallic and non-metallic parts, and edit each of the roughness separately, which was extremely helpful and time saving. I also set up to my master material to change the intensity in select parts on the normal by running it through a mask, however, I didn’t really use this in the end. 


Lighting: My first initial lighting was rather messy, I would just simply add lights as I went along to try and match it to the image. Later in the project I did a secondary lighting pass where I relit the scene, reduced the amount of lights I used, and ensured they were more organized. 

In the end, I only used two lights in my scene a low fill light and a spot light, which were duplicated around the scene where needed. The two major settings that I used were;

  • Making sure inverse squared was turned off, so I had a more precise control over light intensity.

  • Using a IES Texture on the spotlights, this helped to create a more realistic falloff.

To really ensure my lighting was correct I turned my scene and reference image to greyscale, this meant that I had no areas of complete black or white, which can wash out areas of an environment. In addition, I used a couple of reflection captures for adding extra realism.

Post Processing: I really enjoy experimenting a lot with post processing, as it can completely change the look and feel of any environment and can be very rewarding. 

LUT: I also took time to create various LUT tables to look at how I could change the colours and atmosphere of my scene, I would recommend this tutorial for a quick overview of how to set it up. 


Final Thoughts: I defiantly feel that I accomplished what I initially set out to do with this, and creating my own master material saved a huge amount of time. However, I did still find the texturing really challenging, and I still feel it needs some tweaks around the floor area. Furthermore, I would have loved to have created some more props for the scene such as a briefcase or child’s toy to embed some narrative, which is something I am aiming to explore in my next project.

In conclusion, I would defiantly recommend spending some time setting up a master materials with the parameters that would benefit your scene the most, as well as taking the time to experiment with various post processing values, which really helps to improve on reference material and the make the scene your own.

Abigail Jameson, Student, Computer Games Artist

Interview conducted by Kirill Tokarev

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