Amazing art. I'm curious how the rocks manage to be such a natural part of the terrain! It really looks like they have been there for ages.
Great job and very inspiring! Thanks for sharing.
Frankly I do not understand why we talk about the past of this CEO. As a player I do not care about what he did or not until his games are good. As an Environmental Artist instead I see a game with a shaky graphics. It is completely without personality, emotion and involvement. It can hardly be considered acceptable especially for the 2019 platforms (which I understand will be the target of this game). Well, this is probably an indie group, with no experience facing a first game in the real market. And that's fine. Do the best you can that even if you fail, you will learn and do better. From a technical point of view the method you are using is very old. It can work but not as you are doing it. I bet you're using Unity, it's easy to see that since I see assets from their asset store. Break your landscapes more, they are too monotonous and contact real 3D artists and level designers. One last thing, the last screenshot is worse than all the previous ones. The lights are wrong and everything screams disaster. Avoid similar disasters in the future.
Gastón Suárez Pastor, a 3D artist from Buenos Aires, Argentina, who specializes in architectural visualization talked to Allegorithmic about the way he uses Substance tools for his daily tasks.
Here is a screen capture of the Painter layer stack for the metal structure and a render done with Corona. (I came up with that material in no more than an hour.)
Trying to do that the traditional way in 3DS Max would have taken me hours, even a day or so of tweaking, blending, and editing textures, and it wouldn’t have turned out so well.
On top of that, I can have a very specific material for every piece of geometry. All of them will be different but at the same time alike: you can see the metal structure as an element made of one single type of material, but every single pice in that model is unique because of the accumulated dirt, scratches, edge wear, and all of the great effects that Substance Painter puts at your fingertips mostly by the push of a button. That is amazing. Doing it the traditional way is a pain.
This image features materials created in Substance Designer and painted with Substance Painter:
The floors were done with Substance Designer. Again, these are super-simple materials (my first ones), but I insist on the face that I was able to achieve these results with almost zero knowledge of the software, which I think is really cool.
This one is a great example of what I said in the forum about recreating very low-res textures from the only original reference we could find. For the floor, it was a small sample in its original size: 205×205. Thanks to Substance Designer, we ended up with a beautiful 4K texture with a lot of details and all of its maps. Just wonderful.
This was going to be the tiles for the kitchen and then we decided to go with brand-new metro tiles, but I kind of liked this material. I exposed some parameters to make it newer and and more detoriated. I’ll surely use it somewhere else.
In your opinion, what is the future of archviz in architecture?
I think (or at least I hope) that PBR will become a standard at some point and realtime archviz will take a bigger role not only for animation or walkthroughs but for rendering still images as well. If you see the work of Koola or UE4Arch, among many others, their quality is amazing and there are some shots where you won’t be able to tell the difference between Unreal Engine and a passive renderer. Working in real time is such a great thing.
What are your future projects?
I’m actually beginning a new sandbox archviz project where the main goal is to fully texture the scene within Substance Designer and render both in Corona and Unreal Engine 4 to compare the quality. I’m also setting up a store where assets compatible with Corona/Vray and Unreal Engine, with complete texture sets and LODs, will be available. There will also be a section with free stuff.
Finally, I’m currently working on several commissioned projects from clients in Norway, Finland and Sweden with a great number of open environments and nature. I am putting a lot of Substance into them.