LAYA GO
Technical Artist/ 3D Artist/ Scene Design
LAYA GO is an Unreal project that was developed in the workshop hosted by CG ARK in November of last year. I had the honor of participating in this workshop and collaborating with three capable partners to build a complete scene from concept to actual construction within three weeks. In this project, I served as the technical artist and 3D artist and was responsible for creating the sea water, including depth shaders, shaders for various glowing plants, and employing Speed Tree to create models of giant trees.
Worldview
In a near-future world devastated by global warming and rogue robots, humans have found refuge in a cave protected by massive trees. Fluorescent plants at the entrance deter the aggressive robots, allowing humans to survive in this underground sanctuary.
Worldview
In a near-future world devastated by global warming and rogue robots, humans have found refuge in a cave protected by massive trees. Fluorescent plants at the entrance deter the aggressive robots, allowing humans to survive in this underground sanctuary.
Technical Detail
Ocean refraction and transparency simulation
For this scenario, my aim was to replicate the ocean as closely as possible to its real-world counterpart. To achieve this, I sought out depth information and camera positioning in order to accurately capture the varying reflections of the water.
Procedural tree generation
To create a unique giant tree efficiently, I utilized Speed Tree's node - based approach for tree construction, incorporating additional objects in Maya, and finally applied realistic materials using Quixel Mixer.
Development Process
Our development methodology comprised of an initial quick blockout to establish object placement, followed by proportion adjustments. Once this was completed, a lighting test was conducted, culminating in the final assembly of all detailed models.
Ocean refraction and transparency simulation
For this scenario, my aim was to replicate the ocean as closely as possible to its real-world counterpart. To achieve this, I sought out depth information and camera positioning in order to accurately capture the varying reflections of the water.
Procedural tree generation
To create a unique giant tree efficiently, I utilized Speed Tree's node - based approach for tree construction, incorporating additional objects in Maya, and finally applied realistic materials using Quixel Mixer.
Development Process
Our development methodology comprised of an initial quick blockout to establish object placement, followed by proportion adjustments. Once this was completed, a lighting test was conducted, culminating in the final assembly of all detailed models.
