Looks really really good. The fire is my only issue. It should also have been stylised too with a hand painted look for the fire and smoke. Otherwise 10/10.
how did you made the modular pieces by just magically knowing that you will need those and how you will place them to make the composition? that's the most challenging part for me
hey, the creator here! To answer your question, I started just laying down some basic shapes not thinking about the modularity at that stage, just playing with the composition. Then started breaking it down to modular pieces in a way that seemed to make sense, like separating wall pieces and the arches then creating some detail assets like the ornaments at the top of the walls. When breaking it apart to modular pieces I followed the grid and then I used those to re-assemble my original blockout concept in Unreal, so it is slightly different in the end but can be easily expanded or modified. So before jumping into creating modules it is always good to have a rough blockout of the structure with the main features and shapes. Hope that helps!
Beautiful scene, though my only remark would be : How does one character navigate around the square part of the pool ? It feels not ''gameplay/navigation'' friendly. Damn i wish there were courses on material creations to have this level of control (and i'm not talking about tutorialks where you just copy, but where you understand). It's hard to be a good environment artist without a deep understanding of Shaders and materials inside Unreal.
Question: I'm starting out in environment art and don't have much experience yet. I've noticed that many artists overlap models when building modular environments. Does hidden topology from overlapping meshes cause any performance issues? Is there a step in the workflow I'm missing to address this, or does the game engine optimize for overlapping geometry, making the performance hit negligible?"
Really impressive...question. I see alot of breakdowns and time-lapse of level creation and I see how the creator adds the walls, meshes etc etc but alot of the faces won't be seen. In the past when creating levels. You would turn those faces to not textured or rendered for example in medal of honour or half life to save on optimization. I see people just throw all their models/parts/modules in to create the level and soo much faces that won't get seen are textured. Hope this makes sense?? Why is this a standard now?
Hey! The creator here. Thank you, and to answer your question, you're right, it is still a thing in production! When it comes to creating a somewhat modular kit that you can use for quickly design and build up levels, usually less pieces are better to handle, so at this stage you don't really worry about that. If you would make a unique piece for every possible combination, that would defeat the purpose. However, once you built the level and there are no changes needed, than you can merge your assets accordingly and do a cleanup/optimization pass. In a live production sometimes I do the whole modular building outside the engine and do those optimizations there. But in this case it's not intended for a real game, so that would be just wasted work that only I would know about:) Hope that answers your question!
@@laszwalker amazing answers it perfectly. Your talent is amazing! Love your work! Soo amazing. Thank you for answering. I see soo many videos of level designs and see alot of people putting it all together in the engine but I always wonder of the sides in which the player will never see and what they do for those sides not seen. Normally in old engines like the hammer I would add texture to those unseen sides that don't render for example forgot the name of it maybe it is "noclip" or something like that I forgot the name. But still it was useful as it didn't show the side not seen and only the side seen in FPS or 3rd person view. I am creating a game and likely to use UE5, so thinking to either create the walls/floors etc in the engine or in blender and module or not so just thinking of the sides never seen in game.
@@indianastilts With UE, you also have to keep in mind, that f.e. Lumen requires a minimum thickness of meshes (minimum 10cm/10UE units, better 20cm/UEunits), otherwise, it can/will fail to register them and starts ignoring them for shadow casting and let light pass through them. Result is, that you can have light from the outside shining into technically closed places, where no outside light should be, but Lumen lets it pass through those too thin walls, and you end up with light leaking, in f.e. a cave or a closed room. Until now, Lumen also doesn´t like too large or too complex (labyrinth like) meshes, so having them separated into smaller and not so complex pieces will help you with Lumen too. Distance fields also struggle or fail with thin onesided meshes, so nowadays its often better to use a minimum thickness for meshes - atleast for important meshes like (light blocking) walls.
He's so casual about being an absolute master.
I'm so glad to see this kind of content back with Stylized Station!
What an impressive presentation you did on the environment. Great job
Glad to see SS back to its roots.
You guys should absolutely sell this scene!
This is the BEST type of content. Its very good to see all the process, heps a lot new artists
Really great information! I love these environment breakdowns! I would kill for a course on just these material setups and creation!
Looks really really good. The fire is my only issue. It should also have been stylised too with a hand painted look for the fire and smoke. Otherwise 10/10.
My thoughts exactly!
the texture is a work of art!
This is Gorgeous. Definitely giving Máté a follow.
awesome work
Awesome ❤
FKNG FIRE! 🔥🔥🔥🔥
Nice work!!!
Good stuff guys.
Onya
This gives me some Dishonored vibe for some reason
awesome
holy, another video in just 2 days?
Wow, material setups like this blow my mind. Very curious about the runtime cost of such a thing.
how did you made the modular pieces by just magically knowing that you will need those and how you will place them to make the composition? that's the most challenging part for me
hey, the creator here! To answer your question, I started just laying down some basic shapes not thinking about the modularity at that stage, just playing with the composition. Then started breaking it down to modular pieces in a way that seemed to make sense, like separating wall pieces and the arches then creating some detail assets like the ornaments at the top of the walls. When breaking it apart to modular pieces I followed the grid and then I used those to re-assemble my original blockout concept in Unreal, so it is slightly different in the end but can be easily expanded or modified. So before jumping into creating modules it is always good to have a rough blockout of the structure with the main features and shapes.
Hope that helps!
🤯
Beautiful scene, though my only remark would be : How does one character navigate around the square part of the pool ? It feels not ''gameplay/navigation'' friendly.
Damn i wish there were courses on material creations to have this level of control (and i'm not talking about tutorialks where you just copy, but where you understand).
It's hard to be a good environment artist without a deep understanding of Shaders and materials inside Unreal.
Whats the hdri lighting used?
Question: I'm starting out in environment art and don't have much experience yet.
I've noticed that many artists overlap models when building modular environments.
Does hidden topology from overlapping meshes cause any performance issues?
Is there a step in the workflow I'm missing to address this, or does the game engine optimize for overlapping geometry, making the performance hit negligible?"
Is that possible to buy our material ? Or do you sell whole scene ?
Really impressive...question. I see alot of breakdowns and time-lapse of level creation and I see how the creator adds the walls, meshes etc etc but alot of the faces won't be seen.
In the past when creating levels. You would turn those faces to not textured or rendered for example in medal of honour or half life to save on optimization. I see people just throw all their models/parts/modules in to create the level and soo much faces that won't get seen are textured. Hope this makes sense?? Why is this a standard now?
Hey! The creator here. Thank you, and to answer your question, you're right, it is still a thing in production!
When it comes to creating a somewhat modular kit that you can use for quickly design and build up levels, usually less pieces are better to handle, so at this stage you don't really worry about that. If you would make a unique piece for every possible combination, that would defeat the purpose. However, once you built the level and there are no changes needed, than you can merge your assets accordingly and do a cleanup/optimization pass. In a live production sometimes I do the whole modular building outside the engine and do those optimizations there. But in this case it's not intended for a real game, so that would be just wasted work that only I would know about:)
Hope that answers your question!
@@laszwalker amazing answers it perfectly. Your talent is amazing! Love your work! Soo amazing. Thank you for answering. I see soo many videos of level designs and see alot of people putting it all together in the engine but I always wonder of the sides in which the player will never see and what they do for those sides not seen. Normally in old engines like the hammer I would add texture to those unseen sides that don't render for example forgot the name of it maybe it is "noclip" or something like that I forgot the name. But still it was useful as it didn't show the side not seen and only the side seen in FPS or 3rd person view. I am creating a game and likely to use UE5, so thinking to either create the walls/floors etc in the engine or in blender and module or not so just thinking of the sides never seen in game.
@@indianastilts With UE, you also have to keep in mind, that f.e. Lumen requires a minimum thickness of meshes (minimum 10cm/10UE units, better 20cm/UEunits), otherwise, it can/will fail to register them and starts ignoring them for shadow casting and let light pass through them. Result is, that you can have light from the outside shining into technically closed places, where no outside light should be, but Lumen lets it pass through those too thin walls, and you end up with light leaking, in f.e. a cave or a closed room. Until now, Lumen also doesn´t like too large or too complex (labyrinth like) meshes, so having them separated into smaller and not so complex pieces will help you with Lumen too.
Distance fields also struggle or fail with thin onesided meshes, so nowadays its often better to use a minimum thickness for meshes - atleast for important meshes like (light blocking) walls.
Under 30 minute gang
👇
Hi there, the link to the courses is broken :)
a month long tutorial please
Link to the course: Page not found | 404 😔
Where is the link? Its not working
THE MATERIAL PART WAS HARD FOR ME AS A BEGINNER IN 3D EXCEPT THAT EVERYTHING WAS GOOD