Collaborating with different disciplines has given me insight into their pipeline, techniques and the way they work. We had to communicate with each other to make sure we created an interdisciplinary project where VR, VFX and Animation come together. Using different programs was a challenge, especially since I had never used Unity before. The priority was to make sure my 3D models worked in VR. Sharing with Klaus and Luke allowed us to look at the assignment from a more narrative/art direction point of view. It also forced us to try to live up to expectations and express our concerns when time and programming constraints prevented us from fully realising the original vision.
Since the visuals of the project were not yet fully established, it allowed us to quickly generate ideas and their iterations. While our opinions sometimes differed, we respected each other’s knowledge and creative input and tried to reach a compromise on most of the results. I mainly worked with VR (especially Ria and An), Jess (we were modelling parts of the same building, and we communicated a lot) as well as Klaus, Luke, and Ana (visually and artistically). We went through many test rounds and solving problems was the biggest and most time-consuming part of this project.
If I was working with a client from outside the university, I would have to be more articulate and faster in my work. This was just a test version, so we should have focused on finishing and testing the product instead of making sure every little detail was in line with the client’s vision. Without proper concept art or references, we were forced to constantly change our models, resulting in some geometry issues and a lower-quality final experience. However, I am happy to say that the communication between the VR and VFX students was a strong point of the Departure Lounge.
My role as a 3D Modeller pushed me to work with new software (Substance Painter) and gain more knowledge about retopologising and texturing in Maya. Even though I am not interested in being a modeller, this knowledge will be useful to me when implementing models into the game engine/compositing software (e.g. as Lighting Artist or CG Generalist). This also got me interested in texturing and started researching more about the Texturing Artist position.
In the end, it helped me better understand Virtual Reality and its limitations. Working on this project made me wonder if I would like to work on VFX projects that can be transferred to Virtual Reality. There is potential to create amazing immersive environments and I am interested in working on assignments similar to this.
My goals for the extension period were to focus on fixing UV maps, creating murals and more texturing. It was too late in the project to model anything for the building (except for minor details/small assets) so I wanted like to spend more time on visual work.
Fixed UV Maps
Fixed UV Maps
I had to stick with the 2K resolution maps and fix the pixelation by removing the UV maps on the outside of the building as well as splitting them into more pieces. 2K is the best option for Quest 2 (headset based). If we build in Windows/PC then 4K would be fine. However, for now, we are showing the project in the headset, so we are limited to lower resolutions.
The building needed more texture and colours, but the colours are faded, and there is mould on the walls, decay, and paint chipping off walls. The mural cannot be too detailed since we have only 2K resolution. Water damage/small details, and leaks on the walls might be problematic due to the size of texture maps. Murals shouldn’t include any specific symbolism or be too socialist.
The building needed more textures and colour but they should be faded and with signs of mould, decay, and paint chipping on the walls. Water damage/fine detailing and wall leaks could be problematic due to the size of the texture maps. Murals should not contain any specific symbolism or be too socialist.
Space reference
General Meeting (30/03/23)
Meeting notes:
Bigger hole in the ceiling.
Remove the ramp.
Mural: What questions arise when you look at these paintings? Too white and heteronormative, a good starting point, but not enough. We also need more murals.
Water dripping down the walls.
More water/moss throughout the building.
Degrade textures to make them more varied.
Example:
Here the paint has disappeared or chipped. This is where it remains, but there are also places where there is only concrete underneath.
Due to software constraints, I was unable to work in Substance Painter over the Easter break, so I couldn’t fully realise the creative vision. Doing textures in a limited amount of time resulted in a more cohesive look than a very varied one, but now the paint is chipping off the walls and different colours/concrete/plaster/paint textures in parts of the building.
Placing test murals
General Meeting (11/04/23)
The last meeting was mainly about animation and finishing details and submission requirements.
The idea for the murals was to place a central panel with a family, then “postcards” from around the world on the other panels (between the columns). Image resolution is variable, so my goal was to soften it in this version, and IP issues etc will be dealt with in the next version of the experience.
I received a PDF with our preferences and the asset folder itself. I considered suggestions but ended up choosing more graphic murals (which had less detail) that went together much better. I also faded them and downgraded the paintings to fit the space and give the impression of crumbling walls.
References 01
References 02
References 03
Finishing work:
I worked in Photoshop to give the murals a faded/destroyed effect and blend them better into the space. I tested different paint/colour options and also went back to old textures to see what the murals and mould effect would look like there.
In my opinion, the old surfaces fit the design goals better and reflect a more post-apocalyptic atmosphere, but it could also be because the new textures are not damaged enough. For future assignments, I’d like to go back to painting textures and add more mildew brush effects as well as work with gradients in texture maps.
When creating the UV Maps, I followed several tutorials and used different methods for each element of the model. Most were based on camera view (which turned out to be the most accurate method). Automatic view and circular view were also very helpful (albeit less accurate).
First UV Maps (issues include wrong sewing lines and unused space)
First UV Maps (issues include wrong sewing lines and unused space)
First UV Maps (issues include wrong sewing lines and unused space)
UV Mapping (corridor)
UV Mapping (corridor)
// Error: Unfold3D error: Invalid mesh input: One edge shares more than two polygons (non-manifold edge). //
I couldn’t fix Jess’s (corridor) model, since some UV Maps were not unfolding properly. The Cleanup tool didn’t work either. Instead, we hid issues in Unity and left them on the to-do list for the future. Unfolding broken walls didn’t work either, it looked best in automatic unpacking. Probably because it was an imported model.
Fixing resolution issues with better geometry
Checking UV Maps in Maya
Work process:
Delete old UV Maps>Create Automatic>Unfold>Layout>Check if UVs are looking good.
I had problems with Substance Painter at first because I had never used the program before. The main problems with the first model were:
Mesh normals are invalid (some values are null) and will be recomputed.
[BakingProcess] Can’t create a resource from the baker result: Internal error, null surface.
UV Mapping issues in Substance Painter
Issues with pixelation in Substance Painter
Mesh triangulation solved the baking problem. However, the overlapping UVs could only be read in Maya, not in Substance Painter or Unity, so I had to change them to UV tiles instead. Fortunately, SP can automatically unwrap UV Maps based on cut/unfolded maps, so I was able to just choose that option while preserving the quality of the model. I believe the invalid mesh normals were referring to the fountain frame, so I changed it to the old model (before fixing the non-manifold geometry) and it finally worked fine.
Aligning issues in Unity
Fixing vertices issues after triangulation
Overlapping UV Maps
Overlapping UV Maps
Overlapping UV Maps
Issues with overlapping UV Maps in Substance Painter
Issues with overlapping UV Maps in Unity
Issues with overlapping UV Maps in Unity
Ambient occlusion and normals were causing problems so I baked mesh maps without them. I think the issues were caused by the null surfaces (mesh normals are invalid) and since VR only needed diffuse and normal texture maps, I decided to ignore this issue to save some time. If I had more time, I would like to solve the problem properly.
We’ve encountered more texture issues in the final weeks. To get the puddled effect on the wall, I had to work more with the height map on the floor. I also worked on some additional models, such as a set of barriers.
Texture samples
Substance Painter set-up
Substance Painter set-up
Substance Painter exporting set-up
UV Maps (after corrections):
UV Mapping (floor)
UV Tiles
General Meeting (10/03/23)
Meeting notes:
Mainly discussing the final room/cell.
Adding textures to the final room – green paint, trees, tree wallpapers, and textures from the internet to save time.
Menu/interface in the last room.
Buttons next to the door.
Exit Button Evacuation 3D Model (CG Trader): https://www.cgtrader.com/3d-models/interior/other/exit-button-evacuation
Ticket Barrier Set (Sketchfab): https://sketchfab.com/3d-models/ticket-barrier-set-c54f27db8cbb4da9928f24810426d449
Barriers
Barriers
Destroyed barriers
Textures:
Less rusty, less detail to avoid attracting the viewer to the walls. Lighter, less worn textures, more like the surface of the moon.
Wall paintings, old wallpapers – it used to be not a shabby place.
A large mural above the security entrance.
Combine the waiting room with the corridor.
The Departure Lounge
The Departure Lounge
The Departure Lounge
The Departure Lounge
The Departure Lounge
References:
UV Maps
Adobe Substance 3D (2020) Exporting textures for UV Tile (UDIMs) Projects. Available at: https://www.youtube.com/watch?v=2WG4BaNdrnQ (Accessed: 13 March 2023).
Adobe Substance 3D (2020) Creating a UV Tile (UDIMs) Substance Painter Project. Available at: https://www.youtube.com/watch?v=PJQpB_q4Yl0 (Accessed: 13 March 2023).
Automatic UV mapping. (2022) Available at: https://knowledge.autodesk.com/support/maya/learn-explore/caas/CloudHelp/cloudhelp/2022/ENU/Maya-Modeling/files/GUID-CD17C2C5-A442-4960-91DB-A2E5099EBF61-htm.html (Accessed: 13 March 2023).
CG DOJO (2019) Problem with UVs in Substance Painter. Available at: https://www.youtube.com/watch?v=HDugv1HShAA (Accessed: 13 March 2023).
Crafthive (2021) Master Maya UVs in Less than 5 Minutes. Available at: https://www.youtube.com/watch?v=nXI3V3jvUns (Accessed: 13 March 2023).
Cylindrical UV mapping. (2022) Available at: https://knowledge.autodesk.com/support/maya/learn-explore/caas/CloudHelp/cloudhelp/2022/ENU/Maya-Modeling/files/GUID-06864409-CC4C-4C40-B04D-6D5060A9FEF0-htm.html (Accessed: 13 March 2023).
FlippedNormals (2019) Texture Maps Explained – Essential for All Texture Artists. Available at: https://www.youtube.com/watch?v=ZOHNRlrd1Ak (Accessed: 13 March 2023).
Mapping UVs. (2022) Available at: https://knowledge.autodesk.com/support/maya/learn-explore/caas/CloudHelp/cloudhelp/2022/ENU/Maya-Modeling/files/GUID-F5882F28-2430-4D17-9C30-77B0390727AE-htm.html (Accessed: 13 March 2023).
“Mesh Normals Invalid” when importing mesh. (2021) Available at: https://community.adobe.com/t5/substance-3d-painter-discussions/quot-mesh-normals-invalid-quot-when-importing-mesh/td-p/12490011 (Accessed: 13 March 2023).
On Mars 3D (2021) How to UV Map Complex Objects in Maya. Available at: https://www.youtube.com/watch?v=JiEQNDZapXs (Accessed: 13 March 2023).
On Mars 3D (2020) UV Map Anything in 5 Minutes with Maya. Available at: https://www.youtube.com/watch?v=t5Co6SuzoQw (Accessed: 13 March 2023).
Reverse polygon normals. (2022) Available at: https://knowledge.autodesk.com/support/maya/learn-explore/caas/CloudHelp/cloudhelp/2022/ENU/Maya-Modeling/files/GUID-17593923-D94D-4A8D-AE09-FA4E98FEA197-htm.html (Accessed: 13 March 2023).
Texture is not showing in Maya Viewport. (2021) Available at: https://knowledge.autodesk.com/support/maya/troubleshooting/caas/sfdcarticles/sfdcarticles/Texture-is-not-showing-in-the-viewport.html (Accessed: 13 March 2023).
Triangulating before baking. (2019) Available at: https://substance3d.adobe.com/documentation/bake/triangulating-before-baking-159451841.html#section2 (Accessed: 13 March 2023).
UV mapping tips. (2022) Available at: https://knowledge.autodesk.com/support/maya/learn-explore/caas/CloudHelp/cloudhelp/2022/ENU/Maya-Modeling/files/GUID-1CEF8A5B-1051-40F1-ACFE-F29AD066F56F-htm.html (Accessed: 13 March 2023).
Watch Make Art (2022) UV Unwrap Fast with Auto Seams in Maya Tutorial. Available at: https://www.youtube.com/watch?v=8-TMjuvzZEU (Accessed: 13 March 2023).
ZMan (2020) Displacement Height Map Substance Painter tutorial. Available at: https://www.youtube.com/watch?v=qNh5SLc0y98 (Accessed: 13 March 2023).
Substance Painter
Adobe Substance 3D (2021) Substance 3D Painter First Steps: 01 – Creating a Project, Materials & Masking. Available at: https://www.youtube.com/watch?v=mv6pg1O9vEQ (Accessed: 13 March 2023).
Adobe Substance 3D (2021) Substance 3D Painter First Steps: 02 – Painting Dirt & Stitching. Available at: https://www.youtube.com/watch?v=_wPuzlXjEfQ (Accessed: 13 March 2023).
Adobe Substance 3D (2021) Substance 3D Painter First Steps: 03 – Creating Custom Materials. Available at: https://www.youtube.com/watch?v=iBgVVr5gIww (Accessed: 13 March 2023).
Adobe Substance 3D (2022) Preparing Models for Substance 3D Painter in Maya. Available at: https://www.youtube.com/watch?v=Gkx96GEextY&t=103s
Ambient Occlusion Painting. (2021) Available at: https://substance3d.adobe.com/documentation/spdoc/ambient-occlusion-painting-149291090.html (Accessed: 13 March 2023).
Error and Warning Messages. (2019) Available at: https://substance3d.adobe.com/documentation/bake/error-and-warning-messages-182256994.html (Accessed: 13 March 2023).
Isaac Oster (2020) Game Art Pipeline 27 – Fixing baking errors. Available at: https://www.youtube.com/watch?v=Q1Xex9ePhWc (Accessed: 13 March 2023).
Isaac Oster (2020) Game Art Pipeline 28 – Fixing baking errors 02. Available at: https://www.youtube.com/watch?v=biDJcSZA2J0 (Accessed: 13 March 2023).
JGS R&D (2020) Export Substance painter textures to Unreal and Unity made easy. Available at: https://www.youtube.com/watch?v=oAy3crD9bjQ (Accessed: 13 March 2023).
Rock Moss Set 01 (Poly Haven): https://polyhaven.com/a/rock_moss_set_01
Rock Moss Set 02 (Poly Haven): https://polyhaven.com/a/rock_moss_set_02
Textures:
Crackling Paint On Plaster Wall (Adobe Substance 3D Assets): https://substance3d.adobe.com/assets/allassets/9730a94c0bbc12f4869176e1883cb41d5a7cdf8c?free=true&=rouge%20painting%20painted%20paint%20pigment%20key%20blusher%20paints&sort=-searchScore&u=paint
Heavy Cracked Concrete Sidewalk 01 (Adobe Substance 3D Assets): https://substance3d.adobe.com/assets/allassets/9d7f82eb93b8edaf01d34c14d3c1a1c4b26cb149?free=true&q=concreted%20concretes%20concreting%20concrete&sort=-searchScore&u=concrete
Not all of these resources were used in the final version of the project.
One of my additional tasks this week was resource grouping for VR (plants, debris, etc.). Besides, I continued working on the model (adjusting the scale and details from the meeting). I focused on tweaking the geometry to make everything run smoothly in Unity. It also helped me prepare the model for Substance Painter and test the texturing.
I decided to simplify the model so that I could extrude and bevel it later. I had to redo the lobby several times, changing different methods, pulling out a new floor, etc. Eventually, at some point, something worked (not sure what though, I just kept repeating the steps out of sheer frustration).
I had another problem with the model – after bevelling the edges it showed gaps in Unity but not in Maya. I solved it by triangulating the model (mainly for the substance painter, but it also helped to see these issues in Maya) and manually fixing the vertices.
Aligning issues in Unity
Connecting corridors
Moreover, I have communicated with An exactly what textures VR needs exactly for unity (base colour, height, normality, roughness).
Texture Maps
Overall, it helped me understand topology better and find many ways to solve geometry problems. While it was a frustrating process, I feel more confident in my modelling and retopology skills and know what mistakes to avoid in the future.
General Meeting (03/03/23)
Meeting notes:
The updated list of objects/resources.
Smaller, more rectangular cell – feeling claustrophobic.
At first, we thought the round shape would be more suited to the main space, but the rectangular shape is more like a prison cell, so that needs to be changed. We can keep the curved edges to connect it to the waiting room.
Delivery unit, public toilets – as inspiration.
Possibly add a toilet/sink to the cell?
The central space should be wider – like at the airport.
Make parts of the model collapse – storytelling/guiding the viewer with light.
Hanging objects from the ceiling.
Populate the space and make it more interesting.
Discussion about the inclusion of bins/shelves for personal belongings next to the cells (important for storytelling, encouraging the audience to ask questions about the purpose of this space).
Textures:
Not too much texturing.
Textures should be lighter.
Walls and ceilings need to be the same texture.
Floor – different texture. In general, keep concrete throughout the building and add tile on the waiting room floor – problems with tiles in a circular space?
Green, light blue colours, stained textures.
Asset List
Organisation and communication:
Since our group is quite large, I’ve tried to keep our shared OneDrive as clean as possible and occasionally go through the files, organising them better.
Throughout the project, I constantly checked the models in VR and communicated with other students via messages, online meetings, screenshots, face-to-face meetings, VR videos, etc.
OneDrive
Organisation
Communication with VR (examples)
References:
Animator’s Journey (2022) Non-Manifold Geometry: What Is It And How To Fix It in Autodesk Maya. Available at: https://www.youtube.com/watch?v=BOedalRf1cE (Accessed: 05 March 2023).
CGI Tutorials (2020) Maya Student Support: Welding Detached Edges, Non-Manifold Geometry, Multi-Bevel, Conform Normals. Available at: https://www.youtube.com/watch?v=eysdj9Hm0y4 (Accessed: 05 March 2023).
Manually create or retopologize a mesh with Quad Draw (2023) Available at: https://knowledge.autodesk.com/support/maya/learn-explore/caas/CloudHelp/cloudhelp/2020/ENU/Maya-Modeling/files/GUID-5B9A94A4-1019-49C9-B9F9-9A2ACBB66E1F-htm.html (Accessed: 05 March 2023).
Nexttut (2021) MAYA TUTORIAL | Topology Basics pt1. Available at: https://www.youtube.com/watch?v=O0-JYpxQ3_4 (Accessed: 05 March 2023).
Omi Han! (2020) NonManifold Geometry or Vertices. Available at: https://www.youtube.com/watch?v=Ta5RKlzPlg8 (Accessed: 05 March 2023).
Prabhu Creative Works (2016) What is topology? – It’s Very Useful For Modelling a Perfect Shape. Available at: https://www.youtube.com/watch?v=TuzjKvndW7Y (Accessed: 05 March 2023).
Retopology (2023) Available at: https://knowledge.autodesk.com/support/maya/learn-explore/caas/CloudHelp/cloudhelp/2020/ENU/Maya-Modeling/files/GUID-74867E07-5CCD-4D55-B60B-C90C3AD65DF4-htm.html (Accessed: 05 March 2023).
Retopology Best Practices in Maya for Unity (2022) Available at: https://learn.unity.com/tutorial/retopology-best-practices-in-maya-for-unity# (Accessed: 05 March 2023).
Topology Guides (2021) Available at: https://topologyguides.com/ (Accessed: 05 March 2023).
After last week’s meeting, I spoke to Jess about the division of labour between the two of us. I decided to focus on the main shell of the building and she took on the role of modelling the corridor, and the final room. In this way, we were able to work on the models separately and then combine them. I provided her with curated moodboards and sketches explaining the idea in more detail.
Moodboard 02
Moodboard 02
Throughout the week I created a new mesh. Looking back, I can say that the initial stage of the model was very chaotic, and since I wasn’t sure about the final design, I kept changing details. This caused many problems with the geometry, especially around the thickness and scale of the building. Duplicating the model inside and manually connecting it turned out to be much easier and less problematic than extruding the object. I also split the mesh into different parts to have better control over how the exterior and interior walls connect.
Wireframe
Departure Lounge Model
Achieving thickness through extruding (failed)
Connecting edges (Thickness)
To fix general geometry issues, I had to separate the mesh by duplicating the object and removing parts of it (automatic separation didn’t work). This way I could spot overlapping faces, wrong geometry and much more. I then used non-manifold vertex cleanup on all separate parts to identify even more issues. I also connected all the vertices. I continued to retopologise on separate parts because it was easier than doing it on a complex mesh.
Separating the mesh
When modelling the building, I mainly used the Bridge, Booleans, Insert Edge Loops, Extrude, Target Weld, Multicut and Quad Draw tools. I’ve also taken lots of exact measurements to help with sizing/references. To solve some problems I used Mesh>Remesh and Merge Vertices to Centre. I utilised the Harden/Soften Edge tool from Mesh Display to create smooth edges. It helped me fix small details that looked out of place.
Retopologising
Cleanup Tool
Cleanup Tool
Furthermore, MA VFX had our first collaborative unit presentation.
Later this week we had a meeting with lecturers and external studio partners. We discussed the possibility of purchasing assets within the budget offered by the university as we had many objects to model and very limited time. Ana asked us to make a list of resources and add those we had to model, which we could download for free, and which we had to buy. Trying to stay within a small budget, I found most of the rubble/debris models on the Quixel/Megascans website and used them to fill the space.
Meeting notes:
Less futuristic, more urban, long corridors.
Natural light in the pod (single point of natural light).
Blocking other corridors with assets.
Lower the floor in the corridors and connect them to the building with ramps to give the impression of underground/flooded floors.
Stained, crumbling concrete walls, a larger hall, a wider waiting room.
Fewer windows/glass, more walls.
Paintings/murals on the walls.
Get rid of stairs for VR, but include ramps.
Create five identical corridors – the middle corridor to enter.
After the meeting, we had to work on adapting the entrances to the corridor and the shape of the corridor itself to better fit the whole. Models need to be connected in Maya to avoid problems with Unity. This will also make it easier to place textures in the building.
References:
3DWolf (2022) Maya Tutorial for Beginners | Bevel Tool in Maya 2022. Available at: https://www.youtube.com/watch?v=gknvC3lJyDI (Accessed: 26 February 2023).
CG Artist Academy (2020) Maya Holographic HUD Effect. Available at: https://www.youtube.com/watch?v=68fceb23T10 (Accessed: 26 February 2023).
Extrude > Thickness issue (2020) Available at: https://forums.autodesk.com/t5/maya-modeling/extrude-gt-thickness-issue/td-p/9777769 (Accessed: 26 February 2023)
JL Mussi (2019) Maya Hard Surface Modeling: How To Add Thickness. Available at: https://www.youtube.com/watch?v=GXer5y9PRD0 (Accessed: 26 February 2023).
Maya Tool Thick Extrude (2020) Available at: https://create3dcharacters.com/maya-tool-thick-extrude/ (Accessed: 26 February 2023).
Separate polygon shells into separate meshes. (2020) Available at: https://knowledge.autodesk.com/support/maya/learn-explore/caas/CloudHelp/cloudhelp/2020/ENU/Maya-Modeling/files/GUID-28F8A2CF-DC7B-4669-96C6-7A06C83EAFA3-htm.html (Accessed: 27 February 2023).
Uhr (2018) Maya: Detach and Separate [Polygon Modeling]. Available at: https://www.youtube.com/watch?v=sD7zqekHwHc (Accessed: 27 February 2023).
I began designing the Departure Lounge by exploring brutalist architecture and its defining characteristics. I didn’t want to copy an existing building but instead, take inspiration from the style and create something more unique. It still had to be simple enough to quickly model and implement the mesh in Unity. I had limited time, so the goal was to create a storytelling effect using overall space rather than lots of detail.
Brutalist buildings are characterised by minimalist structures that showcase bare materials and structural elements instead of decorative design. The style often uses exposed, unpainted concrete or brick, angular geometric shapes, and a predominantly monochromatic colour palette; other materials such as steel, timber, and glass are also featured.
Brutalist designs have become the most common in institutional buildings, which do fit in with the function of the Departure Lounge.
Soviet brutalism is characterised by a functional, monolithic appearance, with large concrete buildings dominating the landscape. These structures were often designed to be both practical and imposing, reflecting the ideology of the Soviet state. Many Soviet Brutalist buildings were made with prefabricated concrete panels, allowing for quick and efficient construction.
Function:
New Brutalism is not just an architectural style; it is also a philosophical approach to architectural design, striving to create simple, honest and functional buildings that accommodate their purpose, residents and location. We wanted to think about the functionality of the building, especially the corridors and cells. In addition, they had to stand out against the background of more impressive, representative spaces, such as a hall or waiting room.
We wanted a “brutalist feeling” with a raw, concrete design. Something about the intention of the departure hall contradicts the original socialist intentions of the Brutalist architects, who focused on material rawness and honesty to create the ideal form of housing.
An important theme was the use of light in the narrative spaces to create atmosphere and mood and direct the viewer’s attention to specific areas. My main point of reference was the work of Fabrizio Barozzi and Alberto Veiga, architects known for working with light in a transparent, minimalist way. Their emphasis is on the three-dimensional aspect of space. In brutalist buildings, light can also be used to create contrast and highlight the textures and materials of the site.
Light References 01
Light References 02
Another aspect that had to be taken into account during 3D modelling was the height of the objects. The overall size of the building influenced both the atmosphere (telling the story through the surroundings) and the sense of the reality of the space in VR.
Due to its low cost, raw concrete is often used and left to reveal the basic nature of its construction with rough surfaces featuring wood ‘shuttering’ produced when the forms were cast in situ. I wanted to recreate these textured visuals while showing the effects of time and decay.
I started modelling the body of the building based on the floor plan provided by VR. In the beginning, I had to consult with everyone if there would be any changes to it because it would significantly affect my model.
Floor Plan
Floor Plan (Walkthrough)
Test Version
Meeting notes:
Lower entrances, and larger lobby spaces.
Chapel-like waiting room – high. The building should be built on a circular plan.
Partially destroyed ceiling and the artificial roof – the focal point. Different heights.
Adjusting the dimensions (testing in Unity) to better see the scale of the space.
Adding an area where memory objects can be accessed (where people left their items).
Adding an architectural detail.
Barriers in the security room.
Municipal, cheap furnishing.
We also discussed in detail the functionality of individual rooms. I raised the issue of giving municipal building brutality and grandeur. We had to feel that this is a place that will draw you in.
Example:
Sometimes waiting areas have rather low artificial roofs, so you can create a contrast with the space with a high ceiling. At the same time, you encounter a slightly more tacky space where plastic moulded chairs are knocked over and the ceilings are not very high.
Guide to Choosing Waiting Room Seating (2021) Available at: https://www.evertaut.co.uk/news-story/guide-to-choosing-waiting-room-seating/ (Accessed: 17 February 2023).
After the meeting, I decided to start the model from scratch to make the space more mixed (and work longer on its overall shape/design). Presenting my moodboards to Klaus, Luke and Ana helped me choose the design details/ideas we would like to include in the model, such as the circular ceiling.
Visual References
Student Meeting (18/02/23)
We continued the meetings with other students, where we discussed what we needed from a technical point of view. We also created a list of more memories/objects to be placed in the space and planned which ones we want to buy and which ones we want to create ourselves.
Interactive objects list
Moodboard 01
Moodboard 02
Moodboard 03
Moodboard 04
Moodboard 05
Moodboard 06
Moodboard 07
Colour References 01
Colour References 02
Colour References 03
Sketches 01
Sketches 02
Miro Board
Further research:
Cohn, D. (2013) Interview: Barozzi Veiga. Available at: https://www.architectural-review.com/essays/interview-barozzi-veiga (Accessed: 15 February 2023).
Cymer, A. (2022) Brutalizm. Poezja betonu. Available at: https://culture.pl/pl/superartykul/brutalizm-czyli-poezja-betonu (Accessed: 15 February 2023).
Daley, H. (2017) Is the architecture in ‘Blade Runner 2049’ really Brutalist? Available at: https://archinect.com/news/article/150040099/is-the-architecture-in-blade-runner-2049-really-brutalist (Accessed: 15 February 2023).
Hashima Island (2023) Available at: https://en.wikipedia.org/wiki/Hashima_Island (Accessed: 15 February 2023).
Ott, C. (2019) Cantonal Museum of Fine Arts / BAROZZI VEIGA. Available at: https://www.archdaily.com/918961/cantonal-museum-of-fine-arts-barozzi-veiga?ad_medium=office_landing&ad_name=article (Accessed: 15 February 2023).
In addition to the weekly official meetings with Ana, Klaus and Luke (on Friday mornings), we decided to meet between us (VR, VFX and Animation) on Monday afternoons. In this way, we can prepare for general meetings and cooperate more closely. We also recorded all our meetings in Microsoft Teams and kept notes from them on Miro.
Student Meeting (06/02/23)
Following last week’s tasks, we focused on choosing a scene to edit. We were all mainly interested in creating the final act (inside the Departure Lounge) as it felt the most emotionally engaging and allowed us to be more creative in constructing animations, environments, and interactions. We discussed where the experience should start (outside the building – more complicated and time-consuming but better from a storytelling standpoint or inside the building – more realistic to complete).
In the end, we felt that starting with the last room/cell and then creating the rest of the building (without the exterior) seemed the most feasible. VR came up with the idea of adding a control room to the experience where viewers could interact with multiple objects and explore the world/story more deeply. My reservation was time constraints, so we decided to put it aside and add to the environment later in the project. We also updated the official Miro board, set up Trello and created a presentation for the mid-crit.
Some of the topics we discussed further focused on software and interactions. Both VR and VFX approached different solutions to the challenges that could be done in Maya, Nuke, and Unity. We thought about creating hologram effects in Maya and compositing memories/projections in Nuke. However, after talking to VR teachers, they confirmed to us that these effects cannot be transferred from Maya to Unity, so it would be better to create this effect directly in the game engine.
VR Interactions
VR Navigation
This meeting allowed us to better understand the script, expectations and visuals of the projects. This ensured that we all had a similar approach and discussed the possible challenges we would face with the software and divided the project between the three main majors.
Challenges/Solutions
Additionally, I helped present slides for the VR and 3D Animation mid-crits to introduce the visuals and better explain the VFX part of the project.
The main focus was on presentation slides explaining our ideas and contributions to the project. In more detail, we focused on the graphics, animations and interactivity of the environment. Ana, Klaus and Luke also provided us with curated moodboards.
Moodboards
Additional Moodboards
The Characters
We discussed what ghosts will look like (vague features, hologram effects). Nira took up the 3D character modelling while Jess and I decided to concentrate on the environment/props.
The Props
Receiving information via interactive/non-interactive objects. These include posters, warning signs, holograms of people, visitor suits, sunken/floating objects, photos and surveillance footage. We agreed that there will be almost no plants and animals as extinction due to climate change will occur. However, we can still have moss and crawling insects to add an old-world feel to the experience (and avoid a fully industrial look).
The Departure Lounge
The world we encounter at the end will have a memory of colour and faded murals. It represents hope, to some degree, in the face of catastrophe. The building is designed to be an open space with a high ceiling and cracked walls. It should stand out from the landscape and be visible from a distance. The surrounding water has partially flooded the interior, and a thick fog covers the entire scene. In the last room, the viewers will encounter the skeletons of a mother hugging a child (ghosts from the story). Natural light coming through broken windows can be used to tell a story and guide the viewer through the space. We should also consider artificial lighting. The goal is to create a place that contains the memory/emotion of the place where people used to gather.
As 3D modellers, we’ve been asked to think about what they can realistically achieve in the next two weeks. Since we didn’t have concrete visualisations of the building, I decided it would be best to focus on creating a few moodboards/concepts and the shell of the building (test version) before the next meeting. In this way, we were able to discuss the final version of the space and start adding details as soon as possible.
Project Timeline
Miro Board
Research on the VFX:
3D Models World (2018) Creating a Hologram Animation In Maya and Arnold – Holographic Projection. Available at: https://www.youtube.com/watch?v=_td0Kvh4e8Y (Accessed: 06 February 2023).
CG Artist Academy (2020) Maya Holographic HUD Effect. Available at: https://www.youtube.com/watch?v=68fceb23T10 (Accessed: 06 February 2023).
CG Knight (2021) Houdini Hologram Quick Setup With Simple Nodes. Available at: https://www.youtube.com/watch?v=ixP8l3yk-OQ (Accessed: 06 February 2023).
CG Plugins (2019) Houdini Hologram | Tool for Creating hologram effects in Houdini. Available at: https://www.youtube.com/watch?v=ShKO6AjMo_s (Accessed: 06 February 2023).
Helloluxx (2021) Houdini. In Bloom – Training from Rich Nosworthy. Available at: https://www.youtube.com/watch?v=S9Ccta-6YC8 (Accessed: 06 February 2023).
Before the Fall is a collaboration between MA VR students and staff and external partners – Luke Losey (Unit9) and Tim Harrison (Aumeta) on the development of an immersive VR experience engaging users with the realities of global warming in their immediate environment. The concept is simple: time-tours in a post-apocalyptic world, allow viewers to return to the home planet we were forced to leave in the late 21st century.
A familiar location such as Battersea Power Station is rendered in the future present – its structure crumbling, partially submerged by the Thames, swollen beyond recognition, in a landscape stripped of flora and fauna. But everywhere there are signs of a past civilisation and ghostly voices and memories linger – clues to a planetary trauma. Removing the VR headset will leave users in an abundant presence where catastrophe has yet to destroy everything we cherish. In this sense the experiences can be at once educational, moving, haunting and galvanising with the experiences leaving time tourists with a sense of what may be preserved, rather than one of inevitable devastation.
At first, we weren’t sure if we’d been accepted into the project, which made us a little nervous. We sent emails introducing ourselves including our experience, skills and portfolio. I have also included Christos as my reference. Fortunately, we received confirmation of participation on January 24th and we were able to arrange the first group meeting for February 2nd. Since we didn’t know much about the project at this point, other than a general synopsis, we couldn’t prepare much for the appointment.
From the general brief in Padlet, we knew the task was to create an animated environmental landscape. The final result would be a demo version to pitch for funding. We could use any technique or platform (360, VR, AR, Games, Video, Performance, Exhibition, etc.) with animation. The focus was on having fun, experimenting and discovering what is possible within a limited time and collaborators’ needs. It should be an underwater and dystopian world with strange creatures. We created the Miro board and generated some ideas based on how we envisioned the project. I’ve scoured post-apocalyptic concept art and visual effects artists to show different design approaches and styles that interest me and might be worth exploring for the rest of the group. We focused on environment design references and colour palettes.
During the first official meeting, we introduced everyone, discussed our roles and interest in this assignment, and debated the general outline of the project. As we have been asked not to reveal too much information about the plot (to prevent information from spreading outside), I will not share the exact script. However, I would like to point out that we received “Provisional Treatment” to understand the scope and purpose of “Before the Fall”. In addition, we were asked to choose a scene we would like to work on. With new visuals and more information, we started working on assigning roles and creating a timeline.
Overview of the project:
The most important in this project are emotions and immersive experiences. Images such as stairs disappearing into the sea can show the dangers of climate change and evoke emotional responses in viewers. The VR experience will begin in a quiet indoor space, reflecting the consequences of a climate catastrophe. Participants will be able to see the hazy reflection in the window to confirm that they are in the scenery. They will then explore the outdoors (near the Thames) with disturbing sounds and visions from 300 years ago (possibly projected onto a visor in a hazmat suit).
As they continue deeper into the city, they begin to recognise some of the buildings. In addition, they will be able to interact with objects representing a past life (a storytelling device), such as abandoned toys and household items. The audience can hear a woman screaming in the distance. The ghost of man passes by them. Thus begins the story of a family from the past. The mother takes her daughter to euthanise themselves, and he tries to stop them from committing suicide. Participants follow the family through the first building and then see a recognizable London bridge.
After crossing the bridge, they see a newer building, similar to the departure lounge (non-place concept). A woman and a child are allowed to enter the building, but the man doesn’t, causing him to break down. The audience learns that he was the father (conflict resolution). The viewers go further to find the woman and child – the exploration of the place, joyful artificial voices, everything looks cosmetic. They hear the mother singing (reveal) – dead, two skeletons surrounded by artificial nature.
Other elements:
Keeping people in a controlled space.
The landscape reminds us of the abandoned areas of Eastern Europe.
Nature didn’t take over, instead, it is alien, and uncanny (lots of mosses, algae, cockroaches, etc.).
Ghostly images, we want to sense them, hear them, but we don’t want to see the features. Similar to ghost stories.
For Discussion:
How do we move?
Timings of 5 acts.
Can we die? (go back to start)
How movement instigates visual stimuli.
Is the augmented reality info on visor switch-off able?
After specifying my main areas of interest last week, I was hoping to form a group with other students interested in the “From static inspirations to dynamic projects” project. Their ideas for creating an interactive experience and focusing on an artistic approach (drawing inspiration from traditional imagery and illustration) were in line with the values, and themes I would like to explore in my work. In addition, a few students from the Padlet concentrated on getting involved in the field of VFX, which gave me hope that this project would use many programs and techniques to create visual effects.
However, during the actual group meeting, it turned out that most people already had a very specific idea for the assignment. None of them involved the immersive experience inside the paintings(which was the most exciting premise for me). Most of them were tasks focused on game development, which I already explored in my undergraduate studies. I was interested in collaborating on a project examining traditional Chinese ink paintings but since the group consisted of only VFX students (and a few outside collaborators), I wasn’t sure if joining it would be productive for me. It would have allowed me to learn new VFX techniques, work with Houdini and learn more about FX, but I would have lost the opportunity to collaborate with other Majors, and that was much more important to me.
In the end, I decided to look for another group, which turned out to be quite difficult. Most people already had clear ideas and were looking for others to fill the tedious tasks. I also felt that very few groups were looking for VFX artists, most just wanted 3D modellers. At first, I wasn’t interested in creating 3D models, but when Nira asked me to join the dystopian VR project, I decided to change my approach.
The project seemed interesting since it would allow me to work with established artists and had the potential to become a bigger assignment worth putting on my resume. I liked the premise of creating an interactive experience that focused on climate change. It sounded organised and I could get some guidance from the lecturers. I saw the challenges of working with so many people, but I thought it would allow us to create a better quality piece. I was also very interested in working with VR/Unity as I am thinking of possibly using it to create immersive VFX experiences for my Final Project. After all, even though my role would be 3D modeling, it looked like I could do some VFX on the side and explore new software.
This unit will enable us to develop skills in collaborating with different disciplines, rapid idea generation, iteration and testing. The aim of the unit is to collaborate and work in a team on a self-guided project. The team can include members from outside your course group (for example other students in the MIDA Programme) and look to other subject areas outside our usual area of practice.
We were given be given example project briefs, which we can choose from, or have the option to create our own project brief.
Approaching the collaboration:
I am mainly interested in collaborating with other Masters focused on visual projects and art direction (2D/3D Animation, Virtual Reality). However, I am not limited to a specific role/project.
My area of interest is Visual Effects and Compositing. I hope to work on a project that will allow me to create an animation/virtual space that is visually appealing and immersive. I would like to try working with Houdini, textures and lighting.
My main goal, however, is to learn about other Majors and study their workflows. I would like to see if there are other career paths I might be interested in or ways to incorporate visual effects into different software.
22/23 Meet and Greet Padlet Board
Subject: From static inspirations to dynamic projects
Email: m.kowalska0620221@arts.ac.uk Course: MA Visual Effects Website: https://www.artstation.com/cervesna
I am interested in analysing traditional places/objects, such as art galleries and paintings, and transforming them into three-dimensional, dynamic spaces. It would be an attempt to visualise them and explore their themes in a new way. I would like to try using and combining some of the following techniques: conceptual work, 2D animation, 3D modelling and VFX.
