Clash on Volt Station

Hello, 

My name is Maria. I am a beginner CGI artist who originally graduated in mathematical methods in economics. After several years working as an analyst, surrounded by numbers and reports, I realized that I wanted to create more interesting and interactive stories. This insight led me to transition into the world of 3D environment development. Here, I found my true passion and purpose — crafting captivating digital worlds that inspire and engage the audience.

I present to you the project I completed during my time at Side Academy, reflecting my dedication and striving for perfection. My project, "Clash on Volt Station," centers around a futuristic volt station where players battle using flying cars and advanced vehicles.  This space combines beauty and functionality, enhancing the immersive experience for both gamers and sci-fi enthusiasts.

"Clash on Volt Station" is the culmination of my efforts to craft a visually striking and engaging teaser, aiming to captivate viewers with its detail and narrative. 

Enjoy the journey and thank you for watching!

Here  you can see various passes from the grey render to the final compositing stage. 

 I was responsible for creating all aspects of this story, from modeling of the environment, texturing to compositing, animation of cameras and cars, except for the characters and cars, which were provided by the company "Infusion Games" OÜ. 

Software used: Maya, Substance Painter, Unreal Engine, Premier Pro.

During an initial environment blockout in Maya, I created a storyboard and movieboard in Unreal Engine to better determine which areas needed more focus and attention, and to plan the position of the main cameras to guarantee the primary view.

In my project, I created entirely unique 3D objects with custom textures. I aimed to make each element distinct, paying special attention to the engineering aspect of modeling. This approach allowed me to achieve high levels of detail and realism in every object.

When creating the props, it was important to emphasize the style and fill the interior and exterior of the station with objects that combine the spirit of past eras with elements of the distant future and high-tech. I aimed to convey all of this through the design, shapes, and materials of the objects.

Jet Thruster Material

To achieve the jet-truster effect for the turbines, I developed a dynamic material shader. This approach enhances realism and visual impact, making the scene more immersive. Additionally, it is more performance-efficient than using particle systems, providing a smoother experience without compromising on quality.

Blueprints

I used Blueprints to set up actors with assembled asset groups, such as the lights around the station. This simplifies set dressing by allowing me to select and manipulate a single actor rather than all the individual objects in the group. Additionally, by editing the Blueprint, I can easily change the light colors and control the blinking period when the alarm is activated.

In the concept, two types of cameras were used for the video: static cameras and drone cameras. For the drone cameras, I combined several different camera shake effects and created multiple types of overlays for monitoring and object search modes during the alarm. To enhance the impact of the explosion scene, I developed a damage effect for the filming drone by creating a dirt mask, adding realism to the intense moment.

For the night lighting and to impart a cyberpunk atmosphere, I used a combination of atmospheric fog and exponential height fog, which added depth and a futuristic aesthetic to the environment. I also used dynamic fog material, placing the plane in the right places to enhance the atmospheric effect.  After establishing the overall lighting, I focused on enhancing key points of the scene and areas that were poorly lit. I applied the three-point lighting technique to highlight characters and important details.

To set the light of alarm system, I used a special light material function to add tension and emphasize the emergency situation at the station.

Once the lighting was finalized, I added a LUT to the environment.

The final step involved performing post-production in Premiere Pro. In this phase, I refined the image further by adjusting color levels, contrast, and brightness to achieve the desired effect.

In the final stage, significant work was done on sound design. I selected a musical composition to serve as the main theme of the video. I also added sound effects for the cars, gunshots, explosions, sirens, and drones, enhancing the overall realism and immersion. Background noises were incorporated to add depth to the environment. In the bar scene, a slow, old vinyl record plays in the background, contributing to the atmospheric feel.

Searching for references is a very important part of the work, especially regarding the technical side of the work. This helped me understand better how to model the turbines, robotarm and other important parts of the station. Also, for the animation of the flight of the cars, I watched a lot of shots from Star Wars. I took Kenobi arrival on Kamino as the basis for the approach in the first shot.