![]() ![]() I also started building the interior blocking a corridor from a circular portal, with spline driven wires and pipes. It started very celestial, with bright nebulas and feeling very spacey, but I knew I’d be swapping things out and I was most focused on getting all the parts iin place. I was pretty happy with the way the sky was set up, I started dialing in some panning textures over cards and multiple spheres using placeholder Marketplace elements. To get started blocking out quickly I raided the Marketplace and picked up whatever I thought might be useful to kitbash the scene together. So saturated almost glowing, filling the sky.MidJourney Concept design experimentation Seeing out onto the ancient glacial glassy shore of a water-world in a thunderstorm, immaculate hyper-saturated, painted in a renaissance style” “ Peering out from the hatch of the dark interior crew quarters, claustrophobic, full of modern pipes like a post apocalyptic u boat. Prehistoric, Immaculate, Glass/Ice, Hyper-saturated, Night, Water-world This was basically a D&D chart of themes, ideas and styles which we used to design our scenes and the randomization factor was included to help push us out of our comfort zones. Once I needed to really see and evaluate with full lighting and textures, what I ended up doing was running the audit, bulk editing all my textures to a max resolution, with a few select hero elements of 2k, and everything else lower, converting everything to a VT.įor the themes in our Worldbuilding projects we were each assigned random dice rolls on the “Worldbuilding Configurator” spreadsheet. I eventually managed to get into a workable state, but it took some conscious effort and a lot of work key factors were dropping the scalability settings to low wherever possible, and working in unlit mode for layout tasks. I was struggling early on as this project grew to fit it within these hardware constraints. As alumni we are are encouraged to maintain these connections and continue to come back for future Fellowships, and assist new Fellows.įor me, in addition to a chance to develop a full scene from scratch and light content hands-on this was also an opportunity to work on optimization methods and profiling to ensure scene performance within hardware constraints, and I was able to build my scene and work through the full course from my laptop and Predator Helios 300(Intel(R) Core(TM) i7-10750H CPU 2.60GHz 2.59 GHz, 32.0 GB RAM, NVIDIA GeForce RTX 2060 ) For me as a Virtual Production Supervisor, it was especially interesting to be working in-engine alongside people from Amazon, Netflix, Dneg, and Pixomundo and other smaller ICVFX stages and hearing about their experiences. It was a good atmosphere for learning, with so many eager people all wanting to share resources and find answers. There was also an added social aspect of the Fellowship, which included additional optional coffee meetups and happy hours to build up these connections and friendships. There were people from many backgrounds, at all levels, including freelance and tech artists, VAD, CG supervisors, and VP TDs as well as people who had never used Unreal before and it was really interesting to share this journey with them all. ![]() The groups were encouraged to work together sharing our progress and our work together discussing ideas and processes. One of the really smart things Epic is doing with the Fellowship programs, in addition to providing hands-on experience and training with the tools, is that they want to try and inspire a community around the classes and the engine. ![]()
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