NATURE

AN EXPLORATION OF OUR PLANET | MAY 01, 2024

I - BLOCKOUT & LAYOUT

To start, I created basic environments, focused on composition, and set up camera animations to guide the project. Using wide-angle lenses like in landscape photography added depth to the scenes. To improve compositions, I used grid overlays in Unreal Engine's cinematic viewer and focused on slow camera movements to convey calmness.

II - TERRAIN

Earth's diverse terrains, shaped by water and wind, inspired my designs. I experimented in Gaea until satisfied, focusing on simple but highly art directable setups

III - PROCEDURAL MATERIAL

I imported the terrains as meshes into Unreal for optimized performance. Materials were managed with a master material in Unreal, applying textures based on slope angle!

IV - NORTHERN SEA

Unreal's default water needed adjustments for a natural look. Key parameters like normal strength and water shading were crucial. For transparent effects, adjusting absorption alpha was useful. Creating ice involved using Megascans rocks and applying snow textures. If needed, I used the Unreal modeling tools to refine the shapes.

VI - QUIXEL MIXER

V - SCATTERING

Scattering is one of the most important parts in environment creation; it was done both manually and procedurally with PCG Volumes.

To add variety, I created ground patches in Quixel Mixer, blending multiple textures to avoid repetition. Displacement maps were applied in Unreal aiming for a realistic result.

VII - MANUAL TOUCHES

I manually added Megascans assets like rocks and grass, adjusting scale and rotation for variation. Color variations enhanced realism, especially with grass and trees from SpeedTree.

VIII - LIGHTING

For realistic lighting, I used a plugin called Ultra Dynamic Sky from the Unreal Engine Marketplace. I adjusted cloud coverage and sun intensity mainly for realistic lighting effects.

IX - LIGHT BLOCKING

With lighting in Unreal, it was easy to reach that 90%, but for the last 10% fine-tuning every parameter is key. To have more control, I used geometries in the sky as light blockers and added some fog cards.

X - RENDERING

What sets my workflow apart is the seamless connection between Unreal and Nuke facilitated by the Unreal Reader node!

To use this workflow, begin by installing the Unreal Reader plugin from the Foundry website and activating it within the Unreal Plugin Manager. Next, select "Nuke Server," which will open a new tab showing a server port number. Simply click "Start server" to prepare Unreal for connection.

Now, in NukeX, add an UnrealReader node. Enter the same server port number from Unreal into the UnrealReader node settings.

This establishes a connection between both softwares. By pressing "Connect to server" in Nuke, you prompt Unreal to render frames for viewing directly within the Nuke viewport.

XI - COMPOSITING

In the last phase, everything is assembled in Nuke for compositing. Keeping the node graph neat is key for efficiency. Adjustments are made for color, chromatic aberration, lens dirt, and motion blur to enhance the scene. Consistency in color across similar environments is ensured. Depth of field is animated afterward, giving precise control over focus points.

XII - ORGANISATION

As last step, everything is written out to disk, is important to note that with this big amount of data (313gb), a clean folder structure is mandatory!

VIDEO BREAKDOWN

Welcome to my project "Nature"

I've spent four months immersed in my work at Think Tank, focused on capturing the beauty of our planet across various biomes. In this project, I've created 12 environments, each reflecting nature's incredible diversity and beauty. Thanks to my mentor Benjamin Hollrigl, friends, and everyone for the support and encouragement. Let's connect and explore more together! Responsible for all aspects but megascans.

To enhance the experience and immerse yourself in it, I would suggest you to watch it in 4k on a pc and with headphones ❤️

INTRO