The World Builders Project was a seven week project in which we were to design, develop and create an environment based on a description from a novel for a ‘teaser trailer’. I decided to base my environment on a scene from Deep Secret, by Dianna Wynne Jones, in which the characters travel along a garden path strung high in the air between three impossibly tall towers. I decided to create the scene in 3D in the Unreal Engine. Below is the final video:
From here, I will look into what went right and what went wrong with this project and ways that I can improve my processes for future projects.
In my eyes, there are many more failures than successes however I did learn a lot about documentation and using the Unreal Engine. Additionally, I believe that parts of my final piece reflected both the intended narrative and Art Bible.
The most successful part of this project was the documentation I created during pre-production. Not only did I learn how to create an Art Bible and a Project Plan but also researched pipelines, workflow, techniques and styles that really helped to inform my work. This was extremely useful during production as it gave me a clear guide and structure to what I was creating. In particular, the dissection of my references in the Art Bible really helped me to define the look I was going for.
Although the final piece is extremely lacking, literally in terms of assets but also in detail and style, I believe that I successful captured some of the intended narrative by following through with what was outlined in my Art Bible. In particular, I managed to follow through with my colour scheme and atmospheric effects which did help to create a dreamy atmosphere and the feeling of being high up in the sky, both of which were in the novel excerpt. This is evident below:
The first image is a test render before the final lighting and colour adjustments were made while in the second these have been adjusted to suit the mood. This was done in reference to the Art Bible.
Through the production half of this project I learnt a lot more about the Unreal Engine. In particular I learnt about:
- Re-importing objects
- Editing the direction and colour of lights
- Editing the sky box and what effect it has on lighting
- Using lighting to give the illusion of a particular time of day
- Setting up cameras
- Animating camera movement
- Rendering through the Matinee system
- Manipulating complex materials
- Creating blendable materials
- Using vertex painting to blend two materials
This knowledge will be extremely helpful for future projects.
Another successful part of the project was the technical framework which I used. I outlined the rules and guidelines for this technical framework in my Art Bible. The key guidelines are as follows:
- When opening a new Max file, change the Unit Setup to Metric Centimeters.
- Texture files are to be in PNG format, 1024px by 1024px.
- Files are to be saved in the correct folder and named according to the naming convention.
Following Brett’s advice about file structure, I created my own which allowed me to easily to update assets and re-import them into the Unreal scene. It is pictured below:
Each asset had its own folder, inside which were a ‘Master’ FBX file and also a Maps and a Mesh folder. These sub-folders corresponded to the 3D and texture files. Inside each of these folders were a Superseded folder, in which old ‘Master’ FBX files were kept, and a Working folder in which all the working MAX files were kept. Once an asset was updated, the old ‘Master’ file was moved to the Superseded folder and the updated model was saved in its place.
These ‘Master’ files were the ones that I used within my Unreal scene. After updating an asset, this allowed me to simply right click on an asset and select re-import. This would pull the updated asset into the scene without messing up the positioning, scale or rotation. I had not used this system before and found it much, much more efficient.
This project failed in several major ways particularly in the production phase, resulting in a final piece that was not up to standard.
For me, the biggest issue with this project was time: things came up, I worked longer hours, other classes required extra work and, most importantly, I am horrible with time management. This is largely due to my overambitious scheduling: overestimating my available time and underestimating how long things would take me. I was too relaxed during the creation of the documentation, meaning that it took longer than it should thus leaving me with less time for production.
Incomplete Final Piece
My scheduling issues resulted in me being unable to finish of all the assets. As shown in my work breakdown structure below, the assets marked in red were incomplete or unfinished:
More critically, the final product is not what I envisioned: it is far blander and empty. I wanted it to feel overgrown and heavy with plants, vines and trees. In particular, I really wanted to experiment with modelling some surreal trees but, again, I ran out of time to do so.
To me, the biggest failure was the path. I had wanted it to look as it had originally in my concept:
Unfortunately, the final path is extremely plain compared to this one. It lacks depth, the root system and surface details, like trees and rocks. Instead it is boring, ugly and out of place. Overall, I am quite disappointed with my work on this project and will try to push myself for the next project.
TO THE FUTURE!
This project was the longest solo project I have worked on for university. It was quite an interesting experience and I have learnt a great deal that I hope to carry over into future projects. I have also discovered several issues that I hope to improve upon.
For future projects I will definitely be doing the following:
- Conducting research into the workflow, pipelines, style and design
- Creating comprehensive documentation
- Using an effective file structure and technical framework
However, to ensure that future projects do not fail as badly as this one, I will need to improve my scheduling. I can do this by:
- Creating the documentation more efficiently (this should be quicker the second time around)
- Accounting for potentially unavailable time: I can do this by leaving in some buffer time
- Overestimating how long things will take (Chris suggested doubling my estimate)
With these aspects in mind, I will be aiming to improve my production during the next project.
The Word Builders Project was extremely interesting and fun to work on. To me, the most enjoyable part of it was actually researching and deciding on the look and feel of the piece when I was putting together the Art Bible. I probably spent too long on it as I didn’t want to put it down but rather wanted to keep tinkering. This may have contributed to me falling behind in production but, if anything, the comprehensive documentation actually helped me a lot. Unfortunately, unforeseen circumstances meant I had much less time during the production than I expected resulting in a lackluster final piece. I am quite disappointed with myself, as there is not much I would want to use from this project in my showreel. However, with the work I have put into it, I will definitely be coming back to it with the goal to create what I originally envisioned.