Programs Used: Unreal Engine 5, Autodesk Maya, Adobe Substance Suite, Adobe Photoshop, Zbrush, Marvelous Designer, FSpy

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The brief was to re-create a live action film set, I chose the laundrette from 'Everything Everywhere All At Once'

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A lot of time was spent within Substance Designer on this project, due to the many tiling textures that needed to be created. I have learnt a lot about potential capabilities of the tile generators and creating shapes within them, including exposing parameters to be altered easily later on down the line and also in Substance Sampler. I have grown to feel very confident within this program for the creation of common tiling textures such as fabric weave, wooden planks, and tiles while also feeling able to take this knowledge and take on more complex or stylised materials in future.

​The material editor in UE5 also contributed a lot to what I was able to create. This includes effects like vertex painting, deferred decals, and a slight sway on the plants. I look forward to exploring this further in future, creating more complex shaders and fully implementing the master material system that was only partially implemented during this project. 

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A big point of learning this project has been the work done with Blueprints and the UE5 Chaos engine. ​I have been able to create a fracture in the window, apply Physics and Anchor fields to create the effect I wanted, cache the simulation and bring it back into the scene for an optimised use.

​Furthermore, when implementing the Everything Bagel, I used Blueprints to add in the animation. On Event tick, the actor loaction is taken, increased, and set. This very short system of nodes allowed me to add this bit of life without keying the movement in the sequencer timeline, I was also able to take it and add it to multiple iterations of seeds and change the rotation amount per tick to alter the speed!

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​Overall, I am very happy with this project and what I was able to accomplish in the timescale. To push it further I would look at giving some of the props a higher polycount and paying more attention to spaces where different surfaces meet (ie. the column and the ceiling). Adding more dirt and roughness variation would help in breaking up that clean 'computer graphic' edge. More attention to smaller details like the patterns on fabric to break up uniformity and flatness, and ensuring surfaces and edges are not too sharp or clean.