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Adam Payet
Environment Artist at Rebel Wolves
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The Endeavour

Beyond Extent Community Challenge April-May 2021. Team 2: https://www.beyondextent.com/challenges/shady-reststop

Challenge took place over the course of 6 weeks, 4 of which were devoted to actual production, and 2 to organising the team, discussing the pipeline, and agreeing on a concept and blockout.

I have been responsible for:
- setting up the master shader, landscape shader, rock/mountain shader, as well as a few VFX effects.
- Of major assets, I've been responsible for designing, modelling and texturing the main engine structure, hydroponic planters, cables/tubes and the safety ramps.

Early concepting and blockout as well as lighting, post processing, and dressing were a team effort and a matter of bouncing ideas back and forth, and putting in the work whenever we had a chance.

Other artists involved in the process:
Scot Daniel Burns - https://www.artstation.com/scotdanielburns
Dylan Burgess - https://www.artstation.com/dylanburgess
Cristian Bercea - https://www.artstation.com/cristian_bercea

Composition progress gif. A few iterations between these were made and never captured, but these were the milestones

Composition progress gif. A few iterations between these were made and never captured, but these were the milestones

Tiling steel material I developed in Substance Painter to cover larger meshes and less distinct props.

Tiling steel material I developed in Substance Painter to cover larger meshes and less distinct props.

Trimsheet which lend itself to texturing pretty much the entire engine, as well as the hydroponic incubators. Other team members used it for clutter like tables or flooring/metal panels. The trim had a height channel to give the cables and pipes some POM.

Trimsheet which lend itself to texturing pretty much the entire engine, as well as the hydroponic incubators. Other team members used it for clutter like tables or flooring/metal panels. The trim had a height channel to give the cables and pipes some POM.

Trim used for pipes as well as detailing with decals. I wanted something more shiny and with visible crimping and welding on the steel.

Trim used for pipes as well as detailing with decals. I wanted something more shiny and with visible crimping and welding on the steel.

These are the smaller assets prepared for the scene, I tried to break them down into modules that helped hide repetition.

These are the smaller assets prepared for the scene, I tried to break them down into modules that helped hide repetition.

meshes had the decals included in geometry and were done with weighted normal chamfers

meshes had the decals included in geometry and were done with weighted normal chamfers

Individual (small level) parts made to flesh out the engine, they were also used for generic junk as well as to build some of the bar, stairs, and other areas.

Individual (small level) parts made to flesh out the engine, they were also used for generic junk as well as to build some of the bar, stairs, and other areas.

Two medium sized meshes that made up the bulk of the flower like shape. They were detailed on both sides so I could open them up or close down as needed, or reuse elsewhere in the scene.

Two medium sized meshes that made up the bulk of the flower like shape. They were detailed on both sides so I could open them up or close down as needed, or reuse elsewhere in the scene.

Three large scale structures used to create the engine, they were nested inside of each other to create depth and complexity. Trim repetition was broken down with vertex paint and mesh decals

Three large scale structures used to create the engine, they were nested inside of each other to create depth and complexity. Trim repetition was broken down with vertex paint and mesh decals

The mesh was relatively dense, however taking scale into consideration, the tris counts were acceptable for what was essentially a large building.

The mesh was relatively dense, however taking scale into consideration, the tris counts were acceptable for what was essentially a large building.

The final structure was built in a blueprint to give me the flexibility of moving individual parts in local coordinates without cluttering up the scene, affecting general engine placement. Sensible pivots paid off in a big way!

The final structure was built in a blueprint to give me the flexibility of moving individual parts in local coordinates without cluttering up the scene, affecting general engine placement. Sensible pivots paid off in a big way!

Shader I prepared for Dylan. It had a top blend moss layer, bottom blend dirt layer and an additional detail layer All world mapped on top of unique normal and with full individual controls per layer as well as vertex paint.

My master shader. It supports up to 4 individual material layers with full control over mapping, uv channels, and basic adjustments. It had the option to use POM and transparency. Layers were driven by vertex paint and RGB masking with 2 styles of mixing.

Example RBG mask used in the video above. The mask could be used to either apply decal-like vertex paint for individual details like localised rust or writings, or to drive the transition detail between two layers of regular vertex paint.

Example RBG mask used in the video above. The mask could be used to either apply decal-like vertex paint for individual details like localised rust or writings, or to drive the transition detail between two layers of regular vertex paint.

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