The Meet Up
Adin Roberts | Alex Ireland | Samantha McGregor
Adin Roberts | Alex Ireland | Samantha McGregor
Our objective is to create a cityscape with a strong mood and aesthetic for screening on Yagan Tower to evoke strong feelings of companionship and joy as lock-down comes to an end. As we want to highlight Australian resilience and show how the city still strives and fills with life even after difficult times.
We wanted to link our project to Perth city by recreating the unique towers and buildings of Perth and lining our skyline with them.
For our street we chose William street as it is opposite the shoe; hence, it is one of the most recognizable areas.
The crowds are made up of various silhouettes shifting between the streets and stores, while our main character is a fully 3D modeled and animated character.
Email: cleoadinroberts@gmail.com
Role: Team Lead, Concept Artist & 3D Character Animator
Skillset: Character Design, 2D/3D Character Animation. ヘ(◕。◕ヘ)
Email: alex.ireland2001@gmail.com
Instagram: @irale04
Role: Asset Designer, Environment Artist
Skillset: 3D Modelling, Texturing.
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Email: samantha.mcgregor7@gmail.com
Instagram: @smazzamc
Role: Character Artist
Skillset: Character/Creature Design, Sculpting, VFX for Film. (งツ)ว
Mixing & Mastering
Student email: 1018540@student.sae.edu.au
Personal email: rwalkland@gmail.com
Instagram: @rob.lethabo
Facebook: Robert Walkland
Composer
Email: 1017325@student.sae.edu.au
Instagram: @lux_nevilum
Soundcloud: Nevilum
From the start we wanted to capture the feeling of Australia from our buildings and streets to the very character we designed. At first I did some research to try and find an appropriate art style which could modeled into a simple yet visually pleasant 3D character. I found that drawing a low poly figure presented the best visual map for laying out clothes and important features as it encourages simpler and heavier lines. From there I went through different work wear that appeared on TV and also clothing stores to try and put together the most common visual representation of a tradesman's work wear. I made not of the important markers such as the reflective strips, two toned shirts usually mixing a deep navy blue and florescent yellow or orange.
For the 3D animation I took a casual walk, reduced the flex in the toes for the steel toed boots and then added more sway and twist in the torso to add personality. Another factor which we decided to add was a coffee cup for our character to hold. This was because we wanted something to help tie him into the scene so he did not stand out too harshly since he was not surrounded by construction work. For this I constrained the cup to the character's wrist joint and manipulated his fingers so he held it in a relaxed grip.
It started with the blocking and detailing of the buildings using a modular workflow, followed by texturing using trim sheets and visualisation of different times of day in Marmoset. Finally, all of the assets and our animated character were assembled in UE4, configured and rendered.
The environment assets were modelled and UV unwrapped in Maya.
Textures were made in Substance Suit (Substance Painter and Designer).
Foliage was created in Speed Tree.
Unreal Engine 4 was used to put together and render the scene.
A base mesh was created based on the concept art from Adin. The character was then sculpted in detail and taken to Maya. From there, it was retopologised and UV unwrapped using UDIMs. This was then passed onto Kaleb for rigging. Finally, the clothing, skin and hair textures were created in Substance Painter and exported to Unreal for rendering.
The hair, body and clothes were sculpted in ZBrush. The boots and the low poly mesh were modelled in Maya along with the UVs. Textures were created in Substance Painter. The final product and the turnarounds were rendered in Unreal Engine 4.
32
Male
Athletic, 6’1”
West Australian
Modern-day/High Visibility Workwear
Medium-Low Resolution Textures