This week I have made a model of an important relic in the scene. I have used the free model as a base, sculpted, and changed most of the structure, giving it a new texture. The method is the same as when I made rock – I put the low-poly model into substance painter and then baked the high-poly model to create a delicate normal texture.
For the scene, my team member completed the gradient textures for the seaweeds and the glowing conch materials, and I painted the texture to change the gradient’s color. At the same time, she also created a special effect for the fish, letting me paint the texture and change the color.
Once these materials were ready, I imported all the models and materials into the unreal scene. I gave each model its material, linking each material to its texture, which was a rather tedious process and took me a lot of time.
The relic’s models, UV, and texture
This is how the material looked at the beginning; the color was so saturated that it seemed particularly ugly, so we spent a lot of time adjusting this color.
The material and special effects in unreal. I draw the texture.
Here are all the models and materials I have made
The final rendering looks like this:
It has enough for a deep-sea environment. It looks quiet and creepy when no creatures are added, and it is very atmospheric with the lighting fog.