Ryuga Tjew
Environment Generalist • GajaFX
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HOMEWARD - Full CGI Environment

Hello ArtStation! I’m super happy to share my mentorship project at Think Tank Training Centre with the guidance from :
https://www.artstation.com/adrienvallecilla
I learnt way more than I expected from him. I feel very “blessed” as the goal of this reel was to “experience” the whole 3D workflow in general.
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Beginning with matching an environment from a real photograph, adding props by using image references, managing UV for a big environment scene, painting textures to all assets such as wood, glass, paper, cloth, metal, plastic, and rubber, the look development, also lighting which is the trickiest part, especially the time-lapse shot. I need to attempt some sequenced render tests and adjusting the camera projection until I feel satisfy with the result! Needless to say, compositing was fun too. I was responsible for all the aspects in this reel.
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Everyday is problem solving - tackling all render passes, doing render comparison, troubleshooting across software, simplifying shaders to make render more efficient, even troubleshoot on hardware issue which is the most nerve-wrecking part. It was very hard process, but it turned out well at the end. I’m glad to see all the hard work finally can be wrapped up.
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I’m so thankful to my mentor, who always tirelessly guides me when ungoogleable issues in CG comes, trains my eyes, and genuinely coaches me. I am also happy to share some names of amazing professionals who helped me at some points and gave me knowledge boost through the course & mentorship : Aaron Kramer, Corinne Dy, Yui Ishida, Enzo Franchi, Alvaro Claver, Fenner Rockliffe, & Matthew Novak.
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Last but not least, I also want to thank my schoolmates and people from Think Tank for facilitating all my study.
I hope u guys enjoy the content!

https://www.artstation.com/adrienvallecilla

I was influenced to create a boat-interior CG scene - right after I watched the classic JAWS (1975) by Steven Spielberg. As my aim is to become an Environment Generalist for Visual Effects, it got me thought that I must deliver some sort of broad skills.

I was influenced to create a boat-interior CG scene - right after I watched the classic JAWS (1975) by Steven Spielberg.
As my aim is to become an Environment Generalist for Visual Effects, it got me thought that I must deliver some sort of broad skills.

Close-up Breakdown

Panoramic Breakdown

Timelapse Breakdown

Close-up Shot

Close-up Shot

Panoramic Shot

Panoramic Shot

Lighting Fixture & Monitoring Devices

Lighting Fixture & Monitoring Devices

Rubber Floor & Seat

Rubber Floor & Seat

Desk (Full View)

Desk (Full View)

Props Shot

Props Shot

Day-time Shot

Day-time Shot

Night-time Shot

Night-time Shot

The aim of this process is to identify the correct scale, size, and proportions as in real life. I followed the concept image and other references to add architectural features for the cabin interior.

The aim of this process is to identify the correct scale, size, and proportions as in real life.
I followed the concept image and other references to add architectural features for the cabin interior.

As the model progressed, I wanted to give an impression that someone has occupied the boat cabin, not just an empty CG interior. Therefore, I went with more images references and modeled more assets.

As the model progressed, I wanted to give an impression that someone has occupied the boat cabin, not just an empty CG interior.
Therefore, I went with more images references and modeled more assets.

I started to block some light rigs. It is to give me a rough idea of how the volume will look on grey-shaded shader, then I identified which area should be darker or brighter according to real-life night lighting.

I started to block some light rigs. It is to give me a rough idea of how the volume will look on grey-shaded shader, then I identified which area should be darker or brighter according to real-life night lighting.

For the chair, I modeled the low-poly mesh in Maya, then I brought it into ZBrush and ZRemeshed it, so I will have evenly quad faces to sculpt the surface.

For the chair, I modeled the low-poly mesh in Maya, then I brought it into ZBrush and ZRemeshed it,
so I will have evenly quad faces to sculpt the surface.

For the cloth wiper, I ran the nCloth simulation in Maya and used the window sill as a collider.

For the cloth wiper, I ran the nCloth simulation in Maya and used the window sill as a collider.

While working on a close-up shot, I determine how close the camera will ever get to the object. The rule that I adopt is to double the final resolution of the piece in texture resolution.

While working on a close-up shot, I determine how close the camera will ever get to the object.
The rule that I adopt is to double the final resolution of the piece in texture resolution.

If my screen output will be 2K, then UV tiles are going to be 4K. The pieces that I see on my Maya screen should be doubled in my UV view.

If my screen output will be 2K, then UV tiles are going to be 4K.
The pieces that I see on my Maya screen should be doubled in my UV view.

I always organized the UDIM tiles. I categorized them accordingly by asset’s material. Most of the time, one asset has more than one material.

I always organized the UDIM tiles. I categorized them accordingly by asset’s material. Most of the time, one asset has more than one material.

For cabin part, I used Mari because it contains many UDIM and Mari is very good on handling enormous amount of UDIM and the ability to paint-through texture image.

For cabin part, I used Mari because it contains many UDIM and Mari is very good on handling enormous amount of UDIM and the ability to paint-through texture image.

One of many assets which I painted in Substance Painter, the workflow is similar with Mari.

One of many assets which I painted in Substance Painter,
the workflow is similar with Mari.

This is the compilation of the photographs which I have used as references.

This is the compilation of the photographs which I have used as references.

For the sea, I used V-Ray Water. V-Ray Water is a procedurally generated texture. It can be used along with Vector Displacement in order to simulate waves on the surface of water.

For the sea, I used V-Ray Water. V-Ray Water is a procedurally generated texture.
It can be used along with Vector Displacement in order to simulate waves on the surface of water.

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