Rusty Sci Fi Mining Facility- Environment Breakdown – Filipp Sparak
生锈的科幻采矿设施 - 环境分解 - 菲利普·斯帕拉克

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Introduction
Hello, my name is Filipp, I am a 3D Artist from Russia and in this article, I’ll talk about the sci-fi environment I made in Unreal. The goal for it was initially to make as detailed an environment as I can by applying different level art techniques that I learned from work as well as modeling techniques that I didn’t have much chance to master yet.
介绍
您好，我的名字是Filipp，我是来自俄罗斯的3D艺术家，在本文中，我将讨论我在虚幻引擎中制作的科幻环境。它最初的目标是通过应用我从工作中学到的不同层次的艺术技巧以及我还没有太多机会掌握的建模技巧，尽可能地使环境更加详细。

Reference
What I knew at first is that the scene must involve railroads, mines and sand and that it should be sci-fi and also quite run down. A little stylization and exaggeration here and there also make things a lot more fun in my opinion. I kept in mind games like Rage and Doom and most of the references consisted of photos of real-life mines, railroads and old industrial factories.
To begin with, I sketched out a general idea and then it was a bunch of sketches to figure out the general design languages I would be using for the assets. Somewhere halfway into creating this level I gave up on sketches as at that point I could just figure the designs for different assets as I modeled them.
参考
我最初知道的是，这个场景必须涉及铁路，矿山和沙子，它应该是科幻小说，而且也很破旧。在我看来，这里和那里的一些风格化和夸张也使事情变得更加有趣。我记住了《狂怒》和《毁灭战士》等游戏，大部分参考资料都是现实生活中的矿山、铁路和旧工业工厂的照片。
首先，我勾勒出了一个总体想法，然后是一堆草图，以找出我将用于资产的一般设计语言。在创建这个关卡的中途，我放弃了草图，因为在那一刻，我只能在建模时为不同的资源设计。

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Blockout / Assembly
I started the scene with a simple blockout in Max which I then proceeded to break down into rough modules.
遮挡/组装
我在Max中以一个简单的遮挡开始了这个场景，然后我继续分解成粗糙的模块。

更多精彩图片 请登录

I then continued to add more and more to make the scene become fully modular and textured some assets on the way to get a heads up on the aesthetic that I could refer to as I go further.
When I finished with the modules, I started work on the large, medium and then smaller props, I did some initial side-dressing with them to get a better feel for the context of the scene.
Because I did not plan everything from the start, the huge rotor mining thing came to the level quite late, but luckily placing it properly was not an issue thanks to the modular nature of the level.
然后，我继续添加越来越多的内容，使场景变得完全模块化，并在途中对一些资源进行纹理处理，以便在我进一步讨论时可以参考的美学。
当我完成模块时，我开始研究大，中，然后是小道具，我用它们做了一些最初的侧面装饰，以便更好地感受场景的背景。
因为我从一开始就没有计划好一切，所以巨大的转子采矿技术很晚才达到这个水平，但幸运的是，由于水平仪的模块化性质，正确放置它不是问题。

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When I was done with the composition, I created a few types of cables to be used with splines, and then I did a pass on the foliage. For foliage, I used rocks that I made while creating cliffs and reused a bunch of metal pieces from the props I made earlier. The grass is from Megascans.
Among the final steps was adding a grime decal pass to make the surfaces more believable as well as to give them some storytelling.
当我完成构图时，我创建了几种类型的电缆与样条线一起使用，然后我在树叶上做了一个传递。对于树叶，我使用了我在创造悬崖时制作的岩石，并重复使用了我之前制作的道具中的一堆金属碎片。草来自Megascans。
最后的步骤包括添加污垢贴花通道，以使表面更加可信，并给它们一些讲故事的机会。

更多精彩图片 请登录

Then I drew some contextual decals and for the last step I sketched out a bunch of graffiti tags, some of which reflect the mood I had at some stages of creating this scene. And of course, the chonky boi on the wall set the final mood for the scene.
然后我画了一些上下文贴花，在最后一步，我勾勒出了一堆涂鸦标签，其中一些反映了我在创建这个场景的某些阶段的心情。当然，墙上的疙瘩布依为这个场景设定了最后的气氛。

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Modeling and Texturing
I modeled the majority of the assets in Max and textured them by using a double UV set approach: 1 set was specifically for the trim sheet I made and another was for a tile texture so that I could maintain a consistent texel around the whole level. I then broke down each asset into different material IDs to be able to easily assign multiple materials in Unreal. This is not the best approach, however, given the goals for this scene it saved me a lot of time. Most of the models are mid to high poly and the majority of details are modeled, the trim sheet just adds that edge wear and different surface details. I didn’t worry about keeping the wireframe clean either because as long as the shading on the model is correct, for static hard surface meshes it does not really matter. The final level of detail is added via vertex paint in Unreal to add the peeling paint effect.
建模和纹理
我对 Max 中的大多数资源进行了建模，并使用双 UV 集方法对它们进行了纹理处理：1 组专门用于我制作的修剪表，另一组用于瓷砖纹理，以便我可以在整个关卡周围保持一致的纹素。然后，我将每个资源分解为不同的材质ID，以便能够在虚幻引擎中轻松分配多个材质。这不是最好的方法，但是，考虑到这个场景的目标，它为我节省了很多时间。大多数模型都是中高多边形的，大多数细节都是建模的，装饰板只是增加了边缘磨损和不同的表面细节。我也不担心保持线框清洁，因为只要模型上的阴影是正确的，对于静态硬表面网格来说，这并不重要。最终的细节层次是通过虚幻引擎中的顶点绘画添加的，以添加剥离绘画效果。

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From the get-go I created a customizable shader in Unreal for the hard surface stuff to be able to create a variety of materials just by tweaking the parameters. This way all the assets in the scene beside the rocks and cliffs are fully customizable and don’t rely on unique maps whatsoever. Although you could bake some and blend them for even more detail.
从一开始，我就在虚幻引擎中为硬表面创建了一个可自定义的着色器，以便能够通过调整参数来创建各种材质。这样，岩石和悬崖旁边的场景中的所有资源都是完全可自定义的，并且不依赖于任何独特的地图。虽然你可以烘烤一些并混合它们以获得更多细节。
The cliff shaders are a bit different as they rely on unique maps rather than a trim sheet for customizability, but the overall idea is the same as with the hard surface shader.
悬崖着色器有点不同，因为它们依赖于独特的贴图而不是可自定义的修剪表，但整体想法与硬表面着色器相同。
For the terrain, I created a simple sand material that relies on displacement for grounding certain elements in the scene better as well as increasing the overall fidelity. I wanted to create more to blend them but I got too lazy so I relied mostly on foliage and props to make the ground look more interesting.
对于地形，我创建了一个简单的沙子材质，它依靠位移来更好地接地场景中的某些元素，并提高整体保真度。我想创造更多来混合它们，但我太懒惰了，所以我主要依靠树叶和道具来使地面看起来更有趣。

Lighting
For the lighting, I knew that I wanted to make the scene as flexible as possible so dynamic was the way to go. I used a sky system that I bought from the marketplace a long time ago for its great customizability (Check out Ultra Dynamic Sky on Unreal Marketplace). I then turned on Unreal’s Distance Fields and used a few crutches to get the right lighting setup (by creating shadow planes in some areas to get rid of backface bleeding, to make certain areas darker and to fix the issues with Unreal’s lack of proper GI when working with dynamic lighting.
照明
对于照明，我知道我想让场景尽可能灵活，所以动态是要走的路。我使用了很久以前从市场上购买的天空系统，因为它具有出色的可定制性（查看虚幻市场上的Ultra Dynamic Sky）。然后，我打开了虚幻的距离场，并使用一些拐杖来获得正确的光照设置（通过在某些区域创建阴影平面来消除背面出血，使某些区域更暗，并解决虚幻在处理动态光照时缺乏适当GI的问题。

Polish
For the final stage I went around fixing material properties, closing holes, fixing decal order issues and tweaking the lighting just a bit, etc.
波兰语
在最后阶段，我四处修复材料属性，关闭孔，修复贴花顺序问题以及稍微调整照明等。

Conclusion
While this project took way longer than expected, I learned how to approach different things in Unreal that I only knew how to do with other editors. This project helped realize me the potential of this engine when it comes to creating complex shaders and getting very precise renders while also keeping everything real-time without doing much manual optimization.
结论
虽然这个项目花费的时间比预期的要长得多，但我学会了如何在虚幻引擎中处理不同的事情，我只知道如何与其他编辑人员一起做。这个项目帮助我认识到这个引擎在创建复杂的着色器和获得非常精确的渲染方面的潜力，同时也使一切保持实时，而无需进行太多的手动优化。
https://www.artstation.com/filipp_spar
https://www.linkedin.com/in/filipp-sparak/

Rusty Sci Fi Mining Facility- Environment Breakdown – Filipp Sparak
生锈的科幻采矿设施 - 环境分解 - 菲利普·斯帕拉克

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Introduction
Hello, my name is Filipp, I am a 3D Artist from Russia and in this article, I’ll talk about the sci-fi environment I made in Unreal. The goal for it was initially to make as detailed an environment as I can by applying different level art techniques that I learned from work as well as modeling techniques that I didn’t have much chance to master yet.
介绍
您好，我的名字是Filipp，我是来自俄罗斯的3D艺术家，在本文中，我将讨论我在虚幻引擎中制作的科幻环境。它最初的目标是通过应用我从工作中学到的不同层次的艺术技巧以及我还没有太多机会掌握的建模技巧，尽可能地使环境更加详细。

Reference
What I knew at first is that the scene must involve railroads, mines and sand and that it should be sci-fi and also quite run down. A little stylization and exaggeration here and there also make things a lot more fun in my opinion. I kept in mind games like Rage and Doom and most of the references consisted of photos of real-life mines, railroads and old industrial factories.
To begin with, I sketched out a general idea and then it was a bunch of sketches to figure out the general design languages I would be using for the assets. Somewhere halfway into creating this level I gave up on sketches as at that point I could just figure the designs for different assets as I modeled them.
参考
我最初知道的是，这个场景必须涉及铁路，矿山和沙子，它应该是科幻小说，而且也很破旧。在我看来，这里和那里的一些风格化和夸张也使事情变得更加有趣。我记住了《狂怒》和《毁灭战士》等游戏，大部分参考资料都是现实生活中的矿山、铁路和旧工业工厂的照片。
首先，我勾勒出了一个总体想法，然后是一堆草图，以找出我将用于资产的一般设计语言。在创建这个关卡的中途，我放弃了草图，因为在那一刻，我只能在建模时为不同的资源设计。

更多精彩图片 请登录

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Blockout / Assembly
I started the scene with a simple blockout in Max which I then proceeded to break down into rough modules.
遮挡/组装
我在Max中以一个简单的遮挡开始了这个场景，然后我继续分解成粗糙的模块。

更多精彩图片 请登录

I then continued to add more and more to make the scene become fully modular and textured some assets on the way to get a heads up on the aesthetic that I could refer to as I go further.
When I finished with the modules, I started work on the large, medium and then smaller props, I did some initial side-dressing with them to get a better feel for the context of the scene.
Because I did not plan everything from the start, the huge rotor mining thing came to the level quite late, but luckily placing it properly was not an issue thanks to the modular nature of the level.
然后，我继续添加越来越多的内容，使场景变得完全模块化，并在途中对一些资源进行纹理处理，以便在我进一步讨论时可以参考的美学。
当我完成模块时，我开始研究大，中，然后是小道具，我用它们做了一些最初的侧面装饰，以便更好地感受场景的背景。
因为我从一开始就没有计划好一切，所以巨大的转子采矿技术很晚才达到这个水平，但幸运的是，由于水平仪的模块化性质，正确放置它不是问题。

更多精彩图片 请登录

When I was done with the composition, I created a few types of cables to be used with splines, and then I did a pass on the foliage. For foliage, I used rocks that I made while creating cliffs and reused a bunch of metal pieces from the props I made earlier. The grass is from Megascans.
Among the final steps was adding a grime decal pass to make the surfaces more believable as well as to give them some storytelling.
当我完成构图时，我创建了几种类型的电缆与样条线一起使用，然后我在树叶上做了一个传递。对于树叶，我使用了我在创造悬崖时制作的岩石，并重复使用了我之前制作的道具中的一堆金属碎片。草来自Megascans。
最后的步骤包括添加污垢贴花通道，以使表面更加可信，并给它们一些讲故事的机会。

更多精彩图片 请登录

Then I drew some contextual decals and for the last step I sketched out a bunch of graffiti tags, some of which reflect the mood I had at some stages of creating this scene. And of course, the chonky boi on the wall set the final mood for the scene.
然后我画了一些上下文贴花，在最后一步，我勾勒出了一堆涂鸦标签，其中一些反映了我在创建这个场景的某些阶段的心情。当然，墙上的疙瘩布依为这个场景设定了最后的气氛。

更多精彩图片 请登录

更多精彩图片 请登录

更多精彩图片 请登录

Modeling and Texturing
I modeled the majority of the assets in Max and textured them by using a double UV set approach: 1 set was specifically for the trim sheet I made and another was for a tile texture so that I could maintain a consistent texel around the whole level. I then broke down each asset into different material IDs to be able to easily assign multiple materials in Unreal. This is not the best approach, however, given the goals for this scene it saved me a lot of time. Most of the models are mid to high poly and the majority of details are modeled, the trim sheet just adds that edge wear and different surface details. I didn’t worry about keeping the wireframe clean either because as long as the shading on the model is correct, for static hard surface meshes it does not really matter. The final level of detail is added via vertex paint in Unreal to add the peeling paint effect.
建模和纹理
我对 Max 中的大多数资源进行了建模，并使用双 UV 集方法对它们进行了纹理处理：1 组专门用于我制作的修剪表，另一组用于瓷砖纹理，以便我可以在整个关卡周围保持一致的纹素。然后，我将每个资源分解为不同的材质ID，以便能够在虚幻引擎中轻松分配多个材质。这不是最好的方法，但是，考虑到这个场景的目标，它为我节省了很多时间。大多数模型都是中高多边形的，大多数细节都是建模的，装饰板只是增加了边缘磨损和不同的表面细节。我也不担心保持线框清洁，因为只要模型上的阴影是正确的，对于静态硬表面网格来说，这并不重要。最终的细节层次是通过虚幻引擎中的顶点绘画添加的，以添加剥离绘画效果。

更多精彩图片 请登录

From the get-go I created a customizable shader in Unreal for the hard surface stuff to be able to create a variety of materials just by tweaking the parameters. This way all the assets in the scene beside the rocks and cliffs are fully customizable and don’t rely on unique maps whatsoever. Although you could bake some and blend them for even more detail.
从一开始，我就在虚幻引擎中为硬表面创建了一个可自定义的着色器，以便能够通过调整参数来创建各种材质。这样，岩石和悬崖旁边的场景中的所有资源都是完全可自定义的，并且不依赖于任何独特的地图。虽然你可以烘烤一些并混合它们以获得更多细节。
The cliff shaders are a bit different as they rely on unique maps rather than a trim sheet for customizability, but the overall idea is the same as with the hard surface shader.
悬崖着色器有点不同，因为它们依赖于独特的贴图而不是可自定义的修剪表，但整体想法与硬表面着色器相同。
For the terrain, I created a simple sand material that relies on displacement for grounding certain elements in the scene better as well as increasing the overall fidelity. I wanted to create more to blend them but I got too lazy so I relied mostly on foliage and props to make the ground look more interesting.
对于地形，我创建了一个简单的沙子材质，它依靠位移来更好地接地场景中的某些元素，并提高整体保真度。我想创造更多来混合它们，但我太懒惰了，所以我主要依靠树叶和道具来使地面看起来更有趣。

Lighting
For the lighting, I knew that I wanted to make the scene as flexible as possible so dynamic was the way to go. I used a sky system that I bought from the marketplace a long time ago for its great customizability (Check out Ultra Dynamic Sky on Unreal Marketplace). I then turned on Unreal’s Distance Fields and used a few crutches to get the right lighting setup (by creating shadow planes in some areas to get rid of backface bleeding, to make certain areas darker and to fix the issues with Unreal’s lack of proper GI when working with dynamic lighting.
照明
对于照明，我知道我想让场景尽可能灵活，所以动态是要走的路。我使用了很久以前从市场上购买的天空系统，因为它具有出色的可定制性（查看虚幻市场上的Ultra Dynamic Sky）。然后，我打开了虚幻的距离场，并使用一些拐杖来获得正确的光照设置（通过在某些区域创建阴影平面来消除背面出血，使某些区域更暗，并解决虚幻在处理动态光照时缺乏适当GI的问题。

Polish
For the final stage I went around fixing material properties, closing holes, fixing decal order issues and tweaking the lighting just a bit, etc.
波兰语
在最后阶段，我四处修复材料属性，关闭孔，修复贴花顺序问题以及稍微调整照明等。

Conclusion
While this project took way longer than expected, I learned how to approach different things in Unreal that I only knew how to do with other editors. This project helped realize me the potential of this engine when it comes to creating complex shaders and getting very precise renders while also keeping everything real-time without doing much manual optimization.
结论
虽然这个项目花费的时间比预期的要长得多，但我学会了如何在虚幻引擎中处理不同的事情，我只知道如何与其他编辑人员一起做。这个项目帮助我认识到这个引擎在创建复杂的着色器和获得非常精确的渲染方面的潜力，同时也使一切保持实时，而无需进行太多的手动优化。
https://www.artstation.com/filipp_spar
https://www.linkedin.com/in/filipp-sparak/