The goal with my Nature project was to achieve photorealism while also crafting a compelling narrative and an immersive experience for its viewers. To accomplish this, I decided to create three distinct environment sets: Arctic, Iceland and Mesa. These diverse environments each posed unique challenges and demanded a wide variety of different techniques.
I’ve always been captivated by Iceland’s landscapes as well, and there I wanted to do justice to their beauty with believable foliage an essential element, plus fog to simulate humidity. Finally, the fascinating Mesa landscape required a precise lighting setup alongside the realistic materials and foliage.
Our planet offers a huge variety of terrains, all influenced by environmental factors such as water, wind, and so on. For example, the Arctic scene needed sharp mountains eroded by the wind and huge cliffs with snow deposits and fluvial erosion created by melted ice, so I went into Gaea and experimented until I had something suitable.
By default, Unreal 5.1 doesn’t support tessellation within the Material editor, so instead I had to create a plane and add a material with all the maps plugged in other than the Displacement. Next I switched over to Unreal’s Modelling tools, chose Displace, and after selecting 2D Texture, I plugged in my Displacement map. After that, I began to scatter the patches.
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