2024 – Reconstruction of “8 e mezzo” stage
Engine: Unity
Target Hardware: Meta Quest 2/3
Target FPS: 72
Techniques used to reduce draw calls, geometry and scene complexity:
- LODs for far or small objects that may be seen very close.
- Texture Atlases
- Vegetation Billboard to close the scene far away
- Very Low Poly buildings and optimized geometry on backfaces
- Baked lighting
- Static batching, occlusion culling
- Simple Lit shaders
The lighting effects is vertex-based. Since the entire scene uses a baked lighting and the GPU usage was pretty high, a realtime pixel light was out of question. In this way the overall performance was stable in the 70-ish fps range. The same script that crates the equalizer effects on the stage, changes both the emissive values of the lamps and the intensity of two strong spot lights that create the lighting effects for the scene.
2023 – VR Solar System
First VR project developed solo on Meta Quest 2. I used the simple idea of a small solar system representation to get used to the Meta SDK.
Basic Design:
- Grabbable and resizable planets
- Grabbable main menu
- Quest 2/3 Pass-through toggle
- Minigame “reorder the planets”
- Alternative visualization mode to examine the size of the planets and their relative distance from the sun
2021 – Graduation Reel
Environment
In this project I heavily experimented with lightmaps and vegetation. The main focus is the light coming from the window in a The Last Of Us inspired mood. Even though I’m satisfied with the main shots near the window, the rest of the environment lacks detail and storytelling. I realized it after putting too much attention and effort on my favorite assets (vegetation, props on the desk and the lighting).
Character
Clank-inspired fan art (Ratchet & Clank 2016, Insomniac Games), reproduced entirely in Maya and Substance Painter.
Texturing
Medieval house diorama: Substance Designer texturing project. All the texture were created procedurally insider Designer and blended together on Unreal Engine 4.27 using vertex panting techinques.
Astronaut suit: Substance Painter texturing project. The project was mainly focused on the creation of micro-imperfections to achieve a good grade of realism. Micro-Height, Anchors and other advanced techniques were involved.
Modeling
Modeled in Maya, this scene relies mainly on decals and scattered props. The main focus for this project was achieving a good normal maps from the high poly models baked inside Marmoset Toolbag.The scene was then rendered inside Unreal 4.27.
