Video:
https://drive.google.com/open?id=16cnHzRDS4MwSY7KHdjFtMqpAe3o-uW88
My Project
For my project, I decided to do a small video game dungeon hallway inspired by The Legend of Zelda: Ocarina of Time. I never had much previous experience with using Unreal Engine 4 but I managed to have things working with the help of my friends to set up a trigger for the button to lift the bars on the doors.
The fun part of this project was how simple the modeling was for the assets, as well as using Substance Painter to texture my assets. If I ever have to make an environment like that again I would probably make more props and have a separate floor and ceiling piece rather than re-using the wall pieces.
Modular Workflow
My modular workflow was dictated by the fact that I had minimal time to do the project so it is a bit all over the place and simple. Be mindful that this probably isn’t the right way to do this.
- Got inspired to make a Zelda-type dungeon hallway while playing Ocarina of Time on my 3DS
- Looked up screenshots of different dungeons within the game
- Used 3DS Max to model my assets (which was just wall pieces and a door and one bar)
- Exported the pieces to open in Substance Painter
- Found creator made texture packs online and used those to texture my assets in Substance Painter
- Import everything into Unreal Engine 4
- Set up the environment and tweak it as I went along
- Figured out the final layout
- Had help to add the trigger to the button to press down and for the bars on the doors to go up
- Added lighting (also with some help)
- Finally created a video sequence
Benefits and limitations
The benefits of using a modular workflow are that it makes modeling much faster as I only had to create one piece for each thing I needed; i.e walls and doors. The limitations would probably how it is a bit troublesome to have the walls be put so close together without them clipping into each other.
Unreal Engine 4 materials
Albedo – the picture of the material
Roughness – uses a greyscale map to determine what part of the texture map is seen as rough and/or shiny
Normal – gives depth to the material by using smaller details
Metalness – controls if and how the material reflects surrounding objects making it look either metallic or non-metallic
Ambient occlusion – controls how light bounces off of a material
Emissive – controls how much a material can glow
Opacity – determines how transparent the material is
Chiara Tallarico 