Month: November 2025

I began creating the camera shot sequence, experimenting with low-angle views to enhance the monster’s sense of oppression, and conducted initial rendering tests. By keeping the overall environment lighting dark while using localized high-contrast illumination, I aimed to create a confined and oppressive surgical atmosphere. However, during rendering, I encountered issues with noise and overexposed highlights, which will require further optimization of lighting parameters and post-processing effects.

Without changing the overall structure, I added more background assets such as furniture, clutter, and floor details, drawing inspiration from the spatial density and sense of oppression found in Little Nightmares to enrich the interior layering. By introducing darker areas and scattered objects, I reduced the sense of cleanliness in the space, making the environment feel more eerie and grounded. However, I also found that too many props can easily distract from the visual focal point, requiring repeated adjustments and refinement.

I used the characters from Little Nightmares as a reference when creating the materials. The overall color palette is low in saturation, with the skin rendered in a sickly, waxy yellow tone, covered in stains and blood marks.

I imported the models into Maya to unwrap the UVs, merging components that share the same materials in advance to create unified UV sets, which will make the texturing process more efficient later on.

After that, I imported the graybox models into Unreal Engine and set up a preliminary version of the scene.

I centered the composition around the operating table, with the monster seated beside it, performing the procedure. A cold, pale spotlight from an overhead incandescent lamp focuses on the scene, reinforcing the sterile and unsettling atmosphere. Throughout the process, I continuously adjusted the composition through the camera view; however, the lighting remains somewhat flat and lacks depth, which is the main issue I identified this week.