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.