When selecting shots for rendering, I focused on angles that enhance immersion, presenting the environment from a furtive, hidden perspective, as if the viewer is cautiously observing the scene. I repeatedly adjusted the camera’s aperture and focal length to achieve a more cinematic look. To support the dark and unsettling tone of the project, I chose a slow, eerie piece of music as the background score.
Throughout the production of this project, I gained a great deal of experience. Prior to this, I was not very proficient in 3D work, nor was I familiar with most 3D software. From modeling in ZBrush, to UV unwrapping and texturing in Maya and Substance Painter, and finally to scene assembly and rendering in Unreal Engine, I encountered a variety of challenges at every stage. However, by searching for tutorials, consulting classmates, and exploring alternative solutions, I was able to overcome these difficulties. This project also marks the first time I independently completed an entire production pipeline from modeling to final rendering, and overall, I am fairly satisfied with the result.
At the same time, there are some regrets. Spending too much time on early planning left me with limited time for polishing in the later stages. In addition, my unfamiliarity with several software tools—especially issues related to importing and exporting between different programs—cost me a significant amount of time. As a result, I had to revise my original concept of a taxidermy room and instead shift the scene toward a more surgical environment. I had initially planned to model specific assets such as hybrid specimens made from human and animal corpses, as well as an experimental electric chair, but due to time constraints, I had to rely on existing assets instead. Nevertheless, this experience has provided valuable lessons and will serve as an important foundation for future projects.