Category: Unreal engine

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.

I completed the full scene setup and added several warm light sources to enhance visual depth and layering. I also introduced foreground occluding elements for specific shots to increase the sense of depth of field, helping organize the relationships between objects so the composition does not feel cluttered.

For the camera perspective, I chose a low-angle view to convey a sense of vulnerability and smallness, contrasting with the scale of the environment and the menace of the monster. This perspective is intended to evoke a first-person feeling, enhancing immersion and reinforcing the overall sense of danger and oppression.

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.

I do not plan to create character animation, so I approached the character’s body using a modular sculpting workflow. I used pre-rigged character assets to pose the figures in Maya, then imported them into ZBrush. From there, I extracted the parts I needed and further modified them to fit the design.

I envisioned the character in a seated pose, holding a knife and scissors while dissecting a corpse. The brother’s head hangs limply to the side, his facial flesh frozen into a bitter, strained smile—an unsettling and spine-chilling sight.

This week, I mainly focused on modeling the heads of the two characters. I wanted them to convey a sense of distortion and grotesqueness, so I intentionally warped their facial features, making them appear smeared and uneven.

In particular, the brother’s face has a melting quality, as if it were slowly dissolving. The psychological unease and discomfort created by this effect is something I find very effective. Rather than turning the characters into overt, aggressive monsters, I aim for a more subtle form of horror—one that quietly unsettles the viewer and creates a lingering sense of dread.

I changed my previous creative approach and decided to create a scene inspired by Little Nightmares for this project. I want the atmosphere to feel dark and distorted, with a cold, eerie lighting setup and a monster lurking within the environment. I have explored similar themes before, but only at the 2D stage, such as character design. This time, I aim to bring my ideas to life in a fully realized 3D scene using Unreal Engine.

environment reference：

Inspiration:Jinx’s room in Arcane.

This is a hidden place. It’s a safe room, a workshop, and a museum of memories.
Everything here tells a story about the person who lives here. You can see her struggles, her past hurts, her love for pretty things, and the childlike heart she tries to hide. Anyone who sees this space can feel what she feels inside.

Rusty pipes, glowing neon lights, old childhood toys, graffiti, and metal parts – they all tell a story without words. Everything in this room shows who the person is inside.

Rusty pipes, glowing neon lights, old childhood toys, graffiti, and metal parts – they all tell a story without words. Everything in this room shows who the person is inside.

I plan to refine a Jinx-inspired character concept and build a personalized living space for her. This space will use lighting design, object placement, and other environmental elements to create a complete visual storytelling system. Every detail will reflect the character’s conflicting personality and life experiences.

Due to time constraints, I’ll just place the character in a static pose within the scene without animation.