UE4- Interiorxc

This is my latest work using UE4 and Blender. Interior scene textures by hand and some photo textures used as well. Majority of the assets were created by me with some assets which are free models modified, cleaned up and textured from scratch.
For this project, I created dynamic textures for majority of the assets which enables clients to play around with colors and mood during projects. Also very useful during skype and google hangout discussions with clients as changes can be made on the fly in real time.
I have included a small demo of how the dynamic textures work at the end of the animation video.

Music by Michael FK – Lighthouse

The House of Ball

“The House of Ball” is my artistic vision of a Stadium filled with mist, colorful lights, and memories. The stadium, which even empty is full of its legend. On the Stadium’s screen was displayed the match between Poland and CCCP from the year 1957. The whole project is running in real-time in Unreal Engine 4 and can handle 22000 of instanced seats.

Credits: Modelling/CGI/Lighting/Cameras: Jakub Lesniak
Stadium Design: Perbo-Projekt
Music: Lee Rosevere “Healing”

Cherry Apartment

This is the project which I made to check the boundaries of real-time visualizations in Unreal Engine 4. All I can say this engine has almost limitless possibilities and in my opinion will drastically change the world of computer visualizations. All of presented images, video and 360 panoramas are straight from the engine without any additional post-production in other programs (the only one post is the one from the engine). I’ve modeled most of the assets, which were then textured using mostly “Substance” plugin build in Unreal Studio Beta.

TSR 011: Six Degrees of Freedom (6DoF) and More with Lon Grohs from Chaos Group

Big News in VR

We kick off this session with big news — Chaos Group just announced that they would be joining forces with Epic Games to make V-Ray for Unreal Engine. Lon says it’s been on their radar for awhile, and now it’s finally happening. The goal with this merger is to make the dream of seeing ArchViz projects in real-time a reality. Although a timeline isn’t in place yet, they’re working to create as many ways as possible to improve the AR and VR experience by building a bridge to the real-time engines their customers are using.

Six Degrees of Freedom

Lon also shares their plans to open up the doors to VR from three degrees to six degrees of freedom. Six degrees of freedom will give architects and their clients the ability to move around freely in their renderings. Lon calls this a “room scale” experience, and the most natural experience that you can have in a virtual space. He shares the technologies that will create the best VR experience, including Nozon and Lytro, and the differences between the two.

Artist or Client — Who’s Using VR?

In my experience, VR is more user-friendly for the artist than it is for the client. When I asked Lon who should expect to have the most significant experience with these technologies, he told me it is for everyone. From the artists and their team to the client presentations, their goal is to create a technology that can easily be used throughout the entire project. Although still in the experimental phases of creating the six degrees of freedom in every VR experience, Lon and his partners at Chaos Group are definitely well on their way to figuring it all out.

We discuss the role that architectural education had in Lon’s career, upcoming projects, new technologies, and some of Lon’s biggest ideas yet. A whole lot is coming down the pipeline at Chaos Group, and you can hear all about inside this session of The SpectRoom with Lon Grohs.

Main Quotes

“VR is an architectural superpower.” — Lon Grohs

“Showing a still image will always work.” — Ronen Bekerman

“I want to see ray-traced AR in a meaningful, fast way.” — Lon Grohs

“It’s very easy to have too many ideas.” — Lon Grohs

 

TSR 004: The Evil Twins of ArchVIZ – Peter Guthrie and Henry Goss about Pushing The Boundary!

Creating The Boundary

Peter and Henry share the driving reasons and goals behind their decision to join forces and create The Boundary. From friends to business partners, as their individual capacities increased they decided to raise their game and share the burden of their work together. Although they just call it the next logical step, the results have been incredible.

Current Projects and What’s in (their) Store

Despite detouring from traditional architecture, Henry and Peter are more involved in architecture and design than ever before. They’ve been working with their heroes on fundamental design details from an early stage, including Peter Zumthor on the Los Angeles Museum of Art. We put Corona Renderer up against VRay, discuss animations and VR deliverables, and examine what it means at The Boundary to be a project manager, 3D artist, or project visualizer. We also chat about The Boundary Store, which they’ve set up to help people gain access to their scenes. The store is evolving to become a place where people will go to find the top brand, top-quality images.

Five Years into the Future

When I asked Peter what we need to start thinking about now so that we are still relevant five years into the future, he admitted that although he may not be excited about VR and augmented reality, he is passionate about creating beautiful images, moving images, and films. Henry recognizes that the change will be constant in this industry — there will always be other companies coming up behind you, so you must constantly push forward with your energy. And that thrust toward success is the future of business at The Boundary.