Art Deco Airplane Bar & Restaurant | "Miles Santino's High Club" | Trevin Dahl
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Art Deco Airplane Bar & Restaurant | "Miles Santino's High Club" | Trevin Dahl

Trevin Dahl
by Trevin on 28 May 2021 for Rookie Awards 2021

A shady club high rollers use to make deals far away from prying eyes and ears of those who wish to know their secrets. A full scale interior environment I designed in my Advanced Environment class for Unreal Engine 4. The second project, "Road Trip", is a piece I developed for Renderman.

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Miles Santino's High Club

Art Deco Airplane Bar & Restaurant

Deals so shady the sky is the only place far enough away from prying ears and eyes.


The scene was developed and rendered in Unreal Engine 4.

All props were modeled and designed in Maya.

All Texturing done in Substance Painter and Photoshop.

A Fly Through of my final scene:

More images of my final scene:

Process images:

The high density of the curtains in the background were placeholder at this stage in my modeling process. Also note that the sconces were remodeled later on as I improved on the design.

Overall, modeling this scene was tricky for me; I used a massive amount of reference but it was difficult to find art deco pieces that would safely function in airplane turbulence. I ended up taking elements of many different pieces of furniture and designed my own, custom, functional props.

Because this scene was designed for Unreal Engine I used entirely modular props. For example, in the first UV screen shot, the UV density of the first row of beams/walls is a lot higher than the rest. This is because I only exported the first row for texturing in Substance Painter, the rest were there simply for planning.

I prioritized having little to no faceting over ultra-performance-friendly props. Many of the textures I created were 4K as well. In the end, I was still able to get fairly high performance out of Unreal even with ultra high density light maps and some stationary/movable lighting. In the end I even subdivided some of my final meshes to reduce faceting to near-zero.

Baking the lighting in this scene was fairly time consuming and was my biggest hurtle to overcome. My background is in Arnold/Keyshot/Renderman which is a much more linear of a process. There was a fairly large learning curve involved in getting the results I wanted from Unreal Engine's lighting systems, but I'm overall happy with the results I was able to achieve.

Prop screen shots from Substance Painter with UV layouts:


This was a large project for me, and one of 4 I was working on simultaneously. I had to rework my UVs a couple of times to make them work seamlessly with Unreal Engine's light map system, but overall I had very few issues in this sense. My UVs could be a lot more organized and efficient when it comes to maximizing the usable space of my layouts.

While I did UV everything in my scene manually, I chose to have a little stretching/warping over bad seam placement. I feel that this is one area I was a little rushed in, and if I were to do it again I'd be more systematic about my process.

"Road Trip"

This is one of my favorite projects I've completed so far.

My focus this time was not on realism, but story telling. If you could, would you bring your entire house on a road trip?

I developed this scene in Renderman, Maya, ZBrush, and Substance Painter with post processing done in Photoshop. My focus with this project was not on Real Time performance but instead on this primary render. Many of the landscape props are were decimated after sculpting in ZBrush. While it wasn't my priority at this time, it would be a simple task to make the assets game ready as all the materials in the scene are Smart Materials I created in Substance Painter and can be easily reused.

My shadows are a bit lighter than they would be in nature given this intensity of direct lighting, but this was an artist decision I followed through on as I didn't want my shadows to take focus away from the rest of my composition.

The smoke and dust and post processing I added in in Photoshop after completing my final render.

Close up of the car:

In this close-up, the car details are a bit heavy handed. I did this intentionally as the vehicle is quite small in the final render and I wanted it to pop.


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