Rebecca Wolff Portfolio

Hey :)
I am excited to present some of the work I have created this year throughout my final year at Escape Studios. While I mostly focus on environments, this year I wanted to push myself to showcase an eye for detail in props work as well and will be displaying a mix of both. 

Chinese Incense Burner

Starting off I have recreated a Chinese Incense Burner that can be found in the British Museum. It originated in the Qianlong Dynasty around 1736-1790 and made out of pure bronze.
I wanted to keep to stay as true as possible to the original piece (which can also be found here https://www.britishmuseum.org/collection/object/A_OA-7057-a)

I spent most of my time in ZBrush for the sculpt and retopologised in Maya afterwards. It is fully painted in textures with final renders in Unreal Engine5.

Here's a little breakdown slide view: ZBrush sculpt, basecolour, roughness, metal and normal channels

Steampunk Airship VR Escape Room 

In our first group project of the year I had the chance to work with a great team on a VR Escape Room. I'd love to share some of the pieces I got to work on throughout the project.

Inspired by a mix of Art Nouveau and Steampunk, we created the living quarters of an airship that are leading towards the cockpit.

Here's a collection of props I did throughout the 8 week production time

And Some of the finalised environment pieces I contributed.

Cinematic Vista Experience - Group Project

For my final project of the year I was able to help create an epic vista experience. Due to the scale of the project being so large, we were able to use Megascans to allow us to meet such a large scoped project. 

I was responsible for the vista creation past the blockout stage - especially the layout, terrain creation and hero mountain creation. The materials used are Megascan materials from the Quixel Library. The assets in scene are a mix between Megascans and made by team members.

I sculpted the mountain pieces in ZBrush and set up a world aligned material using megascans. To be able to rotate the meshes I also enabled the moss to work with world alignment.

This allowed me full control on placement and shape depending on the camera angles we needed the mountain to be.

The architecture was done in Maya. As the structures were far away I kept it simple as I didn't want the view to get too noisy. Fully modular.

For the landscape mountains I used LIDAR data in Houdini to create height fields. As a landscape wasn't working for us I extracted parts of the data and turned them into meshes.