3D Hard Surface Portfolio- 2023/2024 - Roi Sánchez Domínguez

My name is Roi, and I hold a master's degree in Weapons and Vehicles from Voxel School as well as a  degree in Digital Creation, Animation, and Videogames from Universidade da Coruña. I am thrilled to be participating in The Rookies this year. The following works were created during my academic journey, and I hope you enjoy them. The projects will be displayed from the most recent to the oldest. Any feedback or questions are welcome.
Access to my socials: Linkedin and ArtStation.

During my master's program at Voxel School, we were tasked with creating both a weapon and a vehicle. Given my passion for airsoft, I chose to replicate a real model from a brand that inspired my interest in the sport, the SSP5 airsoft pistol from Novritsch. This brand, which began as a YouTube channel, creates fantastic content and served as the inspiration for this project. My goal was to present the design in a variety of colors, akin to a professional product advertisement. Special thanks to my teachers Adrián Moreno, Alex Kolesnikov and Toño Gimeno  for their invaluable feedback.

REFERENCES

Both the SSP5 and F35 projects were completed simultaneously, so I will discuss shared workflows and programs in both breakdowns. The first step in my process was gathering extensive references, including high-quality images and disassembly videos. Visualizing the final renders early on helped shape the project. I decided to include an extractable magazine, a red dot sight, and a flashlight, although the latter was not completed due to time constraints. 

MODELING

For the block-out and high-poly model, I used Fusion 360. It was my first time using this software, and I quickly fell in love with its simplicity and Boolean operation capabilities. However, I learned the importance of carefully planning the modeling approach, particularly for complex parts like the hand guard, which required several attempts to perfect.

Once the model was ready, I moved to Zbrush to smooth out surfaces and apply Booleans, such as the "Made in Taiwan" and "Novritsch" texts and the handgrip pattern. Despite initial difficulties with Zbrush's controls and UI, it became an indispensable tool in my workflow. Decimating the geometry was a lengthy process, especially with my rig's limitations, but necessary for handling the detailed model, which consisted of 162 pieces.

For the low-poly model, I exported from Fusion 360 to MoI 3D to convert the design into geometry. Although this resulted in a model full of ngons that needed cleaning, I found this method more attractive than traditional workflows. The geometry cleanup was performed in Maya 2023, resulting in a model with 35,429 tris, excluding the unoptimized springs and BBs in the magazine. The mesh was divided into 7 texture sets to ensure high-quality texturing.

The UV creation was accomplished using Rizom UV, a program introduced during my master’s studies. Much like my experience with Fusion, I was captivated by Rizom UV from the start. Transitioning from working with UVs in Maya, my efficiency and speed improved significantly. What once felt like a tedious task transformed into an engaging and enjoyable process.

BAKING

This project marked my first foray into baking maps, among many other first-time experiences. Utilizing Marmoset Toolbag 4, I successfully baked a range of maps including normal maps, ambient occlusion maps, curvature maps, and ID maps. Fortunately, I encountered no difficulties throughout this crucial step of the process.

TEXTURING

Texturing the prop was an exciting phase, heavily influenced by our teachers' emphasis on detail. I examined real-life objects for reference, focusing on small damages and surface details. Using Substance Painter with ACES color correction and a metallic workflow, I created modular materials for easy color changes. I chose black for the base color, aiming for a used but well-maintained look, with significant attention given to the roughness channel and metal on the slide and barrel.

Multiple versions were created to enhance flexibility in rendering.

RENDERING

Designing and creating the final renders was an exhilarating experience, especially as it was my first time using Marmoset Toobag 4. The software's power and ease of use made achieving impressive results almost effortless. I was particularly impressed by the lighting tool, which allows precise control by directly interacting with the surface area you want to illuminate, significantly speeding up the process. For the smaller compositions, I utilized assets and materials from Bridge. I would like to give a special mention to Eugene Petrov for the FPS hands. The most challenging render was the store scene. My PC couldn't handle all the different color pistols simultaneously, so I had to render it in two batches and combine them afterward. The final presentation was composed in Krita, with final adjustments in Photoshop. 

For the store render, I created a small library of assets to complement the main scene.

During my master's program, my initial project idea was a tank. However, after receiving feedback from my professors, I shifted focus to the F35B fighter plane, a decision I later regretted due to the project's complexity. Thanks again to my teachers Adrián Moreno, Alex Kolesnikov and Toño Gimeno for their incredible feedback during the process.

REFERENCES

The first step involved gathering extensive references. Unlike previous projects, high-quality references for the F35B were hard to find, as images of the F35A, F35B, and F35C were often mixed, making differentiation challenging. The unique VTOL capability and complexity of internal mechanism of the B variant added to the difficulty.

MODELING

I began the blocking phase in Maya 2023 and was pleased with the results. 

The missiles were modeled in Fusion 360. 

Creating the high-poly model was the most time-consuming phase. The large main body posed significant challenges, as adding loops on one side affected the opposite side, requiring constant adjustments. Ultimately, I decided to close the compartments for the VTOL nozzle, weapon systems, and landing gears due to time and skill constraints. In ZBrush, I faced further issues. Dynamesh couldn't handle the complex shape and size of the main body, resulting in a non-ideal amount of geometry and preventing high-quality detailing. Despite playing with resolution and scale, I had to move on, adding surface details with the geometry I had and keeping compartment doors separate for potential future work. Decimating the model in ZBrush was another lengthy process as with the SSP5, draining my energy and motivation.

In contrast, creating the missile pod was trouble-free. I completed it’s high-poly after starting the texturing of the main body, which reinvigorated my motivation.

Fun fact: Although it ultimately didn't contribute to the final project, I spent several hours working on the front landing gear.

For the low-poly model, I returned to Maya. With good geometry in place from the high-poly, I finished it quickly. The main body has 65,196 tris, each missile and missile pod 21,824 tris, and the cockpit interior 26,284 tris. The missile pods, imported from Fusion through MoI3D to Maya, required cleanup.

Although many systems were scrapped, I quickly modeled a low-poly cockpit interior. I wanted a backlit shot in my final renders and didn't want opaque glass with no interior detail. I minimized resources spent on this part, knowing it wouldn’t receive much attention.

Using Rizom UV, I separated the model into 5 texture sets. 

BAKING

Marmoset Toolbag 4 facilitated the baking of normal, curvature, ID, and AO maps. Troublesome pieces required adjustments of their smoothing groups and the projection cage. I realized that for future projects, it would be more efficient to add compartment doors during the baking process, keeping the main body intact without separate doors.

TEXTURING

For texturing, I opted against a traditional grey look for the F35B. Inspired by Russian air vehicles with two-tone camo (camouflage on top and a bluish tone on the bottom), I chose a polygonal camouflage pattern. 

Texturing in Substance was enjoyable and visually satisfying from the start. The vehicle's lore suggested it was stolen by a Galician militia, requiring references to Galicia (specifically Ferrol, a Galician city, although I’m not from there, contrary to frequent and recent questions).

Despite the missiles being created later in the production process, I was very pleased with the results, even though I didn’t have much time to work on them.

RENDERING

Renders were created in both Marmoset Toolbag 4 and Unreal Engine 5, using supplementary materials from Bridge and the Epic Games Marketplace. This was my first experience with UE5, which did not perform well on my computer. Creating clouds was particularly challenging, and I’m still not fully satisfied with the result. However, I learned a lot about rendering with this software through experimentation. In contrast, Marmoset was exceptionally user-friendly and enjoyable to work with. Each render received final touches in Photoshop, and the presentation was assembled in Krita.

These three projects showcased in the video were completed as part of my final project for my degree in Digital Creation, Animation, and Videogames. I extend my heartfelt thanks to my TFG tutors, Angel Fariña and Fatima Davite, for their incredible feedback and motivation throughout the process.

The first project to discuss is Charlie V02. You might wonder why "v02"? Charlie was the first character I ever modeled (as shown in the image above), and to this day, I remain proud of him. Over the four years of my studies, he has featured in many projects, so I thought it fitting to conclude my degree by remastering my original character. The main reference for the remaster was the sketch displayed above.

REFERENCES

I began by gathering numerous references for robot characters and military elements that could be integrated into the design. I sketched various articulations and body parts as general references.

MODELING

For this project, I wanted to try a different approach by designing the character through multiple block-out iterations using Maya 2023. The iteration I liked best was the thirteenth one. However, it still felt lacking. As a last resort, I experimented with a more cartoonish style, which I ended up loving. This style injected more energy and expression into the character, making it an ideal remake of the original. This experiment led me to conclude that having a more concise idea on paper (through sketches) is better than diving directly into 3D modeling.

I then modeled a medium poly version of the character with a filmmaking workflow in mind, which allowed us to avoid baking and simplify the process. The body consists of 340k tris.

The rifle comprises 23k tris (with UV cuts highlighted in blue in the wireframe screenshots for some reason I couldn't fix).

UVs were also created in Maya. The main body was divided into 12 UDIMs, while the rifle was divided into 2. 

TEXTURING

These last 2 sets of renders of the robot and rifle were done in Substance Painter. 

For the texturing process, I aimed for a rubbery look on non-metallic surfaces to give the character a friendlier appearance. The large red eye from the first version was changed to a more approachable yellow color.

RENDERING

For render composition, animation, and lighting, I used the Arnold engine through Maya. The rig used for animation was based on geometry parenting, which allowed me to create it quickly and animate simple movements effectively and fast for the video. EXR files were exported with Z-depth information, enabling easy post-processing of depth of field in DaVinci Resolve, where the raw sequence was crafted. The entire video was edited in Wondershare Filmora. For the main renders Krita and Photoshop were used for both the final touches and final compostition.

This is the second of three works from my final project during my collegiate career. As previously mentioned, airsoft holds a special place among my hobbies. Owning a mk18 with an extended barrel and handguard inspired me to bring it to life in 3D. Given my love for modularity, I aimed to make this project as modular as possible, focusing on creating a versatile weapon system.

REFERENCES

References played a crucial role. Despite having access to a replica, understanding every intricate detail, including internals, magazines, and accessories, was essential. My objective was to accurately represent a real weapon, not just an airsoft replica. The emphasis on modularity added complexity, as different systems needed seamless integration.

MODELING

Geometry: 328982 tris

Geometry: 381871 tris

Geometry: 135074 tris

Geometry: 287860 tris

With a clear vision in mind and a solid understanding of my requirements, I swiftly transitioned from a simple block out to a medium-poly version, all within Maya. Similar to the approach with Charlie, I adopted an animation-centric workflow to avoid bakes. Four versions of the weapon, each with respective accessories, were crafted using modular components. At this stage, considerations for texturing options began to emerge.

UV mapping was also completed in Maya, utilizing 9 UDIMs to efficiently distribute every piece and achieve higher quality details.

TEXTURING

Substance Painter proved instrumental in the texturing process, offering ample creative freedom. Each variant of the rifle received unique treatment: the long version adopted a newer appearance with subtle signs of wear, the suppressed version showcased heavy usage, the unsuppressed version featured a blend of wear and a painted-over aesthetic, while the final variant embraced a playful, almost pristine, style.

The upward pictures vividly demonstrate the potential of this system by showcasing various configurations.

RENDERING

For the render composition, animation, and lighting, the Arnold engine was employed seamlessly through Maya. EXR files, complete with Z-values, were exported for efficient post-processing of depth of field in DaVinci Resolve, where the raw sequence underwent meticulous crafting. The entirety of the video was edited using Wondershare Filmora. Furthermore, for the main renders, the combined capabilities of Krita and Photoshop were harnessed, facilitating both the final touches and the final composition.

This final project marks the culmination of my studies in Digital creation, Animation, and Video Games. Temporarily, it was the first asset I created among those showcased. With this character, I significantly expanded my modeling knowledge and texturing skills. Notably, it was my first experience texturing with Substance Painter. Inspired by my fascination with Braden May's art, I decided to bring one of his coolest pieces, the Milkrobot, to life. It was an incredible honor to receive direct permission from him to animate his work.

REFERENCES

For references, I gathered an extensive array of images related to robots and pouches. Initially, I envisioned a customized cargo robot as the final result, though this plan did not materialize. Nonetheless, this research process provided valuable references for Charlie V02 as well.

MODELING

Similar to Charlie V02, I iterated through several 3D versions to explore potential ideas. While I intended to stay true to the original design, this process inspired the addition of a radar station and antenna. Although traditional concept art techniques are generally faster, this alternative approach proved useful, yielding valuable ideas for both this robot and Charlie.

Modeling this asset in Maya was relatively straightforward due to its simplicity. As with the previous projects, I followed an animation pipeline to enable smoothing without the need for bakes. The final geometry consisted of 86,585 tris. In hindsight, I regret not modeling the milk bottles, which would have been a simple addition.

Maya was also used for UV mapping, dividing the model into 9 UDIMs. 

TEXTURING

This project marked my first use of Substance Painter, and while the results reflect my inexperience at the time, they also highlight my rapid progress in mastering 3D texturing software. This model laid the foundation for my current capabilities, for which I am grateful.

A second, simpler version was created to achieve a more cartoonish result. This robot works well in both cartoonish and realistic styles, depending on the texturing and posing, as demonstrated in the final renders.

RENDERING

For render composition, animation, and lighting, I used the Arnold engine within Maya. I exported EXR files containing Z-values to streamline the depth of field post-processing in DaVinci Resolve, where the raw sequence was assembled. The entire video was then edited in Wondershare Filmora. For the final renders, I applied the finishing touches and composed the images using Krita and Photoshop.

A heartfelt thank you to everyone who made this journey possible: family, teachers, mentors, and friends who supported me every step of the way with encouragement and invaluable feedback. I am incredibly excited for the future and eagerly look forward to participating again next year. I can't wait to see what lies ahead.

Connect with me on LinkedIn and ArtStation to follow my journey.

THANK YOU FOR THE OPPORTUNITY