Fully Modular Forest Temple Assets. All pieces/variations are separate modular blocks. I would have to re-bake everything for use in UE4 since the NM workflow has changed. At the time I wanted to learn the proper workflow for creating scenes in Unreal. Textured by hand in Photoshop. Rendered in Marmoset 1. (NON-PBR)

This shows the modularity of the Japanese temple scene and a couple assets that were used throughout

On the God of War production, I held the role of Sr Staff Environment Artist. I was the point person for the environments of the Caldera Bridge level. This meant making sure the visual quality was sustained throughout the level, that the wads fit within technical budgets and that everything was completed within the expected deadlines. I was also responsible to coordinate with other departments, design, production, lighting and character art. I worked on the Caldera Bridge level from its early start as a grey model, iterating the environments as the project developed, until its final shipping stage. I created most of the architecture kit and the shaders for the level. My work on this level was the assembling, the composition and the dressing of the bridge, the towers and the exterior of the temple, while overseeing one other artist who joined me in the production stage.

3D assets collaborated with @Liang Yao. I want to create a semi-enclosed space about this one. The entire scene only has limited light exposure from one side. Although I used 3D software but only chose to paint over the black and white rendering(shadow channel). Colors and material detail renderings are all done in Photoshop. Thanks!

I did the art pass on these sigil sets and their pads, the accompanying banners and bars, the climb art pass, set dressing, and some work on the central temple exterior, here and there - incidentally, I also got to work on the main traversal glyph set, some of which can be seen here leading up to the climb. Most of the material kit for this area was by Kevin Quinn (lead) and Cliff Schonewill, and the temple exterior base was by Alex Alza.

We decided to make a package special dedicated Virtual Production industry. To make the scene really useful for shoots we cooperate with the great VP specialist. https://www.artstation.com/tombentkowski The scene, lighting, and shoots were made by Tom Bentkowski. Every enthusiast of new UE5 features should be satisfied. Over 150 meshes based on photogrammetry will give a photorealistic feeling. We use Lumen and Nanite features of UE5. https://www.unrealengine.com/marketplace/en-US/product/vp-temples-of-cambodia-ruins-exterior-and-interior

Sensoji Temple at night, Landmark of famous Sensoji Temple located in Asakusa district, Tokyo, Japan.

I worked on God of War 4 as an external developer. Here are some of the sculpts I created for the Dwarven environments. Check out the Dwarven environments below to see the assets in use: https://www.artstation.com/artwork/KxQL4 https://www.artstation.com/artwork/QlVmx

Stylized Low Poly Roman Temple Ruins Environment

For the first Zeffo Temple interior, I was given a design sheet for these areas and from there blocked out an initial art pass and completed the final polished environment while working closely with my teammates. The screenshots posted here are from selected areas I was either fully responsible for or largely had a hand in creating (more details written under each image). We did not have aid from an outsourcing team so we were responsible for creating shaders and textures to be used in Unreal, 3d assets & props, set dressing, bug fixing and also helping to come up with ideas for level design and concept art to achieve the final polished level. Check out David Brumbley’s art station for more temple art!

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Obvious Indiana Jones inspired piece is obvious. Made in Cinema 4D and rendered with Redshift. Quixel temple assets for the textures, Quixel 3D assets for the vegetation, along with some procedural texturing in Redshift for the balls and skull. Skull was a random model from CG Trader or Turbo Squid or similar platform. The interesting part about the skull is aside from the base model, the breakup and fracturing is 100% procedural using a Voronoi Fracture with visibility falloff. Crystals are just a series of cloned primitives.

On the God of War production, I held the role of Sr Staff Environment Artist. I was the point person for the environments of the Caldera Bridge level. This meant making sure the visual quality was sustained throughout the level, that the wads fit within technical budgets and that everything was completed within the expected deadlines. I was also responsible to coordinate with other departments, design, production, lighting and character art. I worked on the Caldera Bridge level from its early start as a grey model, iterating the environments as the project developed, until its final shipping stage. I created most of the architecture kit and the shaders for the level. My work on this level was the assembling, the composition and the dressing of the bridge, the towers and the exterior of the temple, while overseeing one other artist who joined me in the production stage.

Some of the trap halls from Tyr's Temple. I made and implemented the modular kits for these bits, as well as the arrangements and dressing. Most of the material kit for this realm was by Kevin Quinn (lead) and Cliff Schonewill, while the trap props

Some of the sealed trap rooms in the lower Tyr's Temple final gauntlet/chain-break area. I made the modular kits for these areas, the arrangements, dressing, etc. Most of the material kit for this area was by Kevin Quinn (lead) and Cliff Schonewill. I chopped up and arranged the great beasty, but its base is of course from the character department; same for all the heads, arms, legs, random props.

I worked on God of War 4 as an external developer. For this Dwarf King Castle, I helped create assets (Zbrush, low poly, UV's, texturing). Credits: Sony Santa Monica - Art assets, Lighting, vfx, Level design, set dressing. Galen Davis - Asset creation. Danny Mak - Boar, Ram, Snake Statues.

On the God of War production, I held the role of Sr Staff Environment Artist. I was the point person for the environments of the Caldera Bridge level. This meant making sure the visual quality was sustained throughout the level, that the wads fit within technical budgets and that everything was completed within the expected deadlines. I was also responsible to coordinate with other departments, design, production, lighting and character art. I worked on the Caldera Bridge level from its early start as a grey model, iterating the environments as the project developed, until its final shipping stage. I created most of the architecture kit and the shaders for the level. My work on this level was the assembling, the composition and the dressing of the bridge, the towers and the exterior of the temple, while overseeing one other artist who joined me in the production stage.

Temple scene construction mega pack 2