Having less than zero free time in my life, getting quality materials that I could just plug and play was essential, so I gathered most of my textures from Quixel Megascans. The cameras and lighting were done in Toolbag. I also used Zbrush and Marvelous Designer for some aspects. Modeling & TexturingĪll of the geometry was created and staged in 3ds Max.
Most of the same principles are applicable to the rest of the final beauty shots. Although I ended up with four different beauty shots, I will focus this breakdown on my main shot. Jezero started out as a single beauty shot, however, while having fun playing with Toolbag’s lighting, I decided to have four distinct lighting variants and camera angles in the same scene. Mars related discoveries have been in the news as of late and I stumbled on the concept image above. I’ve always been fascinated with space exploration. If you’re looking for a less technical look into my scene, I invite you to check out my accompanying blog entry titled “The Making of Jezero” on ArtStation.
Most of my focus will be on how Marmoset Toolbag 3 helped me achieve what I was aiming for with great speed and quality. I will touch upon composition, lighting, and post-processing. This write up will show you how I approached the mood and lighting of my latest mini-scene titled, Jezero.
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I love the work I do in professional teams, but I also enjoy doing personal work in my spare time. Greetings everyone! My name is Alexander Alza, I’m a Senior Environment Artist at High Moon Studios and I’ve been in the games industry for over 12 years.
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