LIVE | Unreal 3D Environment with Daniel Martinger

[Music] what's up everybody welcome to another episode of game dev unchained the no one game development podcast about game development and the lifestyle thereof i'm your host brandon pham and with me a special guest daniel how you doing daniel good your sound is coming through so i am happy with that uh this is a special episode is it our boost where we kind of dig into our guest special project to look at the processes the techniques the workflows that will be helpful for you listeners and viewers out there on your own projects personal and professionally uh daniel this is part of the podcast before we get into it where i ask you our guests to talk about yourself a bit a little bit about your past present and future

which is quote unquote like what is this better one in sweden is this like well-known around the world future games [Music] to the industry so i just tried it out well um did you ever have any uh did you ever want to go in media and animation movies or games

has always been your thing i mean i i was drawing a lot when i was a kid and even when i got older but i never thought about using that talent in the work because i was thinking like now if you chose uh art as a career you're no not going to get anywhere so uh so i i was working in health care and stuff and but then i and i always loved games and i'm playing a lot of games in the in my free time but then i found like a youtube video on people like sculpting stuff and painting and i was like maybe i should try that out that's great man did you still were you still in doing 3d and all that stuff in the the medical field or was it completely a different

you were no no or something uh that was uh like helping old people you know giving them food and stuff but i didn't care then yeah i didn't really know at the time what i wanted to be but i actually i quit my job actually and i told my father that okay i'm going to be out of work now can you support me and he was like okay are you going to study and i was like yes so i was sitting at home trying to learn stuff and apply to school and uh it's a solid bad man that's amazing yeah yeah and you said you only been doing for three years all right i gotta switch to you to what i'm seeing here um so let's kind of look at your work like i came across and found you through through our station and um the realism um that i saw was it felt like years and years of experience and you're

telling me you only have been at this for three years uh now i i was studying three years but i never really went to school i sat at home and learned my they didn't have teachers and stuff all the time uh but five five years i've been at a company yes that is insane but i've never switched uh switched to other companies i've been at the same place all the time well uh let's talk about this particular scene um you you kind of lean into realism have you tried any other style stylistic any what games are kind of like your general inspiration um the thing is at work we are right now we are not doing full realism it's more like stylized uh combined with a bit of realism we have a trailer out called metal

hellsinger it's a beat matching game where you shoot to the music and stuff so at work i do more i have done more imaginary stuff so in my free time i'm like okay maybe i should practice some realism in my free time because at work i do other kind of stuff you know so i'm just practicing uh stuff like this in my free time i want to check out this engine when i saw all the commercials about lumen and stuff path tracing yeah let me show this so the good people out there know is this the game uh yeah so this like it's different from what i do in my free time so what what kind of games growing up

uh was a major impact to you where you were starting to consider maybe this could be a career path i feel like everyone kind of has that one game um that's hard shoes i like battlefield and resident evil games okay um i i really got impressed of resident evil arch uh the rest dv7 i think and yeah it's hard to shoot just one game yeah but the resident evil series is kind of like something that you grew up loving always oh yeah that's true i i started playing the first person even when i was like six years old i played with my brother yeah i know and then we we bought uh

residential two and three and four you know yeah like i've been like resident evil have always been such a trendsetter um you know starting with resident evil 4 it created the whole gears of war third person action over the shoulder genre basically uh with seven it kind of really flipped you know what a typical resident evil game is uh really leaning into that that's the one with the inside the house and and everything right that yeah that got really creepy and then the remakes lately have been amazing um yeah the rest oh yeah yeah three remake that they they made for now jen has been extraordinary oh yeah so i can definitely now see where where at least your your person are like i can definitely see where

how it can live in those type of environments i am i created like a horror inspired scene in unity first uh and uh but that that scene was pretty dark and stuff and when i started this i was like now i need i want a lot of light in my scene this time and i actually started this in unity at first but i switched to unreal it was going to be a part of the house but more destroyed but then i changed direction entirely is there uh well it seems like now you're you're more into unreal as an environment artist as a 3d artist have you been finding it easier to use funner to use what is one of the key differences that you prefer one engine over the other well in school and at work

we have been using unity and uh i've been i've been working with units so long so i thought that in my free time i need to learn some new stuff so switching engine it's good for me to evolve and also when unreal 5 came out i got more interested when i saw all the new tech stuff so yeah um yeah i really i really like the design it seems very user friendly for artists real artists so let's talk about the scene here is this uh based on any reference is this kind of like what's the inspiration behind this particular scene well i um found a picture before when i when i went and knew i wanted to create a basement type uh i found

this picture and i liked when the light was coming into the room like this i wanted to push lightning because of my my project before was darker you know and then unreal and stuff so the plan at first was to make it more like this like more rough and more kind of destroyed but i didn't really have the time i was i had to think about time the time frame i didn't want to spend too many months on this project so i like i transformed it a bit and looked at other references or wood carpentry places do you find time boxing is something that you learn over time to kind of finish anything was this something you developed on personal projects

uh yeah you really developed that over time i mean in the beginning when i started in the game industry uh i always overscoped stuff like i could do this in three days but i had no idea so yeah you learn over time i mean my first project in unity it was really overscoped i i i wanted to create the whole villa i mean i mean the whole house the bedroom kitchen and everything but i realized that if i'm going to do it this realistic it's going to take a lot of time and maybe i get tired of it and get stuck in the project too long is there a particular time frame where it keeps your interest like you're like two months is as long as i want to spend on a side project i mean it it depends on what project is um

in this project i wanted to because it was my first time using unreal uh then i thought like okay i should only use like base elements like metals wood and maybe a glass somewhere yeah basic stuff just to go over the basic material types so i didn't want to get into like complex shaders and uh yeah crystals or eyes and that's that with eyes and crystals stuff you need to know more about the shader editor and stuff so i want to start pretty basic i mean it's wood and bricks stone metals and yeah um my my next project will be a bigger project so there i know i'm going to sit with it maybe six months

how long did this one take the one that we're looking at right now well it was off to work so after work from time to time in three months maybe i started this cr the christmas 2021 mm-hmm so maybe if i did this full time my personal projects it's less time [Music] you're a very interesting approach so you think about the materials first before you block anything downs when you look at the references you think about kind of more like that yeah well in this particular project i had to i need to know what i uh i'm going to focus on i i mean i didn't want anything to be too complicated you know um because i mean i didn't even know unreal's ui

when i started this i was like just pressing buttons and watching tutorials to learn so yeah so i kept it small it was basically this this shot and behind this it's uh it's like empty do you mind flying around so we can see the guts behind the map yeah yeah and the the thing is uh i need to warn you though because the project is not set up for lumen so it's pretty broken right now but i can switch lumen if you want but just uh so you know it's going to look ugly it's okay i think we all know uh you can turn on the tricks yeah spotlight inside here too so uh a lot of stuff is uh i have been experimenting a lot so yeah uh i mean behind you see it's

just empty it's cool oh my god details i love the little you know word uh carvings that you got lying around are those uh decals or how do you build those little no i don't don't have to think about using decals and stuff like that because i this is not going to be optimized or anything so these are like meshes oh it could be yeah i was like oh my god they look so yeah it could easily be like alpha painter you know i mean let's see how did you go about making them so random to use some kind of physics simulation or how did you lay it out piece by piece like that okay a little bit

yeah i've been laying out pieces oh my god more appreciation i mean that uh if this was a game i need to i would need to optimize this a lot but uh why do i have i don't have to think about that because this is just going to be hard so i can just push it yeah usually you start from there anyways before you optimize like how do i make it look this good with some cheese i don't know so what was the the biggest um uh challenge of this that didn't completely stop you but made you kind of at least stop to to figure things out that you're not used to uh i'm not sure uh i was pretty confident i mean i was i

was pretty confident creating the assets and everything so it was really more about question marks about the engine and stuff i i do you are now after this project um learning more about the engine and getting more familiar uh i haven't had so much time with the engine since this project i have started a new project but it's not that far yet but i'm still learning and doing it when i have time for it at work i'm used to do a lot of different types of assets and i've done very much very many different types of assets so i pretty much always know how to do stuff

so i'm confident there uh in terms of uh texturing what what is it substance or like what's your um uh yes it's a substance painter i can uh show you some stuff if you want yeah were these props kind of set up um one to one unique texturing or did you end up using masks i mean they are a unique texture in the substance painter and also some of the assets have been through a sculpting process so like this workbench right this is 100 sculpted that's good yes so it like scratches and stuff and you uh 100 start in zbrush or do you

bring it from maya or blender yeah i usually do the i block out in maya and then i develop the shapes a bit more in maya and then i can take zbrush it depends what i do i mean if i would create a statue or something yeah it's very complex of a human character or something then i start in the zebra directly but this i had to plan like i mean i had to check how this was built you know yeah i have no idea how workbench is built so i found this picture just tried to guess [Music] and uh i mean behind it i didn't have to think so much because it's not going to be visible

so i made like uh pieces this piece for example i could uh use here where these boxes and here i made two planks and i could just duplicate those because it's got two sides uh yeah with the wood fiber and uh grain like were you using alphas did you hand sculpt it like what were the go-to techniques uh this is uh like a combination uh sometimes i can use an alpha placing now for somewhere and then i go and flattening it out and taking the knife and like iterate on it so it's always a combination by different alpha shapes but mostly it's uh on this it's like

very much knife stuff [Music] the knife ah man i i'm like kind of like a couple z brush behind and when that happens you kind of you end up being very behind the knife is kind of like a new feature in last two updates right uh is it i i don't know we haven't had it for a long time i think but there is different types of knives i mean here i have a okay now i'm using mouse and keyboard but uh are you a cintiq guy or a wake-up guy usually uh uh oh you mean yeah you said you said set up wake up you said wacom right yeah do you use the tablet or do you draw right onto the monitor oh no it's a wacom tablet i didn't know how to pronounce the ah wacom i say wacomi in

sweden i might i might be pronouncing it wrong too i have no idea yeah okay so yeah i mean you can it's always combination between like five brushes all the time like to achieve this maybe place an alpha somewhere and that alpha maybe gives you some inspiration yeah indication and you like smoothing it out you take the knife and you you go back and forth until it feels good [Music] i mean always uh go ahead uh i kind of uh i mean all these assets are pretty rushed actually i mean i look good to me man like i always uh whenever when everyone's trying to always like kind of blunt the edges you know either wood or metal or whatever i tend to overdo it like there's always like this language

you're trying to kind of keep with when you're kind of uh beveling edges and stuff in z-rush yeah do you base it off that feeling in reference you know it seems like you've done it for a while so it's kind of comfortable yeah i am every task i guess is like maya see brush substance painter now i've done a lot of stuff i i can't just upload it yet because we need to release the game first yeah of course this took a long time what are your thoughts about the um substance just released their 3d modeler supposed to blend in vr sculpting with 3d mode have you ever played with vr sculpting before uh no i haven't i i don't have vr's

headset so any interest in that being able to kind of whip around these things with a vr headset i mean it would uh it would be cool to have one but i haven't thought about it but maybe if i get some money over i can buy it try it out i'll get the listeners to spend some money your way well we're looking at substance right now um so how how what's your process in substance usually laying down the base and uh i don't think i can do a detailed breakdown about this because it's very messy files i didn't i didn't really expect to present this so oh no need just like an overview is fine um i mean it's a lot of layers with like uh

dirt and cracks i can use a generator sometimes to get help filling uh cracks with yeah dirt and then i can mask mask it out where i want it because i don't want it to be everywhere because then it just looks weird if every single edge gets a color but this this was um i mean it was going to be very messy yeah and uh it had to look like someone have worked on it you know right so when i sculpted this it almost almost felt like i was working on it myself you know creating cracks like ah now i'm taking my knife and now i'm taking my hammer and then yeah what's your main advice for for those who are

starting to you know texture uh wood in particular you know there's so many ways to do it wrong and you might not know it yet you know it just feels wrong when you zoom out it's like oh it might be overdoing it um what what have you found to work for you when when when texturing and sculpting these things to to make it feel natural but not overdo it uh well it depends it's um actually wood is something i have been strong struggling with myself i've always thought like the hardest thing to do is like the wood stuff but i have like forced myself to try to learn it and try to do stuff with wood it's the main challenge yeah i mean

if you overdo it the risk is that it looks uh almost like rotten wood i think it's very important to find references of what type of wood do you want i mean how old is it and uh i mean this workbench for example uh i think i found some pictures where how they looked as new and [Music] if you're going to sculpt planks and stuff just find a lot of references of what the type of plank you want to sculpt and then try to yeah do it i mean see there's a lot of like different types of i mean this is almost rotten [Music] so in wood it's you have very many ways

to go it really depends have you um ever played around with uh photogrammetry or any of that just finding um trying to take pictures of it and uploading all that stuff well i don't have a camera a good camera no so there is the that unreal did release like some kind of app phone app that allows you to kind of supposedly do a pretty good job transferring some of that stuff do you have curiosity any of that um uh yeah of course i mean it would be fun uh i mean it would be nice to like travel and like photoscan stuff in the world um but uh since i don't have a good camera i have been like oh it's no idea

i shouldn't do this or i mean it's kind of boring uh to take photos with your iphone and then get shitty results yeah yep yeah but in the future i have been thinking about buying a fancy camera or something and then try it out but i really liked uh i really like when you create stuff yourself it's a different feeling yeah a little bit more intimate i mean if i photo scan something i used to do my scene i would feel that i did something good the same way i mean here i can feel like okay this this turned out good and i did this with my hands you know the crafting i like to craft it i i struggle i'm a 3d artist well i struggle um with um

sometimes not feeling like a real artist i feel like uh for me i kind of describe myself as an entertainment artist where you know like i feel like most i gather references from the internet but i don't experience you know i make levels for a living too and i don't experience these areas that i'm making especially if it is based on realism um [Music] like do you struggle with that at all do you ever feel like oh it'd be nice to kind of feel these workbenches you know obviously we're not uh it's not as obtainable for for a lot of people it's easier to get an image but being able to feel see take your own pictures i've it it really does feel like a big part of the process of being artists that i i feel a lot of us don't have usually

or it doesn't matter as much just to get kind of like the entertainment out i wonder what your thoughts are about that uh i'm not sure what you mean uh like um i call it like google art right so anything that we want to create we experience it through the internet basically right whereas um i think other mediums like a photographer right other artists they would go out there and experience these things and be able to kind of um uh express uh their art from their experience right so i i always struggle with interpreting art from with other people experience because the person who took that reference upload on internet and that's how me and you kind of are able to obtain those and and use that to recreate it right

yeah i feel like as an artist we're missing like a good half of that artistic process of gathering and being out there and touching these things that we're creating in 3d you know i mean yeah that's true that's uh i mean yeah i think that too it would be fun to like go on a trip or something too take your own pictures and references for the project you plan i didn't care as much before the endemic and then the epidemic happened it's like you know what yeah i kind of want to be out there and take my own references you know and experience these locations and stuff yeah at quiksil they they're like traveling all over the world i guess super jealous of those guys yeah yeah photogrammetry yeah to me they're

it's funny right because they're not handcrafting the props right as we do from scratch we're kind of guessing um from images what they would look like in 3d and the textual feel from the images but they're out there actually touching these things setting them up taking photos but they don't do any crafting obviously it's ready to go all right they clean it up it's very weird right not to have the whole process uh yeah because i'm with you like there is something magical hand crafting these things and unders you understand it more right i feel uh with every crack that you put into something every dent uh and it's funny that you know with photogrammetry you do get to go through these locations you do take these pictures you do feel them but then you're not really recreating them

you just the image is ready to go you clean it up you can't have that's true yeah it's funny because yeah like look at this this looks awesome man this uh i just made in maya and then in substance painter so how much of an adjustment usually with substance 3d viewer is a little obviously a little different from the unreal viewer how much do you have to go back and forth to kind of make it look right in the final right now i'm using a post effects uh a color profile for unreal i see so it should be the same yeah i've i found this online and i was like maybe i should try it out but i when i texture stuff i have stuff already set up in the scene so i just update it i export it export

it just update it to see how it looks how much of a difference without the unreal profiler um unreal scene i'll read profiler well what do you mean uh that profile that you use in substance if you turn that off how much of a difference does it look um oh uh let's see i mean oh yeah i mean it's more contrast here but uh yeah it's better yeah yeah so usually when you block out a scene in unreal you kind of get the lighting in there and everything be do you play around with like base textures just to kind of some kind of texture on there and unreal to kind of get a better feel of what the final product could be

uh yeah i am with this scene i started to whitebox the space i wanted to see early how big it was going to be and uh even these shelfers and stuff i white box this was just boxes everywhere and then sometimes i can color code with materials uh the boxes like uh checking uh like if all these was boxes and uh here i have a big box white box box here etc and i can color code stuff with like materials to see okay here's brown here's brown here's brown oh now it's a lot of brown i need to break it with something how is the wall going to be that can't be wood either no no it's too much wood then so i was thinking maybe plaster or bricks

and and here on the wall at the beginning it was like planks because i made it like it was a handmade workshop but then i realized it's too much wood still so maybe some metal i should put here and yeah also get some colors in like this red and the green hose this is like a standard hose in sweden i don't know if it's yes in other countries uh but i mean getting these type of colors in and even this tool i put a blue color on mine just to give some stuff a bit of color nice touches um

it's good contrast and it feels very very realistic the way you set it up it is interesting how you start with thin white boxing with an unreal first i think i'm kind of more used to starting in a 3d program and then importing it in but unreal has gotten so much better with its modeling tools that makes perfect sense that you would block it out in unreal do you export those blackouts i i'm guessing you get the dimensions um i mean when i was in the white box uh when i was white boxing i didn't do it for too long okay uh i started in maya pretty fast after with assigned materials and stuff for the rules but do you export those yeah do you export those white boxes

from unreal 2 to maya to kind of get a rough size and dimension or do you just leave those um in there for composition mostly well i kind of knew that how many meters it was in a wheel so i just put those values in my uh and i made a shell mesh for the whole room my um this brick texture by the way it's sculpted in z brush but i placed like modular bricks here on the edges because they didn't have i mean when the alpha came out they didn't have tessellation i think so i had to tessellate in the mayan stuff but then i just decided to i can place modular

detail bricks instead it's cooler on top of the texture yeah it's catching the rim light super nice how many times did you go ahead well i was just gonna say these labels i didn't show them so much but they are [Music] they're pretty detailed if you zoom in i wrote i wrote the text of it i just found a can online and tried to see what it was written and had to come up with some fake companies yeah but these um i mean i didn't finish all the assets i mean these cans they are from my uh earlier project and i

didn't really finish those i actually wanted to have like maybe school some color so like color meshes that i can put here so it looks more rough and a bit more volume but i was thinking like [Music] i mean the scene as a whole it's pretty nice so maybe i just release it now [Music] the same with these brushes they annoy me too because i was going to update them with real fibers that would be cooler this just baked right now oh it's a flat box and textures right now

yeah um but a little bit geometry so it's not too boxy but uh yeah it would be cool it was like fibers really really fibrous expensive good over here i can't really tell from this distance at least yeah you know as an artist you always find the stuff all the time yeah that bothers you but when other people see it they're like holy this looks good and i'm like what what does it okay nice they look good so in this room what what took the longest was the workbench um [Music] didn't take that long i usually when i create stuff when i have made an asset and it's done for

texturing and it's c brushed and everything i usually wait a bit until i texture it uh 100 percent i often imported creative prefab and make all the connections and when i start texturing i can like drag on a color or some metal just base materials just to get out colors and stuff very quick it's like a second second phase of white boxing but with like temp textures so everything when i uh made everything the whole scene the radio and everything everything got a color and material but it didn't look good at all it was just uh it was wrong in roughness

values it was wrong uh yeah pretty bad materials then i go in after that and really iterate on every substance file and just update it see how it looks in unreal just paint some more then update it and yeah back and forth do you have a previous save of when it was just color coded uh no that's thing several people have asked about i maybe have some early i think it can be deep in the computer somewhere but i didn't expect to uh vr set man like you get a vr set you can walk into this area real quick and take a look at everything

yeah it's really uh it's a game changer at least for environment artists like rs being able to like make something like this and then put on a goggle and you know within unreal it's like a click of a button and you can look around as if you're standing there and you kind of notice certain things um that you wouldn't notice on a flat screen it's very it's very cool um yeah yeah that would be cool actually yeah because like right here you can like go go and lean in towards your radio and look at the knobs and as if you're just walking around this this corner it's very it really adds i don't know to me at least it was very like next level as environment art is like wow i didn't i never thought i could be able to do this to be able to walk around an environment i just made you know yeah

well i have a good space for it here in my apartment i live in a one room small room yeah it would feel like i was inside this workshop yeah it'd be perfect yeah this looks uh looks so good man like just the care that you put into color in the individual assets it's it's amazing how much detail you got on everything thank you so have you ever experimented and i know at work you're making like a very certain type of style but um sci-fi any any of these other genres that you've been like kind of itching to try um to blend in kind of like this realistic modern

scene that you have i've always wanted to [Music] try like sci-fi or fantasy stuff but you know time and you work full-time so and out thinking about maybe put some more of that in my next project i don't know it's very early stage it's um i'm creating a like a church with statues and stuff oh wow uh but i was thinking like it's very overscoped and hardcore it's a lot so it would be a lot of ornaments and stuff but that project is because i want to show other skills i have like organic sculpting and but maybe i mix in some [Music] something unique there i think it's going to be a bit destroyed

also like light coming into moonlights maybe i don't know do you find inspiration in movies more or in games when when creating art uh it can be both um i mean if i i'm going to start a new project i i looked at references both from films and games and uh real life pictures so it's really a combination and then you like you find a lot of a lot of references and then you like combine these references in your mind to create your own place out of it so i mean here i had a lot of different types of it

i mean it's not this but it's not this either it is so clean so yeah you you create a vision for yourself uh by combining uh pictures and you know on a mood board this mood board is really small actually because uh well the project was pretty small and very straightforward but if it was an imaginary place or something like that fantasy or then i would have like this would be filled by a lot of pictures like moods and different moods and lightnings and colors and from different movies or games yeah is there a game that's out like um like for me right there's a lot

of games that are out right now that are all obviously pretty impressive but i still go back to kind of red dead uh and still every time i open up that game in particular i'm just blown away uh because i'm mentioning red dead because this this scene gives you a lot of red dead vibes but like um it's so expansive it's so crazy uh what they were able to achieve you know those rock star guys but red dead especially um being able to walk into any building and it looks super good and then being able to kind of ride your horse outside for miles and miles and it looks good too like it's still um for me it's like it's unfathomable for me to kind of create a game like that from the ground up it's like these are professionals like when i look at cyberpunk and stuff it's like yeah it's

cool i get it but it doesn't feel so impossible um as red dead because it just takes so many people coordinated to execute on a game like that um do you have a game in particular that makes you feel that way too where it's like no matter how many years uh it goes by you still can open up you're like man i can't believe they made this like how hot how crazy well i uh i got over 150 hours in red dead so you all right you agree i played it like two times yeah on on pc and uh i have yet to finish the single player and i just fired up the red dead online for the first time like a couple weeks ago and like i was like oh my god like all these people talking about the metaverse this and that it's like this is the metaphors i'm i'm riding with strangers with horses out in the wild west this is freaking

uh it's that show um what's that show um westworld yeah this this is westworld like some random dude chasing me um i was playing with friends and i was complaining about this one stranger that i met there kept like coming after me he was all souped up had all the best guns and he would kill me easily every time and every respawn and within seconds he would just hunt me down like a serial killer and i was like why won't this guy leave me alone and so i escaped on a train right i i hitched a ride on train i stole it and i rode for 15 minutes right just out west just keep going and on the next train station that guy must have rode his horse all the way to the next town and followed me he was waiting at the the deck for me and he just knifed me and killed me oh my god

it's like i've never played online games like that ever right i i don't think red dead online gets enough recognition for how crazy and ambitious that game was single player and multiplayer still to this day it's like a five-year-old game right i feel like it's a pretty old game uh time goes fast yeah it was uh 2018 yeah four years dude jesus four years still yeah well i think um i mean the reason why why i haven't started a sci-fi project is it's like these rough environments it's something about like red dead the buildings with rough wood man yeah man-made stuff you know sci-fi scenes they're it's pretty clean usually

yeah clean materials and shiny maybe if i would make sci-fi i would make it maybe destroy the destroyed ship like aliens have taken over it with like yeah or something broken uh well yeah i like rough scenes or within details a lot of details yeah well i'm looking at the scene it's like oh my god this looks like next level red dead to me totally see this being in red dead i mean now it's rendered in like 5 000 samples or something it's very low i could render this in even more samples than i did when i put it out the project but it took so long time i mean i i would love to have like four gpus or something then

work if there's a game out there kind of like being developed right now and this is hypothetical so hopefully your boss doesn't take this as like a insult but if there's a game out there that you heard about you know that you would love to work on is is there a game like that for you out there is it the resident evil is it the red dead like what exactly wouldn't you mind working after five years well i'm not sure actually i mean for me tasks with a lot of variation and the different challenges are the most important like in some companies you get hired and then you're stuck with doing

rocks for like 10 years or weapons that's not what i want i want to do some advanced stuff maybe i'm not the guy to hire to like create pipes or yeah cans or stuff like that like specialties yeah yeah i i really like creating like hero props like maybe like a hero prop for god of war or something like or or like tomb statues or something in uncharted or tomb raider uh that's more the stuff i mean too so it's hard to pick a company i mean where i work right now i'm doing everything i want to it feels really great so it's a lot of variation with tasks and stuff

what do you think is your next milestone as an artist as a 3d artist that you're trying to achieve my next milestone um because i i personally feel like you're you're able to hit whatever projects you have in your mind it's going to look great like technique wise you're you're super sound like everything looks amazing i think if anything it's just creativity um you know what is that next level for you that were in terms of challenges yeah some people are getting like lead roles and stuff like that on companies um where they attend on a lot of meetings and uh

you don't craft so much anymore but you get a lead role and you can decide a lot of decisions but i don't really like that i want to be better at what i do just be better and better and better i if i lose the crafting i don't really want to work on a game company so i mean that's what i like that that's why i put so much time into it in my even in my free time i mean if i work eight hours a day i'm still going in to my own project after work because i think that's how fun i think it is to craft stuff and create stuff so my next milestone is well be better and um yeah just be better at the most of most of stuff i guess

i i mean it it's nice if i would be the guy that people think like i mean they want to hire me because they think my stuff is so awesome i mean i guess that's my next milestone wow you are awesome i don't think you need to prove yourself too much i need to put up some uh put out some more projects and it'll be endless endless uh endless uh appetite i want to fill that arch station yeah with the nice stuff yeah um i guess i'll end it with this question my last question and it's always something i um i try to ask for with every artist especially uh entertainment artists such as ourselves right we're not we're not um doing art for the sake of art

sometimes we are being paid for it um what's more important um and you can maybe this is depending on the situation is it speed or quality if you had to pick one what would it be quality but this was more speed this project but i can create decent uh nice stuff with speed also but i think it would look even better if i really sat down and focused on everything 100 yeah you'll be more satisfied with quality yeah i think so your boss will be more satisfied with speed [Laughter] get it out of there come on yeah we gotta ship it yeah it's always a it's a weird thing

yeah well uh daniel i want to thank you for for sitting with me for an hour um and showing me your awesome work uh it was definitely you know we go through those moments in art station we click click click you made me pause right looking at your stuff i was like oh my god this looks amazing i love i i just love how you know it's relatable and simple i think that's where this piece in particular really is striking it's it's very um uh textual right it feels like um not just textual and as as as if i can just reach out and touch it but sort of like i feel like i have been here before you know i mean it's very relatable in that way um yeah and i just love how at the same time it's simple and complex

um because you're giving a lot of spacing uh in how you place things everything was placed pretty methodically just going through what you were showing us and um but each prop is freaking detailed as hell but you sculpt everything and i definitely feel that um when looking at it just the care that you put into this and you said this is one of your speed projects like man you're insanely fast being able to sculpt everything like that usually it takes forever uh so good work man uh this is a kind of my my time to kind of shut up how do people find you where can they get in touch with you if they want to follow you is it your r station is it your twitter this is where you can tell them where uh to best contact you if they want to

well it's uh black odan on uh art station and on my youtube blackoden arch perfect all right well we as always we'll put the uh links in in the description of the podcast and youtube and uh thanks you man uh it was great uh being able to talk to you and everything very inspiring stuff looking forward to the next stuff yeah well nice to meet you nice to meet you man have a good one yeah you too [Music]