Southern Methodist University

SMU Scholar

Art Theses and Dissertations Art

Spring 2025

Dynamic Transformation to an Original Creature

Weiyi Li
Southern Methodist University, [email protected]

Follow this and additional works at: https://scholar.smu.edu/guildhall_art_etds

Recommended Citation
Li, Weiyi, "Dynamic Transformation to an Original Creature" (2025). Art Theses and Dissertations. 7.
https://scholar.smu.edu/guildhall_art_etds/7

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ART CREATION MASTER’S THESIS POST-MORTEM
DYNAMIC TRANSITION TO AN ORIGINAL
CREATURE
WEIYI LI –
ADVISOR(S) – BORIS FISHER

FIGURE 1 KEY ART – DYNAMIC TRANSITION TO AN ORIGINAL CREATURE

ARTIFACT - SYNOPSIS
The artifact will be a real-time animation performs from a normal human transform into an original creature. And Unreal engine will
be the deliverable contract.

About the creature, I will design a creature which is Cthulhu-like, based on the plants and religion. And the creature will be more
organic and human shaped. So, there will be the animation for the muscle pulsation and facial change. Those will made by morph
target (blendshape).

Confidential – The Guildhall at SMU Page | 1 Thesis Course, Method and Design by Boris Fisher
Regarding real-time transformation, I will use morph targets for the creation. I will import the original model into ZBrush or Blender
for secondary sculpting, then utilize morph targets or blend shapes for the transformation.

Mastery Topic 1:

Creature Concept

I will design an organic Cthulhu-like creature based on plants and religion, and then proceed to rig and animate it.

Mastery Topic 2:

Dynamic Material

This creature will transform from a human into a monster. Therefore, its skin material will be made into a dynamic material,
gradually revealing blood vessels from normal human skin and then turning into a crimson, damaged, zombie-like skin

Mastery Topic 3:

Real-time Transformation

The human will gradually transform into the creature I designed. There will be an animation for muscle pulsation and facial change.
Those will be made by morph target (blendshape).

Confidential – The Guildhall at SMU Page | 2 Thesis Course, Method and Design by Boris Fisher
TABLE OF CONTENTS

ART CREATION MASTER’S THESIS POST-MORTEM .................................................................................................................................... 1

Artifact - Synopsis ...................................................................................................................................................................................... 1
Table of CONTENTS .................................................................................................................................................................................... 3
PRE-PRODUCTION ...................................................................................................................................................................................... 4
creature concept ................................................................................................................................................................. 4
dynamic material ................................................................................................................................................................ 9
real-time transformation .................................................................................................................................................. 18
The Artifact ....................................................................................................................................................................... 23
PRODUCTION ........................................................................................................................................................................................... 25
Prototype SLice ................................................................................................................................................................. 25
Vertical SLice ..................................................................................................................................................................... 63
Alpha ............................................................................................................................................................................... 107
Beta ................................................................................................................................................................................. 143
CONCLUSION.......................................................................................................................................................................................... 152

RTM ................................................................................................................................................................................. 152

Conclusion ....................................................................................................................................................................... 159
aDdITIONAL dOCUMENTS ............................................................................................................................................... 162
REFERENCES .................................................................................................................................................................... 162
Figure 255 ArtStation - The Church of Parasiva, Alessandro Paviolo ............................ Error! Bookmark not defined.

Confidential – The Guildhall at SMU Page | 3 Thesis Course, Method and Design by Boris Fisher
PRE-PRODUCTION

CREATURE CONCEPT

I will design an organic Cthulhu-like creature based on plants and religion and then proceed to rig and animate
it.

RESEARCH
Once the detailed designs are ready, start exploring color variations. Since the design is not yet finalized,
there's still room to experiment and see which color scheme works best.
According to the background of transition, I am going to create a normal middle age, church religion boy
transforms into a Cthulhu, Multi-legs (?) - (One/Two material), Gross/Holy Monster.
So, I researched different outfits in the middle age century, including the religion style outfit for children.

Confidential – The Guildhall at SMU Page | 4 Thesis Course, Method and Design by Boris Fisher
 Figure 2https://www.pinterest.com/pin/852165560772686820/

Figure 3https://www.pinterest.com/pin/852165560772744096/

Confidential – The Guildhall at SMU Page | 5 Thesis Course, Method and Design by Boris Fisher
 Figure 4https://www.pinterest.com/pin/703756187022370/

According to the reference above, I create five silhouettes for the character (before transform)

Confidential – The Guildhall at SMU Page | 6 Thesis Course, Method and Design by Boris Fisher
 Figure 5 By Ariaa Li

I want to keep simple for the character who before transforming so there will be a huge contrast between
before and after.
Then I collected the reference for creature concept. For creature concept I tend to shape it like between
humanoid and alien and based on some story of The Bible. So, I collected those reference below.

Confidential – The Guildhall at SMU Page | 7 Thesis Course, Method and Design by Boris Fisher
 Figure 6https://www.pinterest.com/pin/852165560772767815/

Figure 7https://www.pinterest.com/pin/852165560772750990/

Confidential – The Guildhall at SMU Page | 8 Thesis Course, Method and Design by Boris Fisher
 Figure 8https://www.artstation.com/artwork/390eZY

Then I create 5 silhouettes for the creature (after transform)

DYNAMIC MATERIAL

This creature will transform from a human into a monster. Therefore, its skin material will be made into a
dynamic material, gradually revealing blood vessels from normal human skin and then turning into crimson,
damaged, zombie-like skin

Confidential – The Guildhall at SMU Page | 9 Thesis Course, Method and Design by Boris Fisher
RESEARCH

Figure 9https://dev.epicgames.com/community/learning/tutorials/vwBB/unreal-engine-craft-dynamic-materials-with-material-parameter-collection

Figure 10 https://www.youtube.com/watch?v=iZ27udujE5E&list=PLJDWxblYfK1negWA-ol9FYdWxw9EwEZfi&index=38

Confidential – The Guildhall at SMU Page | 10 Thesis Course, Method and Design by Boris Fisher
 Figure 11https://www.youtube.com/watch?v=G_q-4Efzf4Y&list=PLJDWxblYfK1negWA-ol9FYdWxw9EwEZfi&index=46

According to those tutorials, I first redrew the texture for the character, and created a mask for
transition.

Figure 12 Original Albedo

Confidential – The Guildhall at SMU Page | 11 Thesis Course, Method and Design by Boris Fisher
 Figure 13 Albedo for zombification

Figure 14 Mask for Body transition

Then I created the Material parameter collection for the changes.

Confidential – The Guildhall at SMU Page | 12 Thesis Course, Method and Design by Boris Fisher
 Figure 15 Body transition Material Parameter Collection

Created the blueprint for the body transition.

Figure 16 Body transition Blueprint

And the outcome for this step is like this.

Confidential – The Guildhall at SMU Page | 13 Thesis Course, Method and Design by Boris Fisher
 Figure 17 Basic material transition

After that I decided to create a dynamic material like blood vessels. So, I found the tutorials below.

Figure 18 https://www.youtube.com/watch?v=ut80qnOtNRw&list=PLJDWxblYfK1negWA-ol9FYdWxw9EwEZfi&index=51

Confidential – The Guildhall at SMU Page | 14 Thesis Course, Method and Design by Boris Fisher
 Figure 19 https://www.youtube.com/watch?v=J3pVQrElBcE

And I created a new albedo, roughness, metallic texture and mask for bleeding and added the panner
node and append node to create an animating texture and used multiply node to add the flowing effect on the
albedo texture. Finally, I use lerp node to let only the bleeding show up.

Confidential – The Guildhall at SMU Page | 15 Thesis Course, Method and Design by Boris Fisher
 Figure 20 Bleeding Albedo texture

Figure 21 Mask for bleeding

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 Figure 22 DTL for Bleeding

Figure 23 Material Parameter Collection for Bleeding

Confidential – The Guildhall at SMU Page | 17 Thesis Course, Method and Design by Boris Fisher
 Figure 24 Blueprint for bleeding

And the outcome is like this.

Figure 25 Final Outcome

REAL-TIME TRANSFORMATION

Human will gradually transform into the creature I designed. There will be an animation for muscle pulsation
and facial change. Those will be made by morph target (blendshape).

RESEARCH
I did some research with the morph target in Autodesk 3ds max and Autodesk maya using the NPC
model from game “Fastival” – Barnaby.
I first import Barnaby into ZBrush to duplicate a new mesh to be the mesh for target transition mesh

Confidential – The Guildhall at SMU Page | 18 Thesis Course, Method and Design by Boris Fisher
 Figure 26Before reshaping

Figure 27 After reshaping

Then I imported the reshaped mesh into Autodesk 3dsmax with the original one with CAT bone and
skin modifier. I added morpher modifier to each part of the mesh and successfully created the morph target.
But the issue is, when I export to Unreal Engine 5, because of the layers of the modifiers, in 3dsmax the skin
modifier should be always at the top, so the riggings will went error in UE5, I also tried to change the orders of
the skin and morpher modifiers, they still can not work together. If I put skin upper than morpher modifier the
models in UE5 won’t have morph target.

Confidential – The Guildhall at SMU Page | 19 Thesis Course, Method and Design by Boris Fisher
 Figure 28 Morpher modifier in 3ds max

So I researched in YouTube, there are a few tutorial include both rigging and morph target in Autodesk
3ds max, but I found the tutorial for Autodesk Maya.

Figure 29 https://www.youtube.com/watch?v=Tww_LSQEVd8&list=PLJDWxblYfK1negWA-ol9FYdWxw9EwEZfi&index=43

Confidential – The Guildhall at SMU Page | 20 Thesis Course, Method and Design by Boris Fisher
 Figure 30 https://www.youtube.com/watch?v=A-fLxID9Nh8

After I imported the two sets of meshes into Autodesk Maya, I successfully created blend shape
(morph target) and it works well in both rigging and morph target when imported into UE5.

Figure 31 Morph target with rigging in UE5

Then I found tutorials about how to use animation sequences to combine morph targets and
animations. Finally, I created a level sequence and added the animation sequence to the level.

Confidential – The Guildhall at SMU Page | 21 Thesis Course, Method and Design by Boris Fisher
 Figure 32Blend Morph target with Mixamo animation in animation sequencer

Figure 33Level Sequencer

The problem remaining is when the mesh is transitioning, the bones and joints won’t follow the mesh,
they will stay in the previous shape and position. So, I found those tutorials to help me with those problems in
prototype.

Confidential – The Guildhall at SMU Page | 22 Thesis Course, Method and Design by Boris Fisher
 Figure 34 https://www.youtube.com/watch?v=G_q-4Efzf4Y&list=PLJDWxblYfK1negWA-ol9FYdWxw9EwEZfi&index=46

Figure 35 https://www.youtube.com/watch?v=7L_CEFTy5FI&list=PLJDWxblYfK1negWA-ol9FYdWxw9EwEZfi&index=44

THE ARTIFACT

Confidential – The Guildhall at SMU Page | 23 Thesis Course, Method and Design by Boris Fisher
Summary of Artifact:
The artifact will be a real-time animation performs from a normal human transform into an original creature.
And Unreal engine will be the deliverable contract.
Mastery Topic 1:
Creature Concept
I will design an organic Cthulhu-like creature based on plants and religion, and then proceed to rig and
animate it.
Mastery Topic 2:
Dynamic Material
This creature will transform from a human into a monster. Therefore, its skin material will be made into a
dynamic material, gradually revealing blood vessels from normal human skin and then turning into a crimson,
damaged, zombie-like skin

Mastery Topic 3:
Real-time Transformation
The human will gradually transform into the creature I designed. There will be an animation for muscle
pulsation and facial change. Those will be made by morph target (blendshape).

Risks:
 Morph target and blendshape are unfamiliar areas for me, so I need to spend time exploring and
learning them.
 Dynamic material is new for me, so I'll need ample time for research and trial and error.
 Resolve bone alignment issues after transformations.
 Designing the concept will take a significant amount of time, especially since I need to design the
appearance both before and after the transformation.

Risk Mitigation:
 Therefore, I need to understand the sequence and forms of real-time transformation and establish a
reasonable transformation sequence and timeline.
 I'll dedicate extra practice and ensure I have sufficient understanding of dynamic materials.
 Search for tutorial videos on real-time transformations and improve your work by incorporating
insights from the theses of previous cohort students.
 I need to spend more time designing the post-transformation appearance. Additionally, while
designing the pre-transformation appearance, I need to simultaneously consider how it will affect the
subsequent design.

Confidential – The Guildhall at SMU Page | 24 Thesis Course, Method and Design by Boris Fisher
PRODUCTION

PROTOTYPE SLICE

DESCRIPTION
Why is your Prototype what it is?

SCHEDULING / PLANNING
WEEK TASKS / HOURS / JOURNAL
This is where your detailed entries and images go. Remember to credit the images and references
in line.
Read the requirements and the masteries for thesis – 5
1 Find former students’ thesis and read them -10
Come up 9 masteries for 3 slices of thesis according to former thesis -10
Have meeting with professors - 1
Re –enter here per chosen mastery.
Re –enter here per chosen mastery.
Find reference for 3 slices – 10
Determine artifacts – 5
2
Edit thesis PowerPoint -5
Read former thesis to refine artifacts – 10
Have meeting with professors - 1
Re –enter here per chosen mastery.
Adjust masteries according to professors’ advice – 5
3
Find reference for artifacts – 10
Edit thesis journal -10
MIDTERM PRESENTATION
Re –enter here per chosen mastery.
Adjust masteries according to professors’ advice – 10
4
Edit thesis journal - 10
Research tutorial of thesis masteries - 10

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 All new continuing research and development from here forward.
Refine final 3 slices – 5
5 Edit journal -5
Find tutorial for dynamic material and dynamic destruction – 5
Find reference for real-time transformation - 5
Have meeting with Professors about final slice -1
Find reference for real-time transformation – 5
6
Edit final PowerPoint – 2
Edit final artifact journal description -5
Determine final artifact and 3 masteries with Professors -5
Edit final journal -5
7
Find tutorial for dynamic material – 5
Plan for thesis II & III -5
Start to learn tutorial for morph target/ blendshape -10
Learn tutorial for dynamic material -15
8
Implement character into ZBrush to create morph target – 10
Practice dynamic material on character -10
FINAL THESIS I MASTERY ARTIFACT PLAN AND SCHEDULE PRESENTATION
9 Implement asset into UE5 create demo for final presentation – 10
Optimize final journal -10

METHODOLOGIES
Creature Concept:
In the first week, I started brainstorming ideas for my boss creature. Initially, I wanted to create based on
some story ideas, so I read various religious stories and game boss backstories. I then discovered and read the
source story behind the game "The Binding of Isaac," which is based on the religious story of Abraham's
sacrifice of Isaac. I reimagined this story from the perspective of Isaac as a child, assuming an alternate
scenario where Abraham didn’t receive a ram from the angel and actually sacrificed Isaac. From this concept, I
summarized keywords like "scapegoat," "religion," and "ambiguous morality," and used these terms to search
for references. Afterward, I began working on the silhouette.

Confidential – The Guildhall at SMU Page | 26 Thesis Course, Method and Design by Boris Fisher
 Figure 36 Concept Silhouette

Figure 37 Concept Silhouette

Then I created a survey for those Concept Silhouette. A total of 48 people participated in this survey. I
compiled and recorded all the results in an Excel spreadsheet.

Figure 38Survey

Confidential – The Guildhall at SMU Page | 27 Thesis Course, Method and Design by Boris Fisher
 Figure 39 Survey Result

After I combined those results, I had those top 5 concepts.

Figure 40 Combined Result

For the Top concepts, two of them are not aggressive enough to be a Boss monster so finally I had three
concepts to start detailed sketches.

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 Figure 41 Detailed sketch

Figure 42 Detailed sketch

Confidential – The Guildhall at SMU Page | 29 Thesis Course, Method and Design by Boris Fisher
 Figure 43 Detailed sketch

After communication with Professor Fisher, we chose the first one for the final approach. Then, I started
research the color. I found some of references to get a unique color pattern, and I captured the color which
catches my eyes.

Confidential – The Guildhall at SMU Page | 30 Thesis Course, Method and Design by Boris Fisher
 Figure 44 Unique designed monster color

Confidential – The Guildhall at SMU Page | 31 Thesis Course, Method and Design by Boris Fisher
 Figure 45 Fresh monster color

According to those color, I started creating color variations for my concept.

Figure 46 Concept color variations

After decided the final color for the concept, I started drawing the creature concept. I watched the video
below to have better understanding of drawing a realistic concept using photo bashing.

Confidential – The Guildhall at SMU Page | 32 Thesis Course, Method and Design by Boris Fisher
 Figure 47 https://www.youtube.com/watch?v=mJetjWHry9I&list=PLJDWxblYfK1negWA-ol9FYdWxw9EwEZfi&index=71

And I got my concept like this.

Figure 48 Creature Concept

Confidential – The Guildhall at SMU Page | 33 Thesis Course, Method and Design by Boris Fisher
According to the feedback from Professor Fisher, we decided to remove the golden part of the creature and
change it to a different dynamic material in another place. And talking about the chain part, Professor Fisher
thinks the chains are not suitable for this creature for the chains appeared like magic, its wired like the chains
can completely fit the size of the creature. After we looked up the video of Silent Hell, I decided to change the
chains into barbed chains which used to be naturally on the cross and suddenly attach the main character. So,
after all the discussion I changed the concept into this.

Figure 49 Creature Concept

After I refined the color variation and discussed with Professor Fisher, we decided to combine those two
below as my final color palette.

Confidential – The Guildhall at SMU Page | 34 Thesis Course, Method and Design by Boris Fisher
 Figure 50 Color Palette001 Figure 51 Color Palette 002

Then I changed the color according to the suggestions.

Figure 52 Concept

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After I sent it to Professor Fisher, he suggested me to add more details (emotions) , material variation and
bundles to the wires.

Figure 53 Suggestions

Figure 54 Concept

Then, I received the suggestions of give different color to show the back mouth for the creature and let the
material more distinguished.

Confidential – The Guildhall at SMU Page | 36 Thesis Course, Method and Design by Boris Fisher
 Figure 55 suggestion

Figure 56 Suggestions

Figure 57 Concept

Then I started the reference search for the boy (Issac), I looked up in Pinterest for suitable boy face and I
found a boy below and decided to take him as my reference.

Confidential – The Guildhall at SMU Page | 37 Thesis Course, Method and Design by Boris Fisher
 Figure 58 https://www.pinterest.com/pin/852165560773846222/

According to this reference I started to draw sketches for the boy. And got the final concept for him.

Confidential – The Guildhall at SMU Page | 38 Thesis Course, Method and Design by Boris Fisher
 Figure 59 Boy concept

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 Figure 60 Concept of boy

After the concepts, I researched the proportion of the reference boy and made the rough sculpture of the boy.

Confidential – The Guildhall at SMU Page | 40 Thesis Course, Method and Design by Boris Fisher
 Figure 61 Boy sculpture

Dynamic Material:
I first began by building my entire scene and figuring out the storyboard. I did a lot of brainstorming and
sketching for the storyboard, and after discussing with Professor Fisher, I simplified it to avoid making the
scope too large. Then, I set up my proxy scene using simple geometric models and CAT bones and created a
flowchart for the dynamic material.

Figure 62 Dynamic Material Flowchart

Confidential – The Guildhall at SMU Page | 41 Thesis Course, Method and Design by Boris Fisher
 Figure 63 Environment setup (Proxy)

After that I decided to first create the transition from bible book into blood. I created the proxy and lowpoly in
3ds max and highpoly in ZBrush. Then, I created the texture inside of Substance Painter, and imported into
Unreal engine 5 to create a material parameter.

Confidential – The Guildhall at SMU Page | 42 Thesis Course, Method and Design by Boris Fisher
 Figure 64 Lowpoly and Highpoly of Bible

Figure 65 Base texture

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 Figure 66 Blood texture

Figure 67 Material Blueprint

Figure 68 Material Parameter

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Initially I tried to use morph target to create the melt feeling when transform. So, I made the morph target for
the bible transformation and added level sequencer and Niagara system for the transform.

Figure 69 Gif for initial transform idea

But after discussing with Professor Fisher, I noticed I cannot use level sequencer for this transform, and the
morph target seems strange in this place. So, after I search for different method, I learned about the feature
called Chaos Flesh. Chaos Flesh can create soft body physics for model using blueprints.

Figure 70 Flesh Asset

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 Figure 71 Actor blueprint

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 Figure 72 Final present

I also created the blueprint for triggering Niagara system.

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 Figure 73 Niagara Acter blueprint

After combine all the features, this what I got for this sprint.

Confidential – The Guildhall at SMU Page | 48 Thesis Course, Method and Design by Boris Fisher
 Figure 74 Gif for Bible transition

Real-Time Transformation:
For the Real-Time Transformation, I first created a rough transition animation demo based on the storyboard.
Then, I continued addressing issues found during pre-production, specifically the misalignment of the bones
that occurred after the morph target transition.

Figure 75 Transition Anim

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 Figure 76 Transition flowchart

So, I deeply researched Coley Lamesha’s thesis and found the conclusions below.

Confidential – The Guildhall at SMU Page | 50 Thesis Course, Method and Design by Boris Fisher
 Figure 77 CAT bone from Coley Lamesha

In Coley, Lamesha's thesis, she utilized the CAT bone as a foundation and unchecked the "freeze length" of the
bones. This allowed the skeleton to move in order to achieve the structure of a werewolf's skeleton.

However, as we can see from the image on the right, the changes and stretching she made to the skeleton
were not very drastic. She mostly rotated the bones, and the basic shape of the skeleton remained
unchanged.

Confidential – The Guildhall at SMU Page | 51 Thesis Course, Method and Design by Boris Fisher
 Figure 78 Mesh from Coley Lamesha

Coley, Lamesha's thesis focuses on transforming a regular human into a werewolf and a reptilian. She
imported the human mesh into ZBrush to shape the werewolf and reptilian forms, then brought them back
into 3DS Max.

However, from the screenshots of her mesh, we can see that she did not make significant changes to the
model's appearance and silhouette.

By comparing the skeletons, not only do the lengths of the arms, legs, and neck change, but even the size of
the bones undergoes transformation. Compared to Coley Lamesha's werewolf, this change is undoubtedly
much more significant.

By comparing the meshes, since I am transforming a small boy into a massive creature, the changes in my
mesh are quite extensive. On the other hand, Coley Lamesha’s mesh didn’t undergo such drastic changes in
size or shape. This makes my morph target significantly more difficult in comparison.

Conclusion: Although Coley Lamesha successfully created the transformation from a human to a werewolf and
reptilian, her transitions were not very pronounced and relied more on changes in textures. Therefore, her
approach is not suitable for my project.

So, I started my test of using morph target combine with bone animation. I first tried to create in a whole
body. I created a basic small boy proxy model in ZBrush using ZRemesher, then stretched and enlarged it in
ZBrush to form the final monster silhouette. After that, I created a skeleton for the small boy in 3DS Max and
made a bone animation to move the bones into the appropriate position for the monster’s skeleton. Finally, I
created a blendshape in Maya and imported it into Unreal Engine 5 (UE5).

Confidential – The Guildhall at SMU Page | 52 Thesis Course, Method and Design by Boris Fisher
Then I discovered that after adding the morph to the animation sequence, the morph gets affected by the
bone animation, which distorts and disrupts the original morph. If I reduce the influence of the bone
animation, the position of the skeleton will not be correct. If I lower the influence of the morph, even when
the value is set to 0, the morph’s shape still gets affected by the bone animation.

Figure 79 Setup in 3dsmax

Confidential – The Guildhall at SMU Page | 53 Thesis Course, Method and Design by Boris Fisher
 Figure 80 Wrong result in UE5

After I discussed with Professor Fisher, I tried to create a separate part to test if it’s because of the whole
body’s issue. But finally, the issue still remains.

Figure 81 Bone Anim in 3dsmax

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 Figure 82 Morph in UE5

Figure 83 Over scratch in UE5

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Combining these two experiments, I found that regardless of whether the bones are stretched, as long as the
bone animation affects the geometry's shape, it becomes impossible to control the morph's shape by blending
the morph and bone animation. The morph shape will always be influenced by the bone animation.

So, I decided to consult with Professor Leon and Adhyan from C32. They provided me a solution using extra
geo as a bridge.

Figure 84 schema

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 Figure 85 Scheme

Using extra geometry is a common and cost-effective method in the industry, and it can also ensure a better
display of transitions. However, after discussing with Professor Fisher, we found that using extra geometry for
transitions does not align with the mastery required for my real-time transformation. Therefore, this approach
has been abandoned.

To figure out how I can successfully complete my real-time transform mastery, I researched three artists who
used to make or making real-time transform.

Figure 86 https://www.artstation.com/artwork/qA0W4a

Confidential – The Guildhall at SMU Page | 57 Thesis Course, Method and Design by Boris Fisher
 Figure 87 https://www.artstation.com/artwork/XgvNEL

Figure 88 https://www.artstation.com/artwork/yJkrD9

After I had a conversation with Dary Palasky. Who provided me a plugin in Autodesk Maya called Shape. After I
researched this plugin, I successfully created the correct bone animation with correct morph target.

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 Figure 89 Bone anim

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 Figure 90 Morph

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 Figure 91 Transition in Maya

Figure 92 Transition in UE5

Shape is a plugin for Autodesk Maya that helps me better balance bone animation and blendshape. To draw a
comparison, it's like Maya's built-in blendshape modifier and 3ds Max's morpher modifier. However, I still
need to manually create the bone animation for the model's transformation and the model used for the

Confidential – The Guildhall at SMU Page | 61 Thesis Course, Method and Design by Boris Fisher
transformed morph, so it doesn't simplify my workflow. Additionally, when I checked the morph of the plugin-
modified model in UE5, I noticed that the morph that correctly achieved the final shape appeared in a very
strange form, one that couldn't be manually created.

Figure 93 Wired Morph

After Professor Fisher's advice, I also tested whether the plugin would affect UE5's shipping pack. With
Professor Fisher's help, it was confirmed that the plugin does not impact the shipping pack, and the packaged
files still run smoothly on other devices. Therefore, I believe Shape is a useful tool that can help me better
accomplish the mastery of real-time transformation.

Then I still considered about using no plugin method to accomplish the mastery of real-time transformation. I
was wondering if I could reverse the morph. Then I conceptualized a process in my head. I make a model of
the boy and then I use animation to place the bones of the model in the right place, and then I sculpt the

Confidential – The Guildhall at SMU Page | 62 Thesis Course, Method and Design by Boris Fisher
model according to the placement. After sculpting, I use the original skeleton and timeline to reverse the
model to the boy's skeleton. Finally, blendshape the original model of the boy with the reversed model.

Figure 94 Synopsis

However, for time reasons this method did not have time to be proven, so I will put the experiments to prove
if this method works in the vertical slice sprint

VERTICAL SLICE

DESCRIPTION
Why is your VS what it is?

SCHEDULING / PLANNING
How did you go about planning? Were there changes and why?

WEEK TASKS / HOURS / JOURNAL

• Functional research: Study biological and behavioral characteristics of creatures- 3
• Getting references for the main character and creature - 6
1 • Figure out the background story of character and transition -3
• Settle down the basic style direction of the project. -3
• Update Journal -2

Confidential – The Guildhall at SMU Page | 63 Thesis Course, Method and Design by Boris Fisher
 • Sketching: Create 60 concept sketched for creature – 5
• Define silhouette of creature transition concept - 5
2 • Refine line drawings – 3
• Update Journal -2

• Start drawing detailed creature concept -5

• Send the finished sketches for feedback and start figuring out the color pattern -3
3 • Define material for both human and creature concept – 4
• Update Journal -2

• Analyzing type of real-time transformation for creature - 3

• Start the basic storyboard for transition -5
4
• Refining the human and creature designs -5
• Update Journal -2
• Analyzing dynamic material transition according to concept – 5
• Send the finished sketches of storyboard for feedback – 3
5 • Refine the Transition storyboard -2
• Create morph target/Blendshape for one mesh- 5
• Update Journal -2

• Start proxy sculpting for base human and extra meshes for transition in ZBrush - 8
• Create dynamic material for one mesh -8
6
• Implement asset into UE5 – 3
• Update Journal -2
Prototype - MIDTERM PRESENTATION – TBD
• Defined concept and transition storyboard
7 • Simple mesh morph target & Dynamic material
• Model proxy sculpting
• Edit document for thesis - 5
• Adjust schedule according to the feedback – 3
• Adjust concepts – 2
8 • Get feedback of prototype and adjust changes – 5
• Start High poly for basic character and extra meshes for transition (before transition) -10
• Update Journal -2
• Finish High poly mesh for basic character and extra meshes for transition -5
9 • Finish retopology for base character – 10
• Update Journal -2
• UV unwrap for base character and extra meshes -5
• Rough Rig for base character -5
10 • Define Material transition for full body- 3
• Update Journal -2
State of the Vertical Slice
• Divide base human into different part according to transition– 1
11 • Define one part of character to make real-time transition (shoulder and up?) -1
• Create material sheets and masks for dynamic material of one body part – 5
• Create real-time transformation for one body part – 10
• Update Journal -2
• Create dynamic material for one body part – 10
• Start rough texturing for base character and extra meshes – 5
12 • Create hair cards for character – 8
• Update Journal -2

Confidential – The Guildhall at SMU Page | 64 Thesis Course, Method and Design by Boris Fisher
 Critical Reviews
• Refine the character concept -3
13 • Finish the high poly of the character – 8
• Finish the low poly of the character – 4
• Update Journal -2
• Test out the cloth simulation -3
• Rough Rig the character – 3
• Finish rigging for present body part - 2
14 • Finish real-time transformation in one body part -5
• Finish dynamic material in one body part – 5
• Update Journal -2
• Finish rough texture for base character and extra meshes – 8
15 • Implement asset into UE5 – 5
• Update Journal -2
Vertical Slice - FINAL – PRESENTATION
• Completed basic human high poly and low poly & decoration meshes for transition
16 • Proxy rigging for character
• Finish rigging for present body part
• Shoulder and head real-time trans & dynamic material
• Edit documents for thesis

METHODOLOGIES
Creature Concept

In the creative concept, I sculpted the body based on the head model of the character from the previous
milestone, and I learned the marvelous designer for the character's costume.

I researched the many tutorials for marvelous designer on YouTube and selected the following videos to learn
from.

Confidential – The Guildhall at SMU Page | 65 Thesis Course, Method and Design by Boris Fisher
 Figure 95 https://www.youtube.com/watch?v=K0zl7CSSvxc

This is a proxy model of a character I sculpted in ZBrush.

Figure 96 Proxy Model In ZBrush

Confidential – The Guildhall at SMU Page | 66 Thesis Course, Method and Design by Boris Fisher
 Figure 97 Cloth in Marvelous Designer

Figure 98 Model with proxy cloth on

Then after I discussed with Professor Fisher, I decided to present the head and neck part for Vertical Slice
sprint. So I sculpted further for only head part and also created teeth and tongue.

Confidential – The Guildhall at SMU Page | 67 Thesis Course, Method and Design by Boris Fisher
 Figure 99 High poly for head

Confidential – The Guildhall at SMU Page | 68 Thesis Course, Method and Design by Boris Fisher
 Figure 100 High poly for teeth and tongue

After that I retopolized the high poly mesh in maya and got the low poly.

Figure 101 Low poly for head

Confidential – The Guildhall at SMU Page | 69 Thesis Course, Method and Design by Boris Fisher
I researched the character model from “Final Fantasy VII Remake” I discovered the UV of head mesh is not the
way I learned. It utilizes a method that makes it possible to use UV space more efficiently. So, I researched
how to correctly UVW unwrap the head. Then, I found the video of UVW unwrap head in maya.

Figure 102 The way FFVII did for UV unwrap head https://www.youtube.com/watch?v=w8SjXHQ8ASY&list=PLJDWxblYfK1negWA-ol9FYdWxw9EwEZfi&index=55

Figure 103 https://www.youtube.com/watch?v=v1avvrGJRlU&t=222s

Then I got mine as

Confidential – The Guildhall at SMU Page | 70 Thesis Course, Method and Design by Boris Fisher
 Figure 104 UVW unwrap of head

After I imported all the maps and models into UE5, this is what this sprint looks like.

Figure 105 Mesh with material in UE5

The texture effect of Substance painter and UE5 is quite different, so I'll be tweaking it later.

First I made the skeleton of the model, and after discussions with Professor Leon and Professor Fisher, I
decided to make the skeleton with the eyeball skeleton, the upper teeth and the jaw skeleton.

Confidential – The Guildhall at SMU Page | 71 Thesis Course, Method and Design by Boris Fisher
 Figure 106 Skeleton

Then I created the hair. At first I was going to use the xgen+groom system to create the hair but since I wanted
my hair to be adjustable in length and color I used the xgen+haircard method.

So I started by looking for some haircard reference images and used that as a basis to create the hair piece in
maya using xgen.

Confidential – The Guildhall at SMU Page | 72 Thesis Course, Method and Design by Boris Fisher
 Figure 107 xgen haircards

The haircard carrier was then imported into 3ds max and baked.

Confidential – The Guildhall at SMU Page | 73 Thesis Course, Method and Design by Boris Fisher
 Figure 108 Haircards

I then posed the hair piece in 3ds max.

Confidential – The Guildhall at SMU Page | 74 Thesis Course, Method and Design by Boris Fisher
 Figure 109 Hair

I imported these haircards into UE5 and made adjustable materials for them.

Figure 110 Hair material

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 Figure 111 HairTransition

Then I made the monster's horns, which were too thin, and after Professor MacDowell’s suggestion, I
recreated a new horn and created a gradual material effect for it.

Figure 112 Previous Horn

Confidential – The Guildhall at SMU Page | 76 Thesis Course, Method and Design by Boris Fisher
 Figure 113 New Horn

Figure 114 Gradual texture

Confidential – The Guildhall at SMU Page | 77 Thesis Course, Method and Design by Boris Fisher
 Figure 115 Horn

Professor Fisher addresses the present horns by suggesting that it is hoped that they will emerge section by
section according to the structure of the ram's horns. I have yet to find a suitable solution.

Then, I refined the eyeball texture and created an adjustable texture for eyeball transition.

Figure 116 eyeball

Then I started to make the highpoly of the monster's neck and head, I first placed the bones in the right
position, then exported the geo with bone animation, and sculpted the geo.

Confidential – The Guildhall at SMU Page | 78 Thesis Course, Method and Design by Boris Fisher
 Figure 117 changed geo

Confidential – The Guildhall at SMU Page | 79 Thesis Course, Method and Design by Boris Fisher
 Figure 118 geo highpoly

I also posed the haircard in ZBrush.

Confidential – The Guildhall at SMU Page | 80 Thesis Course, Method and Design by Boris Fisher
 Figure 119 haircard fur

Next, I made two textures for transition. One for the fresh flesh under the skin as a transition, and one for the
final skin material of the monster. I still created a gradual texture to create the effect of growing blood vessels.

Confidential – The Guildhall at SMU Page | 81 Thesis Course, Method and Design by Boris Fisher
 Figure 120 Fresh Flesh

Figure 121 Monster

Confidential – The Guildhall at SMU Page | 82 Thesis Course, Method and Design by Boris Fisher
 Figure 122 Vessel Gradual texture

Figure 123 Skin transition

Then I created transformed materials for some small parts. For example, the mouth.

Confidential – The Guildhall at SMU Page | 83 Thesis Course, Method and Design by Boris Fisher
 Figure 124 original mouth

Figure 125 monster mouth

Dynamic Material

After I discussed with Professor Fisher, I decided to change the transition of Bible into another version. Which
is: Bible – Page transform into Tentacles – Tentacles absorbing the energy of the Bible – Bible turn into
mummy (dead) book – Bible turn into ashes.

Confidential – The Guildhall at SMU Page | 84 Thesis Course, Method and Design by Boris Fisher
 Figure 126 Workflow of the Bible transition

First, I create the page-tentacle transition animation in 3ds max through path deform and other modifiers. At
first I tried to add turbosmooth to the modifier because I wanted to make the tentacles more rounded, but it
failed. Adding turbosmooth to the export will lose the mesh. So to achieve a turbosmooth-like effect, I added
the relax modifier after the various modifiers that turn pages into tentacles. and successfully exported the .abc
format into UE5.

Confidential – The Guildhall at SMU Page | 85 Thesis Course, Method and Design by Boris Fisher
 Figure 127 Modifier list

Figure 128 Transition Anim inside of 3ds max

After that, I focused on making page to tentacles texture.

Confidential – The Guildhall at SMU Page | 86 Thesis Course, Method and Design by Boris Fisher
 Figure 129 Tentacle texture

For the page texture I used the texture of the book itself.

Then, I created the material parameter of the page-to-tentacle transition.

Figure 130 Material Blueprint of Page-to-Tentacle

And the result of this step looks like.

Confidential – The Guildhall at SMU Page | 87 Thesis Course, Method and Design by Boris Fisher
 Figure 131 Transition of Page to Tentacles

For bible itself. I created the animations of bible open and bible dry-up.Then, I created the texture for bible
when it turns into ashes.

Figure 132 Ash texture for Bible

After that I decided to use Niagara system to support me with the outcome. So, I looked up the Blood drop &
splash tutorial and dissolve material tutorial and Blood decal tutorial.

Confidential – The Guildhall at SMU Page | 88 Thesis Course, Method and Design by Boris Fisher
 Figure 133 https://www.youtube.com/watch?v=vbCxZau8ag4&list=PLJDWxblYfK1negWA-ol9FYdWxw9EwEZfi&index=146

Figure 134 Blood Decal BP in UE5

Confidential – The Guildhall at SMU Page | 89 Thesis Course, Method and Design by Boris Fisher
 Figure 135 Blood decal

Figure 136 https://www.bilibili.com/video/BV1xG4y1G7Jw/?spm_id_from=333.999.0.0&vd_source=aa47e255a9ce5976742f6763d103dc31

Confidential – The Guildhall at SMU Page | 90 Thesis Course, Method and Design by Boris Fisher
 Figure 137 Dissolve effect in UE5

Figure 138 https://www.bilibili.com/video/BV1eB4y1i7ZM?spm_id_from=333.788.recommend_more_video.8&vd_source=06e98e3a96e2fa3942fbd26d1721ec9f

Confidential – The Guildhall at SMU Page | 91 Thesis Course, Method and Design by Boris Fisher
 Figure 139 Ash drop effect

After that I collected all the assets and made a Blueprint.

Figure 140 Blueprint of Bible

And got the final present of this step.

Confidential – The Guildhall at SMU Page | 92 Thesis Course, Method and Design by Boris Fisher
 Figure 141 Final present

After getting advice from Professor Fisher and Professor Macdowell, I tweaked the length of the animation
playback and the color of the material.

Figure 142 color change

Confidential – The Guildhall at SMU Page | 93 Thesis Course, Method and Design by Boris Fisher
 Figure 143 Final Present-VS

Real-time Transformation

In real- Time transformation, I first put into practice the ideas conceived in prototype.

Figure 144 Synopsis

I'm still using the model, skeleton and animation from the last milestone as a base. I first imported the model
after the skeleton animation into ZBrush and sculpted it.

Confidential – The Guildhall at SMU Page | 94 Thesis Course, Method and Design by Boris Fisher
 Figure 145 Mesh from ZBrush

Then I exported it into 3ds max to do a skin wrap on the model, I used CAT bone in 3ds max so I could layer the
animation with layer manager. I created a base animation layer to record the A pose, then created another
animation layer for the bone animation, then duplicated the layer and deleted the first frame, leaving only the
last bone of the bone animation as the skeleton structure for the skin wrap.

Confidential – The Guildhall at SMU Page | 95 Thesis Course, Method and Design by Boris Fisher
 Figure 146 CAT layer manager

When I skin wrap a model exported from ZBrush to a model after the original Bone animation, the skin wrap
still doesn't set the weights well, even though they are using the same topology. When I skin wrap the
different body parts separately, the problem persists.

Confidential – The Guildhall at SMU Page | 96 Thesis Course, Method and Design by Boris Fisher
 Figure 147 Skin wrap

So, I found the first drawback of this method: I need to re-skin weight the model. This may cause the model
morph target to be less accurate.

However, I still tinkered with the skin weight of the model, and used the layer manager to rewind the model
from a monster skeleton to a human skeleton to get this shape

Confidential – The Guildhall at SMU Page | 97 Thesis Course, Method and Design by Boris Fisher
 Figure 148 Reverse Morph target

After that, I extracted the reversed model separately and blendshape it with the base human model and
imported it into UE5 for testing.

Confidential – The Guildhall at SMU Page | 98 Thesis Course, Method and Design by Boris Fisher
 Figure 149Reverse Morph Target in UE5

He looks pretty good at first glance though, with the bones in the right place as well as the morph geo.
However, some details still can't be overlooked. For example, first, the neck mesh of the model was
misaligned in the conversion. Secondly, there are still problems with the converted model because of the need
to re-fix the skin weight.

Confidential – The Guildhall at SMU Page | 99 Thesis Course, Method and Design by Boris Fisher
 Figure 150 Neck Problem

Figure 151 Geo Problem

Conclusion: Although this method works in theory and can be done, he still prefers “it doesn't work”. The
reason is as follows: real-time transformation requires many morph target models to be blendshaped and
animation to be reversed, which requires a large amount of work. If all models need to be reversed by
animation, it will require a lot of work. And because every model that changes shape needs to have its skin
weight repaired. This increases the workload on top of the previous one and does not guarantee that the
model will get the desired effect after reversing the morph target and bone animation. This method is
uncontrollable in practice.

Confidential – The Guildhall at SMU Page | 100 Thesis Course, Method and Design by Boris Fisher
As I was formally working on the blendshape I noticed that when I imported the model into UE5 there would
be a very noticeable black block on a portion of the model. When I looked at the viewport of the reflection I
realized that his reflection was different than the previous one. So I did a lot of testing. Including but not
limited to blendshape the model head separately from the neck, stretch and zoom the bones to create a
blendshape, and expand the UV space of the neck. but all to no avail.

Figure 152 Geo error

After I had a meeting with Professor Fisher, we discovered that a portion of the vertex normal was pointing
inward. So I made a lot of attempts at how to modify vertex normal. I tried to unlock normal-soften edge-
delete all non-deform history, and average normal to no avail. I found that if I do this with the character in
form, the problem persists. But if I do it in monster form, the head geo won't import into UE5, but if I do it in
the intermediate stage, not only does the problem persist, but the vertex normal of the character form also
breaks. Eventually I realized that vertex normal is a static value and cannot be modified. So I started looking
for the source of this vertex normal.

Finally, I found out that this vertex normal belongs to the mesh after blendshape without bone animation.
what will be the black dots if the poly of that mesh has overlapped.

Figure 153 Wrong geo

So I tweaked my blendshape. Relaxed some polygons.

Confidential – The Guildhall at SMU Page | 101 Thesis Course, Method and Design by Boris Fisher
 Figure 154 Good Geo

Through this I found out that, I discovered that the issue was caused by the reversal of vertex normals.
However, vertex normals are static values and cannot be keyframed. The correctness of the final vertex
normals depends on whether the model after the blendshape, without bone animation, has any overlaps.
Therefore, when creating blendshapes, it is necessary to minimize the intensity of changes that might lead to
overlapping as much as possible. Additionally, it is best to separate areas with significant changes into
different blendshapes (e.g., the monster's head and neck).

After this, I started to disassemble the blendshape. I wanted to make transitions that could do the blendshape
in stages. After my research investigation, I found out that I was able to paint blendshape mask in maya

Confidential – The Guildhall at SMU Page | 102 Thesis Course, Method and Design by Boris Fisher
 Figure 155https://www.youtube.com/watch?v=K6htAb8ytKY&list=PLJDWxblYfK1negWA-ol9FYdWxw9EwEZfi&index=164

Figure 156 Paint blendshape mask

This way I can make a lot of blendshape parts. But problems have arisen, rough masks can lead to inaccurate
blendshape, and blendshape overlap.

Confidential – The Guildhall at SMU Page | 103 Thesis Course, Method and Design by Boris Fisher
 Figure 157 Wrong blendshape

But I found out that his masks can be exported into photoshop for drawing, which would make his masks more
accurate.

Figure 158 blendshape mask001

Confidential – The Guildhall at SMU Page | 104 Thesis Course, Method and Design by Boris Fisher
 Figure 159blendshaoe mask 002

Based on the above mask I got a blendshape of 14 different parts.

Figure 160 heads

Confidential – The Guildhall at SMU Page | 105 Thesis Course, Method and Design by Boris Fisher
 Figure 161 Parts of blendshape

And these blendshapes are all animatable. So I made an animation sequencer for presentation

Figure 162 Animation

And the outcome in this stage.

Confidential – The Guildhall at SMU Page | 106 Thesis Course, Method and Design by Boris Fisher
 Figure 163 outcome-VS

ALPHA

DESCRIPTION
What it is.

SCHEDULING / PLANNING
Were there changes to your original plan and why?

WEEK TASKS / HOURS / JOURNAL

• Final polish the texture of character and extra meshes – 5
• Refine material sheets for different dynamic material – 4
1 • Find reference for human vasculature and dynamic material - 2
• Create full material sheets for character dynamic material transition -6
• Update Journal -2

• Check with professor with dynamic material textures – 3

• Adjust textures -6
2
• Create hair transition -5
• Update Journal -2

• Create hair transition material parameters -5

• Create textures and masks for dynamic material for whole character and extra meshes-5
3
• Polish rigging and skin weight for character – 4
• Update Journal -2

• Test skin weight for character -4

4 • Refine final transition storyboard -3
• Rough transition animation for character -8

Confidential – The Guildhall at SMU Page | 107 Thesis Course, Method and Design by Boris Fisher
 • Update Journal -2

• Implement into UE5 – 3

• Create animation sequence for real-time transition -5
5
• Set lighting and environment -5
• Update Journal -2

• Refine texture of character and extra meshes under lighting- 3

• Create cloth simulation for character – 5
6
• Test cloth simulation under real-time transition – 5
• Update Journal -2

• Optimize parameters for transition and dynamic material -6

7 • Refine final lighting and environment -5
• Update Journal -2
ALPHA - MIDTERM PRESENTATION – TBD
• Completed texture for base human and extra meshes
8 • Finished real-time trans & rough dynamic material texture
• Completed rigging
• Rough animation for transition
• Edit documents for thesis
• Refine the character animation and movement. –6
9 • Polish animation & texture & transition -12
• Update Journal -2

• Continue refining the texture and detailed parts--6

10 • Begin documentation and analysis—12
• Update Journal -2

• Consult with the professor and make final refinements--5

11
• Documentation --10
• Organize files and create backups--10
12 • Record videos, take screenshots, and compile all presentation materials into a single
folder and document--6

13 Evaluation for Defense

14 *RTM - PRESENTATION

15 DEFENSES CAN BEGIN

16

METHODOLOGIES
“Tutorial”. Were there changes to your methodologies and why?

Creature Concept

Confidential – The Guildhall at SMU Page | 108 Thesis Course, Method and Design by Boris Fisher
First, I made the rest of the high molds for the boy based on my previous concept, which are high poly and low
poly for the clothes and body.

Figure 164 Highpoly of boy

Figure 165lowpoly of boy

I used ZBrush zremesher to create the lowpoly of the character and used MAYA to retopolize the cloth. After I
double checked the lower body can connect well with the neck, I added the back bag for the woman and I UV
unwrapped the lower body. Then, I import High poly and low poly into Substance painter to texture them. I
made the texture layers for head to be a smart material so that I can guarantee the texture of head and body
can fit well. Initially I used the color palette of the concept.

Confidential – The Guildhall at SMU Page | 109 Thesis Course, Method and Design by Boris Fisher
 Figure 166 initial texture for cloth

But according to Professor Fisher’s suggestion, he thought the cloth was too dark and he suggested to have
contrast between boy and the monster, so he suggested the cloth to be clear and innocent. So, I searched the
little Catholic boy costume which are take red and white as its main color, so after that research I got the final
texture of the cloth.

Confidential – The Guildhall at SMU Page | 110 Thesis Course, Method and Design by Boris Fisher
 Figure 167final texture of cloth

After I put those texture into UE, I created the material for it. I want to create dissolve effect for the cloth
when the transition happens, so first I use gradient and the grayscale fabric texture as the base for dissolve.
Then Professor Fisher suggested using curvature map to let the transition make more sense. So, I multiplied
the curvature with the texture above, and also created the in-between as the fire burning.

Figure 168cloth material

Then I recreated the hair and eyelashes, I regenerated the xgen haircards which used to be too thin and
caused the pixel to be at the bottom. After that I reorganized the haircards and used MAYA to fix the normal.
And created the gradient for hair disappearing. I also use subsurface to let the hair looks good, and added
world position offset to let the hair looks it's blowing in the wind.

Confidential – The Guildhall at SMU Page | 111 Thesis Course, Method and Design by Boris Fisher
 Figure 169reorganized hair cards

Confidential – The Guildhall at SMU Page | 112 Thesis Course, Method and Design by Boris Fisher
 Figure 170 fixed hair cards

Figure 171 world position offset

Confidential – The Guildhall at SMU Page | 113 Thesis Course, Method and Design by Boris Fisher
 Figure 172hair

Combine all the meshes I got the boy like this.

Figure 173boy render

Finished the boy I started with the scene; I took my former layout of the scene as the reference and created
the mid poly for alter and created high poly for three different candles and branch inside of ZBrush. And
retopolized those to lowpoly.

Confidential – The Guildhall at SMU Page | 114 Thesis Course, Method and Design by Boris Fisher
 Figure 174 scene modular kits

Figure 175 scene texture

After I had a meeting with Professor Fisher, he suggested I make the gold line on the notched branch. After I
tried, I kept those as golden line. Then I placed those assets inside of UE and exported the wood cross to make
metal wire. Finally, I got the scene setup like this.

Confidential – The Guildhall at SMU Page | 115 Thesis Course, Method and Design by Boris Fisher
 Figure 176scene

Professor Fisher suggested I make the whole scene inside of a chamfered cylinder so I made a cylinder and
gave a pure color material on it.

Confidential – The Guildhall at SMU Page | 116 Thesis Course, Method and Design by Boris Fisher
 Figure 177 whole scene

For break the pure color I made the red fog texture, so the scene looks like being surrounded by blood fog.
Next part is the monster, first I posed the boy as the shape I want for monster, then I exported the mesh into
ZBrush and combined with high poly of the neck and head to sculpt the high poly of the body.

Confidential – The Guildhall at SMU Page | 117 Thesis Course, Method and Design by Boris Fisher
 Figure 178 posed boy

Figure 179 body high poly

And use conform brush to reshape the low poly.

Confidential – The Guildhall at SMU Page | 118 Thesis Course, Method and Design by Boris Fisher
 Figure 180 Lowpoly

I textured them inside of Substance Painter. I not only created the final texture for the body, I also created the
in-between texture for both head and body.

Figure 181 texture

So, I got the monster like this.

Figure 182 Monster

Confidential – The Guildhall at SMU Page | 119 Thesis Course, Method and Design by Boris Fisher
Then I started with the back woman, I used boy as the base mesh and deleted the upper leg and the lower leg.
I imported the mesh into ZBrush to sculpt and created an extra mesh for the cape.

Figure 183 woman high poly

Figure 184woman low poly

Then, I created the texture inside of Substance Painter.

Figure 185 woman texture

Confidential – The Guildhall at SMU Page | 120 Thesis Course, Method and Design by Boris Fisher
Initially I planned to use the same shading model of the boy, but Professor Fisher suggested me to use
subsurface which can create the light leak from the model.
So, I got the woman like this.

Figure 186woman

Dynamic Material
For dynamic material, I first refined the logic of the tentacle book. Because the tentacles are not vivid, I use
Niagara system to create the extra tentacles.

Confidential – The Guildhall at SMU Page | 121 Thesis Course, Method and Design by Boris Fisher
 Figure 187tentacle

And I also created the blown away effect to fit the stone material the book finally becomes.

Confidential – The Guildhall at SMU Page | 122 Thesis Course, Method and Design by Boris Fisher
 Figure 188 blown away

I also created a magic circle effect. But professor Fisher thought it’s too fantasy, so I removed it.

Confidential – The Guildhall at SMU Page | 123 Thesis Course, Method and Design by Boris Fisher
 Figure 189magic circle

I also refined the splash blood effect to be more real.

Confidential – The Guildhall at SMU Page | 124 Thesis Course, Method and Design by Boris Fisher
 Figure 190 splash blood

So, I changed the logic of this dynamic material as: the boy opens the book when flipping couples of the page
the tentacles grew out and the boy shocked throw out, then the book lost its power and became a stone and
blown away. According to this logic, I need to make the book throw away, so I tried to use simulate physics.
Initially the book will randomly on or off the ground, I tried to teleport the book but still not working. Then I
found it’s because the book didn’t have enough physical asset, after I fixed the physical asset, the book can
successfully be landed on the ground.

Confidential – The Guildhall at SMU Page | 125 Thesis Course, Method and Design by Boris Fisher
 Figure 191 bp node

After some adjustments of the animation and timing, this is what I got.

Figure 192 book dm

Next step is the wax woman. After I changed into subsurface shading mode the wax feeling still lacked. So,
Professor Fisher suggested adding drips on the body. First, I created a normal map and AO map looks like rain
drips.

Confidential – The Guildhall at SMU Page | 126 Thesis Course, Method and Design by Boris Fisher
 Figure 193drip normal

Confidential – The Guildhall at SMU Page | 127 Thesis Course, Method and Design by Boris Fisher
 Figure 194drip AO

I use BlendAngleCorrectedNormals node to combine those.

Figure 195drip bp

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Then, I used the same method in hair material to make the wax woman wiggly. After that, I added extra planes
down her arm to mimic the actual drip. I use flip book to give the alpha mask and normal.

Figure 196flipbook

Figure 197bp for flipbook

And the woman looks like this.

Confidential – The Guildhall at SMU Page | 129 Thesis Course, Method and Design by Boris Fisher
 Figure 198wax woman

To enrich her. I also created the bubble base and meat net, and created animations for all of them, including
the birth animation and idle animation for wax woman.

Confidential – The Guildhall at SMU Page | 130 Thesis Course, Method and Design by Boris Fisher
 Figure 199birth

Confidential – The Guildhall at SMU Page | 131 Thesis Course, Method and Design by Boris Fisher
 Figure 200idle

Confidential – The Guildhall at SMU Page | 132 Thesis Course, Method and Design by Boris Fisher
 Figure 201bubble

Confidential – The Guildhall at SMU Page | 133 Thesis Course, Method and Design by Boris Fisher
 Figure 202net

Combined those I got the wax woman like this.

Confidential – The Guildhall at SMU Page | 134 Thesis Course, Method and Design by Boris Fisher
 Figure 203final wax woman

For the monster, after I import those textures in UE, I created the transition from original skin – in-between
fresh meat – final skin. I used the same method from cloth to create the better performance of the transition
and added the drip normal to mimic the blood flow.

Confidential – The Guildhall at SMU Page | 135 Thesis Course, Method and Design by Boris Fisher
 Figure 204head

Figure 205head node

Figure 206body

Confidential – The Guildhall at SMU Page | 136 Thesis Course, Method and Design by Boris Fisher
 Figure 207body node

I also gave the same in-between for horn transition, so the logic becomes the horn grows as fresh meat and
grows out the shell. So, the monster skin transition becomes like this.

Figure 208monsterskin

Real-Time Transformation
When I was preparing for the animation, I realized that the model was divided into different parts so that
cracks would appear, after changing the blendshape the cracks would disappear but would reappear if I
moved the bones. I tried to use 3dsmax skin wrap but it didn't work. I also tried to apply the skin weight
manually but the crack doesn't get better. So I tried to make a skin weight of the whole character first and
then use MAYA's copy skin weight to fix it. The crack was fixed but all the information retained by the neck
and head was nullified and could not be reused. Therefore, the best way is to keep the original information of
the neck and head and try to connect the body. So I transferred the skin weight from the previous neck and
head to a whole body by copying the skin weight. After fixing the skin weight of the body, I then use copy skin
weight to transfer it to a separate model. This way, the information of the previous neck and head can be
retained to the greatest extent possible.

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 Figure 209 broken skin weight

Confidential – The Guildhall at SMU Page | 138 Thesis Course, Method and Design by Boris Fisher
 Figure 210copy skin weights

After fixing the skin weight, I used the same method I used to make the neck and head split the different body
parts. I originally used the Substance Painter to make the masks, but I found that the Substance Painter
doesn't guarantee accuracy, so I took it to Photoshop. So, I took it to photoshop.

Confidential – The Guildhall at SMU Page | 139 Thesis Course, Method and Design by Boris Fisher
 Figure 211 bodymask

Figure 212separate body mesh

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 Figure 213 body morph in UE

After this I also created different facial expressions to aid my animation.

Confidential – The Guildhall at SMU Page | 141 Thesis Course, Method and Design by Boris Fisher
 Figure 214facial morph

After that I made the animation, I split it into different parts because I was not familiar with making animation.
the animation was divided into: boy idle animation, boy opens the book, boy gets scared, boy transforms into
a monster, wax woman grows out of the monster's body, the monster is wired and restrained, and the
monster idle animation. I connected these animations together in UE by adding morph and some fixes.

Figure 215anim sheets

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 Figure 216morphs

Finally, I got this.

Figure 217 Alpha Final

BETA

POLISH
In the Beta stage, I first optimized the material of my character, firstly, I modified the overall accuracy of the material of the
character's head and face, to make the character's face more three-dimensional, and gave more shadows to make the character's
face more fluffy. Then, secondly, I reduced the pore detail on the character's body, as too much pore detail can lead to a very mushy
body. For an alternative, I turned to a 256×256 tilling map of the pores.

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I took this pore 256x256 texture and used texcoordinate to multiply it many times over to achieve a more detailed effect on the
character's face. At the same time, my material is not too performance intensive.

Figure 218Overveiw of Boy

Figure 219 Scene and Lighting Refine

I then modified one of the scene's lighting and the overall height of the scene's cylinder. Originally I had a two-story tall styloid,
which refracted the light very widely, however, Professor fisher told me that I could lower the height of the styloid, so that my light
could be refracted to a wider range of places, and then I refined the setup of the scene, replacing some of the fresher blood with
older, or air-dried blood. Then I refine the scene by replacing some of the fresher blood with older blood, or blood that has already
dried out, and put some cluttered body parts next to the alters to make the whole scene more storytelling.

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 Figure 220 Closer Look

I also refined the eye highlights. Referring to the previous eye, I drew the highlights by hand. Now for the eye, I used one of my
previous eyeballs, and the parameter allows me to tweak the normal so that I can get a natural highlight for the eye.

Figure 221 New eyes

Secondly, I optimized the material of the character's clothes and made the edges of the clothes darker to make them more three-
dimensional and to fit the worn and dirty look of the clothes. For the clothing, I used the fuzzy shading node, which is a node that
allows me to make my clothing more three-dimensional. fuzzy shading connects fuzz color to cloth and specular. At the same time, I
used flip fresnel to create an inner shadow effect, similar to the one used in Photoshop. Similar to Photoshop's inner shadow, flip
fresnel can make the edges of the character have a darker transition, making the character more three-dimensional.

Figure 222 Cloth texture

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 Figure 223 Fuzzy Shading Node

Figure 224 Flip Fresnel

Confidential – The Guildhall at SMU Page | 146 Thesis Course, Method and Design by Boris Fisher
 Figure 225 Cloth Compare

Then I started to REFINE some small details. First, I refine a whole material that I used for the hair. One material I used was Fresnel
as an outer light for one of my hairs. Secondly, I used the hand drawn highlight method to give the hair a halo of hair highlights. I
also refined the normal of the hair mesh, I fixed the normal and made it more like a shading with a sphere.

Figure 226 Hair Compare

Figure 227 Hair Node

Then I started making the final monster. Finally, after the transformation was complete, an animation of the idle being bound by
chains was articulated, as well as the chains themselves. First, I created the chains. The chains are divided into three parts, one is the
chain itself, a straight strip of the chain itself used to bind the monster. The second is the chain that wraps around the hand. This
chain is just a static object. For the material of the chain, I made a straight UV unwrap from left to right, and then I made a gradient
black and white map so that the chain would fade in and out from left to right. Then I learned how to use a spline and spline mesh,
so that the chain can connect the cross to the monster itself, and then update its real-time position all the time while the animation
is going on.

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 Figure 228 Chains

Figure 229 Spline node

Confidential – The Guildhall at SMU Page | 148 Thesis Course, Method and Design by Boris Fisher
 Figure 230 Chains layout

Finally, I created an animation of the monster being wrapped in chains and yanked backwards.After this, to add to the effect of one
of the performances where this little boy turns into a monster. I added a post process material called chromatic material. I added a
post process material called chromatic material. This allows for some dramatic camera changes when the boy turns into a monster.

Figure 231 Chromatic nodes

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 Figure 232 Chromatic Shader

Finally, based on Professor Fisher's comments, I created an effect that allows the boy to evolve into a monster and then revert back
to his original state in the game. I created an effect that allows the boy to revert back to his original state and evolve again. Now the
player can respond to the boy infinitely by pressing 1.

Figure 233 Respawn Nodes

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OPTIMIZATIONS
After this, I started to optimize my project. First, according to professor fisher, I categorized all my materials in groups. For materials
that are characters or used for characters, I categorized them on group character. Then for the textures in the scene, I kept them in
group world. Since the compression of the textures in the character group would be different, I compressed the textures and
experimented with them by modifying the max texture size of each texture. Lowering it from 4096 to 2048, and then to 1024 to
experiment with a compression and whether or not the textures were distorted. I reduced it from 4096 to 2048 and finally to 1024
to experiment with the compression of the textures and to see if they were distorted. The good news is that most of the textures
can be lowered to 1024 and 512, but I still keep the normal texture as 4096 and 2048 because I found that when the normal texture
is changed to 1024 or lower, or from 4096 to 2048, the texture gradually starts to distort. Therefore, all my Albedo textures and
Detail textures were changed to 1024 or lower, but I kept my normal texture at its original size.

Figure 234 Texture Statistic

Then I made a tweak to the scene's light shader, which started out as a two-story or four- or five-story styloid with lots and lots of
useless lighting, and I deleted some of the lighting and set up some settings for some of the lighting that didn't need cast shadows.
I've compressed the lighting to the image on the right.

Figure 235 Lighting Complexity

At the end of optimize, based on the shader complexity I looked at earlier, I realized that a lot of the clouds and fog effects in my
house actually utilize a lot of translucent texture, and therefore, translucent texture will lead to more consumption and shader
complexity. Therefore, translucent texture will lead to more consumption and shader complexity. Therefore, I removed the non-
essential fog and mist textures, and kept only the necessary ones.

Figure 236 Shader Complexity

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Sizably, the frame rate has increased from the original 60 fps to the current 100 fps, and then the running frame rate has increased
from the original 30 fps to the current 60-50 fps.

How performance was improved and why.

CONCLUSION

RTM

DESCRIPTION
What it is.

METHODOLOGIES
In the RTM stage, first, I added sound effects in my scene, first, the BGM, I searched for the music of silent hill1 on YouTube and
downloaded it, and then I chose two songs from it which I think are better as BGM and the more exciting music when the monster
transforms. After downloading it, I chose two songs from it that I thought were good for BGM and the more aggressive music for the
monster transformation.

Figure 237 “Silent Hill 1 OST – I’ll Kill You [Extended]." YouTube, crustacean

https://www.youtube.com/watch?v=1mFXzKygc9g.Berkeley College Chat+1Chegg+1

For the BGM, I chose one that is relatively calm and has a more unified soundtrack. It's called “Never End”, and I put it directly into
the scene so that when you start the game, it will automatically play and loop.

Confidential – The Guildhall at SMU Page | 152 Thesis Course, Method and Design by Boris Fisher
 Figure 238 Soundtracks

Figure 239 Directly in Scene

The other music is called urgency, which is a very aggressive drum beat that will serve as an overlay for when my monster
transforms. For this music, I put it in my BP. And added it in the right place. Using fade in. to make this music play and fade out to
turn this music off at the end.

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 Figure 240 Fade in

Figure 241 Fade out

Then I started searching for sound effects and I found a free sound effect library website, called quick sounds. I found a lot of free
sound effects there. I collected 4 different sound effects, broken bones and blood spatters, a little boy's voice, a monster's roar
(based on a bear), and a sound effect for a little boy's voice, and a sound effect for a little boy's voice. I've collected 4 different sound
effects, which are bone breaking and blood splattering, a little boy's voice, a monster's roar (based on a bear's growl) and then a
female's laughter and a slime's voice.

Figure 242 QuickSounds. (n.d.). Free sound effects library. Retrieved April 22, 2025, from https://quicksounds.com/

Confidential – The Guildhall at SMU Page | 154 Thesis Course, Method and Design by Boris Fisher
 Figure 243 SoundEffectsFolder

I started searching for how to add sounds to an animation sequence, however while searching on YouTube I was told to use
animation montage. After I tried to use animation montage, I realized that animation montage actually requires animation blueprint,
which is what I was missing. So, I started looking for ways to put sound effects into the animation sequence. I found that I could add
play sound to the notify in the animation sequence, so I could connect my sound effect to my animation. However, adding a sound
to an animation sequence only adds the sound and does not cut it off. This means that the length of the sound cannot be adjusted in
the animation sequence, but the volume and pitch of the sound can be adjusted. Therefore, I need to adjust the sound effects to the
appropriate length in an external program and then re-import them. For the sound effects that need to be looping, instead of
combining them with an animation sequence, I put them directly into the blueprint, added Spawn sound 2d to the blueprint, and
then turned the value. After Promote, I can manipulate the sound in the blueprint, turning it on and off.

Figure 244 Animation Sequencer

FINAL OPTIMIZATIONS
First, I categorized my textures. Some texture groups were changed from world to character, since most of my textures are for
characters. Then I changed the texture size in a targeted way. Some textures, like diffuse, I changed from 2k to 1k, and some
textures, like normal maps, I didn't change them particularly much because the normal map, once changed, has a huge impact on
the textures and objects. After I changed the size of these textures, the overall look of the scene didn't change much.

Figure 245Texture Group

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 Figure 246Texture Size

Figure 247Changes

I then adjusted the light map complexity, and I scaled down the environment's styloid because the original styloid was too high,
causing the light bouncing to last a lot longer. This caused him to gradually become nerfed. Secondly, I removed some unnecessary
light sources. I also did some cast shadow check on the light sources that were left behind, turning off the generation of unnecessary
shadows.

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 Figure 248Light Map Optimization

Then I started optimizing the shader complexity. First, I removed a lot of the fog from the Translucent material.

Figure 249Shader Complexity Optimization

Then I started optimizing the Niagara effects, first I optimized the texture of the splash blood which was using the translucent mode,
I changed it to a masked mode and multiplied it with an emissive color to get the same effect as before. Then I started to optimize
the Niagara system of the tentacle. At first the tentacle had two layers, which caused it to overlap in shader complexity, causing it to
be white, so I deleted the outer layer of tentacle smoke and deleted the particle. This way the tentacle's shader complexity is very
It's safe now.

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 Figure 250Niagara optimization

Figure 251 Optimized Tentacle

Figure 252Optimized Splash Blood

After doing this, we get the following comparison of the optimization results

Figure 253 Optimization

And we can see that there is not much difference between before and after the optimization.

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 Figure 254 Result

CONCLUSION
CREATURE CONCEPT - RETROSPECTIVE
What Went Well

• I followed the industry pipeline to successful completion off. Concept design on monsters and part of the character
concepts
• I had a very good control of time. Was able to complete my character conceptualization in the required Milestone
• I have a reasonable layout distribution for my character concept design as well, based on the layout of character concept
designs in the industry

What Went Wrong

• In the first phase of the character concept design, I was so focused on drawing that I forgot to report my progress to the
professor at all times, which led to a disconnect between my impression of the character concept design and that of the
professor. This led to rework in the later stages.
• I skipped the color palette step in the concept design, which caused me to rework the design, recreate the color palette,
and rework the finished product I had.
• The conceptual design and the final model are quite different. This includes, but is not limited to, the proportions of the
monster model not matching the conceptual design, and the color of the main character's clothes and hair.

What Was Learned and Even Better If…

• Learned how a specific pipeline of conceptual designs works in the industry

• Learn how to use a portion of a photo to enrich the details of a character.
• Learned how to create textures for relatively realistic characters.
• Learned how to make hair using hair cards.
• Learned how to use Maya to bind and animate a character in Maya.
• Learned how to put audio into UE5's animation sequencer.
• How to incorporate people's feedback into your own design and change and digest it in moderation

DYNAMIC MATERIAL - RETROSPECTIVE

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What Went Well

• I managed to create three different dynamic materials, and each one of them worked successfully in the engine and in the
final optimization phase.
• Dynamic material is in perfect harmony with my models and my entire artifact. The composition is in perfect harmony
• The whole dynamic material consumption is not that big for this artifact
• I combined VFX and dynamic material to achieve better results.

What Went Wrong

• The lack of understanding of dynamic material in the early stages led to a very long period of time and many milestones of
overhauling and reworking.
• Learned a lot about material transitions, but didn't utilize them well. One of my materials didn't work at a certain milestone,
and it took me a long time to fix it, but in the end, I realized it was because of the two ways. Didn't work well together, but
conflicted with each other
• Material's blueprint nodes were very confusing, which led to nothing when I tried to optimize it later in the game
• I used a lot of multiply and add nodes to change the material itself, instead of importing it after modifying it outside of U E5.
This is a big reason why my blueprint nodes are so messed up
• Because I spent a lot of time modifying, reworking and researching, my texture didn't turn out very well in the end

What Was Learned and Even Better If…

• Learn how to use material parameter collection and material parameter to change the effect of a material.
• Learn how to create dynamic materials
• Learn how to make niagara VFX.
• Learn how to extract a material from a blueprint and change its style and effect.
• Learn how to combine VFX and material to create a better effect.

REAL-TIME TRANSFORMATION - RETROSPECTIVE

What Went Well

• A relatively good real time transformation was created, which is more or less what I had envisioned in the monster concept.
• The overall transformation from character to monster looks very harmonious and there are no major breakages or
mistakes.

What Went Wrong

• The final result relies on the use of plug-ins

• The overall scope is relatively large, at that time did not seriously to research the specific needs of the things and the overall
pipeline. As a result, I spent a lot of time reworking the mastery and didn't find a way to do it without using a plugin!
• Even though I set aside a relatively high poly count, the outline of the final product is still very low poly and you can see
obvious signs of seams and distortions of some of the body and muscles.
• Some of the vertex normal of the monster's body doesn't fix it very well.
• Due to time constraints and a very large scope, my final Transformation didn't turn out very well!
• Due to the lack of animation's ability. This animation actually had a very negative effect on the overall effect of my
transformation.

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What Was Learned and Even Better If…

• I learned how to use blender shape and morph target to create a transformation from one image to another!
• I learned how to use blender shape and morph target to create a transformation from one image to another in UE5.
Combine morph target with animation sequencer.
• Understood how blend shape and morph target work.
• Learned how to create animations in Maya and how some of the animations move.

ARTIFACT - RETROSPECTIVE
What Went Well

• This artifact of mine was large in scope and had a lot of unfamiliar techniques and aspects, but I managed to make the final
product. And it's relatively good
• This finished product was a lot of work, but I really like how it turned out!
• The whole process of making the pipeline I think is more correct. And I'm very happy to be able to. I was able to learn more
through this artifact. And to be able to learn how to self-solve problems and search for answers

What Went Wrong

• Not being familiar with the tools and methods, I took the risk of choosing this mastery, which led to my overall scope
difficulty being very high
• And in the concept phase, I didn't consider how to implement it properly, and took the risk of designing a character with
relatively high difficulty.
• I didn't understand the requirements and conditions of the dynamic material, which led to a lot of reworks and revisions.
• I kept coming up with new ideas and spent a lot of time creating them, but they didn't really work well for the final product,
so I deleted them after some communication.
• I don't know much about animation and some dynamic animation, so the animation in the final product is actually
counterproductive to the final product.

What Was Learned and Even Better If…

• Learned how to manage time and self, how to solve problems and how to adjust your mindset in the face of difficulties.
• Being better able to stay calm and under pressure. Breaking down problems and solving them one by one to solve the big
problem at the end.
• Learned a lot about UE5 and the techniques involved.
• I hope to be able to understand the techniques. And then to develop my scope, and to be able to realize my finished
product without the use of plug-ins!
• Don't get caught up in your own design and production, learn to stay away. Think deeper, understand the big picture, and
then make detailed changes, or you'll end up in a dead end, which is counterproductive.

WHY IS THIS MASTERY

First of all, I love making character concepts, and I hope to become a concept artist in the future, and I also love making character
models, so I hope to become a character artist, and that's why I chose my mastery in the first place!

After self-conceptualizing and talking to my professors, I decided to use real time transformation as a mastery to support my
character, because I really like to see boss transformation in some games, and I think it's really cool, so I want to be able to make it
myself!

I chose dynamic material for the real time transformation, so that I can make a monster skin transformation.

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The first takeaway, I gained a better understanding of UE and how to design a character, how to make a concept and how to make a
relatively realistic character model. Secondly, I also learned how to use blendshape and morph target to make character morphs

This experience will make me a better character artist and concept artist. It will give me a better understanding of the game art
process and will help me enter the industry in the future!

For future graduates, I would recommend not to go for a mastery that is more alternative without understanding the techniques and
methods, because you can never imagine what the mastery will be like later on. Because I was actually very confused about my
artifact in the early stages because I couldn't do it well and I didn't know how to utilize a reasonable method to achieve it. Secondly,
I would also recommend finding your focus, non-mastery related, and not putting a lot of energy and thought into it. And while it's
good to be able to come up with ideas, too much immersion in your own world and in coming up with ideas can be a drag!

PERSONAL GROWTH

For my personal growth then I will say. I am very thankful for this thesis project, it made me understand the pipeline process of
many different fields, such as the pipeline process of concept, such as the pipeline process of character. I think these are very helpful
for the future, whether I become a concept artist or a character artist. Secondly, I was a lazy person before, but after this
experience, I learned how to manage my time better, and how to stay calm under very high pressure!

And when faced with unfamiliar techniques and methods, I was able to calm down, accept it and learn it. I think that's very
important.

ADDITIONAL DOCUMENTS

REFERENCES

Figure 2https://www.pinterest.com/pin/852165560772686820/

Figure 3https://www.pinterest.com/pin/852165560772744096/

Figure 4https://www.pinterest.com/pin/703756187022370/

Figure 6https://www.pinterest.com/pin/852165560772767815/

Confidential – The Guildhall at SMU Page | 162 Thesis Course, Method and Design by Boris Fisher
Figure 7https://www.pinterest.com/pin/852165560772750990/

Figure 8https://www.artstation.com/artwork/390eZY

Figure 9https://dev.epicgames.com/community/learning/tutorials/vwBB/unreal-engine-craft-dynamic-
materials-with-material-parameter-collection

Figure 10 https://www.youtube.com/watch?v=iZ27udujE5E&list=PLJDWxblYfK1negWA-
ol9FYdWxw9EwEZfi&index=38

Figure 11https://www.youtube.com/watch?v=G_q-4Efzf4Y&list=PLJDWxblYfK1negWA-
ol9FYdWxw9EwEZfi&index=46

Figure 18 https://www.youtube.com/watch?v=ut80qnOtNRw&list=PLJDWxblYfK1negWA-
ol9FYdWxw9EwEZfi&index=51

Figure 19 https://www.youtube.com/watch?v=J3pVQrElBcE

Figure 29 https://www.youtube.com/watch?v=Tww_LSQEVd8&list=PLJDWxblYfK1negWA-
ol9FYdWxw9EwEZfi&index=43

Figure 30 https://www.youtube.com/watch?v=A-fLxID9Nh8

Figure 34 https://www.youtube.com/watch?v=G_q-4Efzf4Y&list=PLJDWxblYfK1negWA-
ol9FYdWxw9EwEZfi&index=46

Figure 35 https://www.youtube.com/watch?v=7L_CEFTy5FI&list=PLJDWxblYfK1negWA-
ol9FYdWxw9EwEZfi&index=44

Figure 47 https://www.youtube.com/watch?v=mJetjWHry9I&list=PLJDWxblYfK1negWA-
ol9FYdWxw9EwEZfi&index=71

Figure 58 https://www.pinterest.com/pin/852165560773846222/

Figure 86 https://www.artstation.com/artwork/qA0W4a

Figure 87 https://www.artstation.com/artwork/XgvNEL

Figure 88 https://www.artstation.com/artwork/yJkrD9

Figure 102 The way FFVII did for UV unwrap head

https://www.youtube.com/watch?v=w8SjXHQ8ASY&list=PLJDWxblYfK1negWA-ol9FYdWxw9EwEZfi&index=55

Figure 103 https://www.youtube.com/watch?v=v1avvrGJRlU&t=222s

Figure 133 https://www.youtube.com/watch?v=vbCxZau8ag4&list=PLJDWxblYfK1negWA-

ol9FYdWxw9EwEZfi&index=146

Confidential – The Guildhall at SMU Page | 163 Thesis Course, Method and Design by Boris Fisher
Figure 136
https://www.bilibili.com/video/BV1xG4y1G7Jw/?spm_id_from=333.999.0.0&vd_source=aa47e255a9ce59767
42f6763d103dc31

Figure 138
https://www.bilibili.com/video/BV1eB4y1i7ZM?spm_id_from=333.788.recommend_more_video.8&vd_sourc
e=06e98e3a96e2fa3942fbd26d1721ec9f

Figure 155https://www.youtube.com/watch?v=K6htAb8ytKY&list=PLJDWxblYfK1negWA-
ol9FYdWxw9EwEZfi&index=164

Figure 237 “Silent Hill 1 OST – I’ll Kill You [Extended]." YouTube, crustacean
https://www.youtube.com/watch?v=1mFXzKygc9g.Berkeley College Chat+1Chegg+1

Figure 242 QuickSounds. (n.d.). Free sound effects library. Retrieved April 22, 2025, from
https://quicksounds.com/

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