Environment Breakdown




Environment Artist


Hello everyone, I'm Cger and I'm a 3D Environment Artist.


Recalling the release of CS1.6 in 1999, Assault was undoubtedly one of the most popular maps. Although there are many omissions in the gameplay, from the player’s point of view, it is always fun (even all night long). This also left a deep impression in my heart. Until today, I am fortunate to want to use the UE5 engine to regain the joy of childhood, so as to pay tribute to the classics!

Bridge’s scanning resources are very good. Walls, columns, floors, and objects are all my favorite types, and the atmosphere created is just close to the direction I originally envisioned. I didn’t use all of them, just selected the objects, materials, and textures that are more suitable for the warehouse type. I will mark it in the resource module later

This set of scanned assets also comes with a series of field shots, which can provide a rational reference for early frame construction, mid-term material adjustment, and a basis for post-detail combination.

In terms of lighting, you can also refer to these in the early stage, which fully makes up for the lack of real physical reference in the production process.

The Obj file for this map can be found everywhere in Google searches, I just found an address to download the model of this map, which can be used as a Block Mesh to determine approximate proportions and lens relationships.

The purpose of this step is very simple, mainly to determine the characters and buildings, walls the proportional relationship of the surface can be better prepared for the next work, after importing the engine for the first time, I used the default parameters for all lights, including directionalLight/Skylight does not deliberately use point lights or other his lights.


When the Block Mesh is imported into the scene, the first task is to determine the shots. I am used to using the shortcut keys Ctrl+1~2~3 and other numeric keys to locate 3~4 shots to ensure that I can quickly switch when observing the composition.

Composition is also a key part. It is necessary to determine the content to be expressed in the shot and the important parts to be highlighted in the early stage. In this way, the relationship between silhouette, shape, structure and hierarchy can be better planned.

I often use the 9-square grid method to set important parts within the composition to determine the focal point in the scene. Any subsequent adjustments you make are doing artistic work around this container

For example, in Figure 1, after setting up the camera, I will focus on this container room as the center of view, and focus on showing his important part in the environment. Adjust motion shots, record video, and shoot around him nicely.

Initial lighting


Before repairing the mesh.


After repairing the mesh.


Add a point light source to make up for the dark

The initial stage of lighting is very interesting because I want to stick to the LUMEN light source for this work, and I need a thorough understanding of the relationship between real-world light sources.

When I found that all the lights were set to the default values, and the light leakage in the roof was fixed, the whole interior would become very dim, but the exterior behaved normally. At this point, I chose to shelve this issue first, and I even suspected that LUMEN was not realistic enough in the performance of the light source. After being troubled for a long time, I searched for a lot of LUMEN lighting-related tutorials on YOUTUBE, and I basically got the answer after watching it.

I believe many students have this problem


You can see the picture on the left, when we stand outside and look indoors, because the environmental structures are all wrapped, it will inevitably cause too dark, which is an objective fact in the physical world. It is also the normal lighting principle. LUMEN is very correct here. When a large number of indoor environments are shaded, the room will be darker. At this time, we must consider whether to use lighting or open windows to allow some light to bounce back and make the room brighter.

You can even take a closer look. When you’re walking down the street during the day, look back and the lights are on in the shops around you. If you don’t turn on the lights, the room will be very dark if you only rely on the bounce of sunlight

I have no plans to use point light sources for this work because the old factory has no electricity at all after being in disrepair, so where is the light?
A point light source is used for the time being to observe structure and hierarchy. All deleted in post-production.

For the time being, I accept the problem of indoor darkness, and I also deeply understand the principle. Later in the article, I will gradually introduce how to solve it.


When I made this map, I didn’t use the full-scene, full-asset self-made method, of course, I have the ability to do it. It’s just that it will take a long time, and the main research direction is still based on realism, lighting, and color relationships. So I divided the assets in the scene into three categories.

It is relatively easy to make wall assets yourself, I cut a lot of lines in order to be able to mix materials and avoid the problem of repeated and cluttered walls on large areas.

Regarding the dimensions, proportions, shapes and other issues of the wall, I tried my best to restore the reference picture, and even see if there are people in the reference picture so that the height of the wall, bricks and steps can be better and accurately calculated. The benefit of this will appear real after the work is over

The asset scanning library of Megascans can provide more realistic and rich modeling. I downloaded several assets such as cylinders, oil barrels, and broken steps. The main thing is to consider during the production process, what content is missing, and what resources to look for

The purchased resources are also an important part of this scene. I mainly purchased three resources: ventilation pipes, vehicles, and containers. to build the main elements of this scene.

UE5 Modeling Tools

Similarly, UE5’s modeling tools are very powerful. This time, I used some tools in the production process. I didn’t watch the tutorial. I just looked at the icon and tried it out to get amazing results.

The brush tool is still very easy to use. First of all, I use the modeling tool that comes with the UE5 engine to create a flat model and assign a lot of vertices. Only with more vertices can I brush out natural ups and downs, which will look more realistic.

For models like rolling gates, I use the initial model in UE5, add a lot of vertices, and then use the selection points to stretch. Can make a nice silhouette. Materials and textures are found in the Megascans library.

In the early days, the bump texture of the tin roof on the top was just a flat model and a normal map. I found that it could not express more details, and the realism was poor. So after I assign the texture to this flat model, I use the point and line adjustment of the model tool to align the upper and lower bumps of the texture and finally make the normal map effectively combined with the model, which will give people a more realistic three-dimensional feeling.

Material Production


Material mixing is a very interesting process, and my experience here can be very good to share with you.

First, analyze the texture of the real-world material that needs to be restored. The reference wall is 30~40% new. So as shown in the picture I divided it into several steps to make it.

The base map of the wall should preferably be a new or 70% new material because then you will have a lot of space to superimpose the details and optimize the repetition.

Next, use vertex color to draw out the second layer of dirty textures, where global and overall planning is needed to plan the details of the mix. When the walls are connected together, 40% of the new materials will appear messy and disordered, so the vertex color is often used to control them. Not all walls have traces of falling off, but only a small number of embellishments. Grasp the overall sense of old and new rhythm, which is conducive to better performance

After drawing, you will find that although the repetition is reduced, it still lacks a more natural expression. Then we choose suitable decals to disrupt the repetition order of the overall wall. Through the repeated debugging of the second and third steps, I believe you will get a very real wall

Finally, let me talk about my experience. When choosing materials, I only choose 2, one clean, one dirty, and some decals. Because the generation of all things is an evolutionary process from new to old, it will be much easier to understand this later. Don’t start with dirty and old textures as base maps.

Lighting & Color Adjustment


Lighting and color complement each other. In this step, I pay special attention to the color matching of the overall environment. I always maintain the principle of the golden ratio, and use the 7:2:1 division method to plan the overall color of the wall. In the yellow tone that accounts for 70%, the main color red accounts for 20% of the picture, and the column and other colors are classified as 10%.


In this part, I started to test the range and angle of the light. Because the main body needs to be highlighted, the light reception and texture need to be continuously optimized and tried. I used a red brick wall for the first time, and found that there is not much difference between the material and the overall interior. The second is the area of the roof skylight. If it is in the middle, although it can give more light information to the room, the room will get a bright room after several bounces, but from the perspective of paying tribute to the classics, the middle should be the outlet of the ventilation duct. So I tried other ways.

After optimizing the details of the above links, I turned on the EV100. I set the value of -2.5 to increase the overall exposure of the room. It looks brighter, in order to better build the scene and adjust the details such as textures and materials.


When the scene construction process reached about 80%, I turned off the EV100. Secondly, a ventilation duct was added on the top, and a window was opened at the top of the main building. The texture and roughness of the light shining on the surface of the container are very beautiful, so I simply retained this plan.

At this time, the maximum and minimum exposure values in my post-processing box are both set to 1. I want to adjust the light direction to the best angle through such a clean and pure indoor performance, and then I want to observe whether the room is still too dark Case.


Following the next step, I refined the level and rhythm of the scene and considered adding a few more windows on the top left side to make the light more transparent. When the light comes in, the temperature of the scene also changes. It can be clearly felt that the environment on the left side is cooler and the color on the right side is warmer. The difference in lighting contrast is better opened up, and the overall level change in the environment is increased.

The most important thing is that I finally determined the angle and direction of the lighting so that I can get a more comfortable composition from the golden section line.

Final adjustment and post-processing

This step is almost at the end. If you look closely, I usually do more details on the golden section line, and then make choices, and always keep the overall layout of the scene in a rhythmic sense. , As a very experienced designer, if you have enough research on the composition, you will find that all the details are not imaginary, and the design of every detail must be carefully considered.

For example, I added Help graffiti on the wall next to the container room and gave a guide. It’s to bring back memories of the classic map where the hostage room used to be

I only made a large piece of white peeling off the wall on the left side of the container, in order to add more rich changes to the overall wall. But don’t add these details to all the walls, otherwise, it will cause distortion and a chaotic layout in the picture.

I added a lot of wires at the top because 90% of the assets in the scene give us a very stiff feeling. When some soft objects are added to the picture, they will look much more vivid. I am also very particular about the connection of cables, not just random. For setting and placement, it is still necessary to consider adding around the main building to open up the rhythm. There are a lot of blueprints for cables in the YOUTUBE tutorial. I found one at random and followed the steps to connect a blueprint.

The final adjustment part is post-processing. In order to make the picture more transparent, I turned on Exposure in the final stage based on the previous lighting and set the parameters to the minimum brightness of 0.35 and the maximum brightness of 1. At this time, you can see that the overall brightness of the scene is more transparent and real. This is a relatively critical step. So I usually turn on exposure at the end, not upfront.

The next step is to make good use of the early reference pictures and use the color correction module in the post-processing to make adjustments in sequence, and the final color restoration is close to the warm tones presented by the reference pictures.


Finally, I would like to summarize the following points

The biggest headache for me at present is that LUMEN will render in real-time in the dark part after rendering, causing noise and abnormal display. I speculate that this should be caused by the performance of the graphics card. This work uses an RTX 2060 graphics card. Under the LUMEN parameter of post-processing, no matter how high the precision is set, this problem cannot be solved. So I resolutely bought the expensive RTX308TI, for the sake of art. After arrival, I will perform video rendering of the scene again, and strive to improve the accuracy to the best

Secondly, the ground is mixed with the material of Megascans this time, and the Use puddle layer is turned on on the ground, but I found that the effect of specular reflection is not very ideal. And the plane reflection didn’t work either, I’ve searched a lot of information and videos on the Internet and I can’t get a good solution, if there are friends who can tell me, thank you very much. Maybe it has something to do with the graphics card. LOL~

There is still a lot of room for optimization in this work. For example, I don’t dare to capture the pictures behind me because those parts have not been optimized yet, and it takes more energy to deal with the details. At present, it is at most 3/2 of the completion. In the later stage, I will also refine and complete it, and regard this stage as version 1.0.

I am very grateful to the GamesArtist team for this invitation to record the whole process. In the future, I will continue to make more wonderful works, and at the same time, I will introduce the production process to share the experience with you.

In the end, I would also like to pay tribute to Wiktor Öhman, because I was very surprised and impressed by seeing his work early on.
Secondly, I want to learn from Lorenzo Drago. After his work was launched, he improved the style of the UE5 engine again and brought the realistic scenes to the extreme.

Wiktor Öhman

Lorenzo Drago