Sunset's Embrace 3D modelling

3D Design

For this project, my goal was to replicate a real-life image, with the primary reference being a scene from my university film Sunset’s Embrace. This was particularly fitting, as I had worked as Production Designer on the film, allowing me to apply the same principles in recreating the scene in 3D. I focused on refining skills in creating detailed topology, precise UV unwrapping, layering PBR textures, cloth simulation, and general troubleshooting to achieve a scaled replication.

Tools Used

Blender, Photoshop

Scene Overview

These images present an overview of the scene, including the mesh layout, normals, and UV unwrapping.
As shown in the mesh layout, a high vertex density was necessary in areas where cloth simulation was used to achieve realistic physics. To ensure the scene closely resembled the original film set, I prioritised creating a realistic feel for the fabrics. Outside of cloth simulations, I focused on using low-poly objects wherever possible without compromising realism.

3D model showing the interior of a camper van. This first image is plain grey, showing the basic layout of the objects

3D model showing wireframes. Each object has black lines to show the edges and vertices in the topology

3D model showing the direction of the objects normals. Every object is completely blue, with black lines showing the topology.

3D model showing UV unwrapping, each model is covered in a grey and white checkered colour

Object Textures and Meshes

These images highlight the most detailed models in the scene, along with their meshes and textures, presented in Eevee.

3D model of a dreamcatcher. It is wrapped in a pale yellow string, with red ribbon and feathers hanging from the bottom

3D model showing the topology of a dreamcatcher. The object is grey with lots of black lines

3D model of a flower pot. There are 8 sunflower-like flowers in a red, marble vase

3D model of a vase with flowers, the object is grey with lots of black lines

Final Render Compared to Film Still

To light the scene, I used a cloudy HDRI for general illumination and added focused lights through each window to highlight specific areas. To replicate the natural lighting typically found in a wooded environment (later added as a background in Photoshop), I utilised a gobo to simulate the effect of light filtering through leaves. This also provided an opportunity for key lighting to establish the time of day.