NVIDIA : PROJECT SOL - Art Direction and Design
My first goal to nail the interior room design, set the mood and tone for the whole  hard-surface in the sequence. I started with the middle ring design. This is the first block-out I did for the set. I was just trying to establish the proportions

My first goal to nail the interior room design, set the mood and tone for the whole hard-surface in the sequence. I started with the middle ring design. This is the first block-out I did for the set. I was just trying to establish the proportions

Another early WIP block-out of the scene. Here I was already adding some smoke in Octane to test the feel

Another early WIP block-out of the scene. Here I was already adding some smoke in Octane to test the feel

My first goal to nail the interior room design, set the mood and tone for the whole  hard-surface in the sequence. I started with the middle ring design.

My first goal to nail the interior room design, set the mood and tone for the whole hard-surface in the sequence. I started with the middle ring design.

My first goal to nail the interior room design, set the mood and tone for the whole  hard-surface in the sequence.

My first goal to nail the interior room design, set the mood and tone for the whole hard-surface in the sequence.

I started with the very inner ring and started to model inwards from outwards. Work in progress render

I started with the very inner ring and started to model inwards from outwards. Work in progress render

I started with the very inner ring and started to model inwards from outwards. Work in progress render.

I started with the very inner ring and started to model inwards from outwards. Work in progress render.

My goal was to nail the interior room design, set the mood and tone for the interior hard-surface feel. I started with the very inner ring and started to model inwards from outwards. Originally the central ring was much wider, as seen in this image.

My goal was to nail the interior room design, set the mood and tone for the interior hard-surface feel. I started with the very inner ring and started to model inwards from outwards. Originally the central ring was much wider, as seen in this image.

This was another iteration of the interior design when the outer ring started to change, I also started to think about the bridges that would connect the outer part to the middle platform

This was another iteration of the interior design when the outer ring started to change, I also started to think about the bridges that would connect the outer part to the middle platform

Work in progress render. Showing the inner workings of the middle elevating platform

Work in progress render. Showing the inner workings of the middle elevating platform

Cross section of the central platform. Elevator shaft mechanism in the middle

Cross section of the central platform. Elevator shaft mechanism in the middle

Inner elevator shaft design. Work in progress render

Inner elevator shaft design. Work in progress render

Design for the outer ring walkway. Work in progress render

Design for the outer ring walkway. Work in progress render

Design for the outer ring walkway. Work in progress render

Design for the outer ring walkway. Work in progress render

I kept processing renders in Octane of the whole room to check the overall look and balance

I kept processing renders in Octane of the whole room to check the overall look and balance

Work in progress render of the connecting bridge between the outer platform and the inner walkway ring

Work in progress render of the connecting bridge between the outer platform and the inner walkway ring

Work in progress render of the connecting bridge between the outer platform and the inner walkway ring

Work in progress render of the connecting bridge between the outer platform and the inner walkway ring

Pipe disk latch mechanism. WIP render

Pipe disk latch mechanism. WIP render

Pipe disk latch mechanism. WIP render

Pipe disk latch mechanism. WIP render

Design of the upper section. This section is the one where the servo arms would come down from.

Design of the upper section. This section is the one where the servo arms would come down from.

Design of the upper section. This section is the one where the servo arms would come down from.

Design of the upper section. This section is the one where the servo arms would come down from.

At this point I started to do the vis-dev final look renders, using Octane. This would be used as guideline from the environment artists ( Jacob Norris and David Lesperance ) in order to recreate the shaders and textures in Substance.

At this point I started to do the vis-dev final look renders, using Octane. This would be used as guideline from the environment artists ( Jacob Norris and David Lesperance ) in order to recreate the shaders and textures in Substance.

At this point I started to do the vis-dev final look renders, using Octane. This would be used as guideline from the environment artists ( Jacob Norris and David Lesperance ) in order to recreate the shaders and textures in Substance.

At this point I started to do the vis-dev final look renders, using Octane. This would be used as guideline from the environment artists ( Jacob Norris and David Lesperance ) in order to recreate the shaders and textures in Substance.

Here is another vis-dev render example. I created the materials in Octane and would provide guidance on how they are supposed to appear in engine. ( Yes, it's not UV'd )

Here is another vis-dev render example. I created the materials in Octane and would provide guidance on how they are supposed to appear in engine. ( Yes, it's not UV'd )

This is the design of one of the main central rings. Originally it was wider ( as seen in previous pictures ) and I later decided to slim it down, remove the truss shapes from the top and add a floor and railing. Rendered in Octane as part of the vis-dev

This is the design of one of the main central rings. Originally it was wider ( as seen in previous pictures ) and I later decided to slim it down, remove the truss shapes from the top and add a floor and railing. Rendered in Octane as part of the vis-dev

This is the design of one of the main central rings. Originally it was wider ( as seen in previous pictures ) and I later decided to slim it down, remove the truss shapes from the top and add a floor and railing. Rendered in Octane as part of the vis-dev

This is the design of one of the main central rings. Originally it was wider ( as seen in previous pictures ) and I later decided to slim it down, remove the truss shapes from the top and add a floor and railing. Rendered in Octane as part of the vis-dev

Vis-dev shading close-up render

Vis-dev shading close-up render

Vis-dev shading close-up render

Vis-dev shading close-up render

Some of the materials I have created in Octane as part of the material vis-dev work. These were handed off to the environment artist in order for them to recreate them in Substance and Unreal.

Some of the materials I have created in Octane as part of the material vis-dev work. These were handed off to the environment artist in order for them to recreate them in Substance and Unreal.

In an earlier version of the vis-dev, I opted for gold rather than yellow, however while cool looking it did not make too much sense functionally so I opted towards the yellow for  its actual usage in real life.

In an earlier version of the vis-dev, I opted for gold rather than yellow, however while cool looking it did not make too much sense functionally so I opted towards the yellow for its actual usage in real life.

One of the early test renders of the scene which was mostly assembled at this point

One of the early test renders of the scene which was mostly assembled at this point

Another test render of the scene mostly assembled together. Octane renderer.

At this point I had also added external wall paddings, outer PC stations as well as exit doors and floor cables.

Another test render of the scene mostly assembled together. Octane renderer.

At this point I had also added external wall paddings, outer PC stations as well as exit doors and floor cables.

Another test render of the scene mostly assembled together. Octane renderer.

At this point the external wall paddings, outer PC stations as well as exit doors and floor cables were also added. Some of these were a collaboration with Andrej Stefancik

Another test render of the scene mostly assembled together. Octane renderer.

At this point the external wall paddings, outer PC stations as well as exit doors and floor cables were also added. Some of these were a collaboration with Andrej Stefancik

Final environment rendered out in Octane.

The final environment is a collaboration between me and Andrej Stefancik who did as usual the amazing job of cleaning up my CAD geometry and optimizing it for real-time usage, doing a fantastic sub-d work.

Final environment rendered out in Octane.

The final environment is a collaboration between me and Andrej Stefancik who did as usual the amazing job of cleaning up my CAD geometry and optimizing it for real-time usage, doing a fantastic sub-d work.

Final environment viewport from 3ds Max

Final environment viewport from 3ds Max

As part of the material vis-dev work, I have textured and shaded a lot of the designs crated by other team members to guide the final look in engine. This is the servo arm's hand mechanism, designed and modeled by Gregor Kopka. Rendered in Octane

As part of the material vis-dev work, I have textured and shaded a lot of the designs crated by other team members to guide the final look in engine. This is the servo arm's hand mechanism, designed and modeled by Gregor Kopka. Rendered in Octane

As part of the material vis-dev work, I have textured and shaded a lot of the designs crated by other team members to guide the final look in engine. This is the servo arm's hand mechanism, designed and modeled by Gregor Kopka. Rendered in Octane

As part of the material vis-dev work, I have textured and shaded a lot of the designs crated by other team members to guide the final look in engine. This is the servo arm's hand mechanism, designed and modeled by Gregor Kopka. Rendered in Octane

This character has been designed and sculpted by Cki Vang. Cki is a beast and it was amazing to be able to work with him on this character. It ended up changing a lot and there are more iterations that you can check out on Cki's profile.

This character has been designed and sculpted by Cki Vang. Cki is a beast and it was amazing to be able to work with him on this character. It ended up changing a lot and there are more iterations that you can check out on Cki's profile.

These are the final renders I have executed for material, textures and look in Octane, yet again, to dictate how the final texturing would have to go.

These are the final renders I have executed for material, textures and look in Octane, yet again, to dictate how the final texturing would have to go.

This character was a big team effort in the end, with the help of Ben Erdt as well as Andrej Stefancik who worked to make sure the mesh was going to run in real-time.

This character was a big team effort in the end, with the help of Ben Erdt as well as Andrej Stefancik who worked to make sure the mesh was going to run in real-time.

The final character mesh is 1.3 million triangles

The final character mesh is 1.3 million triangles

All of these were rendered at 12k resolution in Octane using x4 GV100. Each renders only took minutes to finish. 

Go check out Cki Vang's page for more amazing character designs and renders.

All of these were rendered at 12k resolution in Octane using x4 GV100. Each renders only took minutes to finish.

Go check out Cki Vang's page for more amazing character designs and renders.

An example of the final real-time mesh of the robot arm, designed by Gregor Kopka and textured by Jacob Norris, following my vis-dev guidance

An example of the final real-time mesh of the robot arm, designed by Gregor Kopka and textured by Jacob Norris, following my vis-dev guidance

Here is the central ring I have designed and modeled, textured by Jacob Norris in the real-time version. Jacob did a stellar job at following the vis-dev guidance and matched things to perfection and to the last detail

Here is the central ring I have designed and modeled, textured by Jacob Norris in the real-time version. Jacob did a stellar job at following the vis-dev guidance and matched things to perfection and to the last detail

Exit door I designed for the outer part of the room. This is the textured version by Pierre Fleau, cleaned up geometry by Andrej Stenfacik.

Exit door I designed for the outer part of the room. This is the textured version by Pierre Fleau, cleaned up geometry by Andrej Stenfacik.

My pipes disk latch mechanism, textured by Jacob Norris.

My pipes disk latch mechanism, textured by Jacob Norris.

Here is the outer modular panel I have designed, real-time version. Textured by Jacob Norris and cleaned up by Andrej Stefancik.

Here is the outer modular panel I have designed, real-time version. Textured by Jacob Norris and cleaned up by Andrej Stefancik.

Model of the central flat disk I have created. Textured by Jacob Norris.

Model of the central flat disk I have created. Textured by Jacob Norris.

Final screenshot from the engine

Final screenshot from the engine

Final screenshot from the engine

Final screenshot from the engine

Final screenshot from the engine

Final screenshot from the engine

Final screenshot from the engine

Final screenshot from the engine

Final screenshot from the engine

Final screenshot from the engine

Final screenshot from the engine

Final screenshot from the engine

Project Sol: A Real-Time Ray-Tracing Cinematic Scene Powered by NVIDIA RTX

NVIDIA : PROJECT SOL - Art Direction and Design

It's with great pleasure that I can finally share my work from earlier this year. NVIDIA just announced the Turing architecture-based GPUs, revolutionizing the work of designers and artists by enabling them to render photorealistic scenes in real time.
Had the honor to lead and art direct the team that created the real-time cinematics that was used to showcase our NVIDIA RTX development platform. The entire cinematic we created runs in Unreal 4 with real-time ray tracing - and best of all, it runs on a single RTX 2080Ti.

I am super proud of the team and what we were able to accomplish considering all the challenges we had in front of us when we worked on this. It was an honor to be the art director of such a talented group of people. They are all crazy talented.

All my designs were modeled in Autodesk Fusion 360 and almost all the renders are done with Standalone Octane Renderer. Some are from the Fusion360 viewport as well.

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