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Hi folks,
FREE 3D model until the end of October 2021
12 tree 3d scans were released on the marketplace:
Follow me on Artstaion More 3D models soon
Characters heads from the Metro Exodus game.
Marked by red dots the original meshes and original textures sets (used in the game). The rest heads made for the test and not used in the game.
Not marked heads use textures sets from the marked meshes.
The vertical row on the right are the fast mesh blend + manual work
I hope you enjoyed the game :)
So, vacation.
Let's back to a model I left many years ago.
Personal project, work in progress.
Zbrush sculpting, test render
Feedbacks and critique are welcome :)
When I joined 4A Games as a Character Artist, the environmental design was already impressive, but character quality had room for significant improvement. My goal was clear:
✅ Bring organic assets (faces, hands, skin, eyes) to a global AAA standard
✅ Improve realism, expressiveness, and material response
✅ Overcome engine limitations and optimization challenges
One of the biggest milestones in this journey was the transformation of the eye system, but that was only part of a much larger initiative to elevate the entire organic character pipeline.
"The face is the mirror of the soul, and the eyes are its gateway."
Characters in games can have the most detailed outfits, but if their faces and eyes lack realism, players immediately notice something is off. Unlike clothing or weapons, humans instinctively focus on faces and eyes first, making them the most critical elements in a realistic experience.
Challenges with the Previous Eye System
The original Metro series eye system used a simple sphere inserted into the head, which:
❌ Lacked natural depth and refraction
❌ Had hard shading transitions, breaking realism
❌ Did not account for wetness, reflections, or light diffusion
Innovations in Metro Exodus
I developed a new layered mesh system with procedural shading effects to create the illusion of organic transitions:
✅ Multi-layered shader with corneal reflections and refraction
✅ Transitional meshes between the eye and eyelid (blending shadows and reflections)
✅ Tear line and water film simulation
✅ Dynamic response to light and environment
This was one of the most complex shaders in the game, requiring tight collaboration with programmers, shader engineers, and animators.
In addition to the shader and visual improvements, I also proposed and directed the addition of micro eye movements to improve character expressiveness. These subtle animations simulate how real eyes move when:
This small but crucial detail made our characters feel even more alive and reactive in interactions, reducing the “static stare” effect commonly seen in games.
While the eyes were a critical step, I was committed to improving the entire character pipeline, including:
The original face UV layout was inefficient, sharing space with hands, arms, and empty texture regions. This led to:
❌ Loss of detail where it mattered most
❌ Blurry pores and skin imperfections
To fix this, I redesigned the UV layout to:
✅ Prioritize face resolution while maintaining the same texture size
✅ Increase texture density up to 5-6x for faces
✅ Ensure critical areas like lips, eyelids, and wrinkles had max fidelity
Unlike large AAA studios, 4A Games at the time did not have a professional scan rig. Instead, I had to:
🔹 Manually scan heads and hands using a single camera, moving around the subject
🔹 Deal with breathing & motion artifacts during scans
🔹 Perform extensive cleanup to restore accurate anatomy
Despite these constraints, the results surpassed expectations, pushing character realism to a new level.
Eventually, after Embracer Group acquired 4A Games, the company invested in a high-end scan rig, which was later used for Metro 4.
Real-time skin shading in any game engine is a constant battle between:
🔹 Visual quality
🔹 Optimization & performance
🔹 Engine limitations
Challenges We Faced
❌ SSS (Subsurface Scattering) was too basic, lacking realistic light penetration
❌ Textures suffered from compression artifacts, losing fine detail
❌ Wrinkles and pores became blurred in final game exports
Solutions & Advancements
✅ Developed a new SSS shading model, enhancing skin translucency
✅ Created custom high-frequency detail maps to preserve pore structure
✅ Reinforce details before compression
These improvements ensured that skin responded naturally to different lighting conditions, preventing the "waxy" look seen in many real-time engines.
Many of these advancements required close work with 4A’s tech team. My role extended beyond pure art, involving:
🔹 Defining shader requirements for programmers
🔹 Extensive bug testing & reports to optimize skin rendering
🔹 Technical documentation to streamline workflows for future projects
I strongly believe that artists and engineers must work together to overcome engine limitations, which is exactly what we achieved in Metro Exodus.
My impact on the Metro series extended far beyond Exodus, with direct contributions to:
✅ Metro Exodus DLCs ("DLC1" & "DLC2") – High-detail character modeling & shader work
✅ Metro 4 – Foundational improvements used in the new generation of assets
✅ Knowledge-sharing & documentation for future character artists at 4A
These advancements not only improved Metro's characters but also set a benchmark for organic modeling in real-time game engines.
Creating the new real-time eye system in Metro Exodus was a highly collaborative effort. My role focused on the visual and artistic side, while my programming colleague handled the technical and shader implementation.
✔ My responsibilities:
✔ Programmer’s responsibilities:
A huge thanks to my programming colleague Skynet (Yuriy Sashchuk) for the collaboration and technical expertise that made this system possible!
"Players may not always notice high-detail clothing, but they always notice a character’s face and eyes."
My passion has always been pushing organic realism, and Metro Exodus was an incredible opportunity to do that. The challenges were immense, but the results transformed the perception of characters in the Metro universe.
🚀 If you’re working on a project that demands high-quality organic modeling and real-time shading solutions, let’s connect!
🔗 See more of my work & services here:
Hi folks,
I’d like to drop a few lines about photogrammetry I’ve been using periodically since 2014. Today, let’s talk about 3D-scanning trees.
Below are a few renders of the realized Raw 3D scan (3D model + color texture) Ancient Olive Tree #2 
In my childhood, I used to draw trees a lot. Now, mostly during vacations, I take photos of trees as a hobby as work with a camera outside is quite enjoyable and helps one recover from work at the office. Using a DSLR camera and walking around the object selected for the photogrammetry process, I take a lot of pictures.
In 2019, instead of traveling, I used the long Christmas holidays to start preparing my photogrammetry image packs collected over the course of 5 previous years - for sale on the Artstation Marketplace.
Below one of the photos from the photogrammetry image pack that was used to create the model and texture above.
Making 3D models from photogrammetry data takes many days’ worth of computer time. It's hard to say when I'll find time to make 3D models from the other collected image packs. Years go by as tree data sets quietly sleep on my hard drives. That's why I decided to share the photogrammetry image packs with you instead of waiting for the unidentified point in the future when I get around to make the 3D models out of them.
So, 25 photogrammetry image packs were uploaded to the Artstation Marketplace.
I believe, there are many Artists who could use these data sets in their projects today or hereafter.
Mission
Photogrammetry image packs allow you to build your own 3D scans, 3D assets or seamless PBR materials, using any photogrammetry software. You can find tutorials about photogrammetry and information about free or commercial photogrammetry software on the web.
These image packs can be useful for texturing and as references, as well.
Recommendations
Most of my image packs were shot in RAW (NEF) format and converted to JPG after shadows\highlights corrections. If you think some of the images are still dark, I recommend an additional shadows\highlights correction after baking albedo textures.
Request
If for some reason you can’t make your own 3D scan from my image packs, please let me know which one you’d like to buy as a 3D scan \ 3D model. Please describe your project's needs (RAW scan or Real-time asset, poly-count, textures size\count, albedo only or full PBR set, etc).
Send me a request for a specific tree (e.g. pine or oak), object, etc. Let me know which of the following is better for you - photogrammetry image pack, 3D scan, asset, or seamless PBR material?
Share with me
I’d be grateful if you shared with me the screenshots or links to your projects using my image packs or 3D scans.
Thank you!
Follow IG: @Tree3DscanStore
