Learn how to create a Stray-style vinyl store scene using Maya and UE5

Blockout and modelling

For the blockout, I used the 2D sketch and started with large basic shapes that I imported into Unreal Engine. First I created the largest shape of the walls and floors and then moved on to the counters, shelves and columns. I kept everything modular to experiment with moving things around in the engine and get an optimal feel for the space at this early stage. Knowing the sizes, I exported the basic shape to Maya, created two or three basic variations before choosing the best one and then modeling it in more detail.

I spend most of my time modeling and enjoy the details. In my modeling workflow, I always start by placing reference images on planes within a second camera in Maya. This camera looks through the reference planes so I can work without affecting my main view. This way, I don’t have to worry about object axes moving. I also make sure every aspect of the model is clean and aesthetic, and I constantly check the model from different angles and perspectives to make sure the topology looks good in all views.

Computer and music equipment

For the computer, I had some good references that helped me figure out most of the shapes. However, only some details were visible, so I used the functionality of the computer to fill in the rest of the model. Sometimes you just have to use your best judgement when modeling these types of assets.

The drum kit was modelled for a previous course and it seemed perfect to house it somewhere in my record shop. My mentor suggested creating a separate area to make it stand out, so I took inspiration from that and built a raised ‘chill listening lounge’ which helps create a cool, zoned off area at the back of the record shop. The Audio Technica headphones were another object I enjoyed modelling. I loved adding the fine details and trying to achieve a high level of realism by focusing on the ‘rough and metallic’ material impressions.

Retopology and unpacking

UV mapping is not my strong suit. I spent a lot of time between Maya and Substance 3D Painter to ensure a good texel density and some objects (the metallic ones) did not reach the desired resolution of 2048×2048. These objects (the tables) were brought to RizomUV. I tried to make the UV cuts so that the seams are not visible. I also made sure that the texel density was consistent across all meshes.

When unpacking the model, I placed the UV seams in less noticeable areas for the cuts. This helps to hide the seams and makes them less visible when textures are applied. By carefully planning the UV layout, I can avoid seams in prominent or highly visible parts of the model, ensuring a cleaner and more seamless texture application.

For texel density, I made sure that the number of texture pixels per unit was consistent across all meshes. This consistency is crucial as it ensures that textures appear at the same level of detail and scale throughout the model. When texel density varies, some parts of the model may look more detailed or blurry compared to others, disrupting the visual harmony. By maintaining a consistent texel density, I achieve a more professional and polished look for the final textured model.