KVP/ disco elysium 3d models [mod hack] download

Disco Elysium - The Final Cut on Switch: Existential brilliance on the go Diablo II: Resurrected · Diablo II: Resurrected, · Dino Hunter Deadly Shores · Dirty Bomb · Disciples III · Disco Elysium · Dishonored · Dishonored 2. › disco+elysium. Lieutenant Kim Kitsuragi from Disco Elysium, finest detective of Precinct 47 and current partner to Harry DuBois. I found this in the game. A police flashlight bearing the logo of Grundstellung RAO. The small dynamo packed inside this hand-held illumination device theoretically gives you the. Discover 3D models for 3D printing related to Disco Elysium. Download your favorite STL files and make them with your 3D printer. Have a good time!

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I started learning 3D graphics during my time at university as a Fine Arts student. I began to implement 3D into my traditional workflows, as it seemed to be a really fun way to resolve my studying assignments. After a while, 3D took over my focus completely and as a result, for the last few years, I have been doing it professionally, constantly learning new stuff online as well as from my amazing friends and colleagues. The idea for the project arose spontaneously when my friend Vladimir Shevchuk offered me to 3D-print any model of my choice. The car from Disco Elysium came up almost instantly, as at the time I was obsessed with this game. The sheer quality of the visuals, sound design, and, most importantly, how this game is written, is still beyond me. With this idea in mind, I wanted to convey all the love and appreciation for the incredible work that the developers have pulled off, as well as to produce something that would look good on the shelf. Any work starts with collecting references. Additional sources of inspiration and guidelines came from early 20th-century industrial designs. Those allowed me to compliment the original design in order for it to be a bit more realistic. As for today, it's not quite easy to find good examples of high-quality print-ready car models online, I decided to look up solutions by studying how real scale model kits are made. It was also necessary to come up with a lot of solutions on the go, as there were many issues to handle along the way. The first thing I decided to do was to print the rear wheel axle along with the wheels themselves. Since this part carries both small and large elements, it allowed us to do a so-called vertical slice to determine the size of details in the chosen scale for the model, joint density between parts, and other nuances. After several failed attempts, we finally got an acceptable result. Actually, it was so amazing to physically touch something from your viewport in real life, that I decided to get fully involved in 3D printing myself. Now the task was to model the rest of the car as well as to develop the assembly process. I decided to SubDivision-model all the parts. Along with the usage of creases, it gave me the amount of control I needed to model this car relatively easily. The software of choice, in this case, was Blender, since its modeling toolset with a couple of add-ons on top allows you to work really fast. Once the geometry was completed, I divided all the pieces into logical groups for printing and started working out the details' intersections as well as material tagging parts that should form a solid object in the end. ZBrush is unmatched when it comes to heavy meshes processing, so I decided to filter out initial objects in Blender, export those to ZBrush for all the boolean heavy lifting, and import them back to Blender for scale double-checks and final export to slicing software. After a number of unsuccessful prints and lots of tweaking, I got the assembled model ready to be painted. After the printed model was completed, the next step was to paint it. Since I have no experience with painting scale models, the most convenient way for me to kickstart this process was to rehearse it on a digital model in Substance 3D Painter first, then to use it as a roadmap while working on the real thing later. I also wanted to practice at low poly, UVs, baking, and presentation. I started by retopologizing all high poly parts. Now it was also a great opportunity to refine the model in terms of details since many of those had to be sacrificed for printing requirements. During the low poly stage, I tried to implement as many relevant details as possible using the same tools as for printed model development. I used ZBrush for sculpting leather seats and interior wall elements, and Marvelous Designer to generate base meshes for side and top curtains. For blocking and refining certain parts I was using Gravity Sketch. A revolutionary tool that makes prototyping and blocking a very fun and enjoyable process. The steps were as follows:. The fact that interior elements were barely visible on the original concepts and screenshots from the game made it more challenging than in other areas. This was the moment when VR turned out to be especially helpful. After that, it was time to UV the model. Packing was also done in RizomUV. The car was split into 7 4k UV sets, and 1 2k set for additional details which were added at the very end of production. Finally, it was time for texturing! This allowed me to get a more clear understanding of what I needed to achieve with texture work. I started by breaking the entire model into base materials and setting up the scene in Marmoset for lookdev. I want to pay attention to these settings, which greatly affect the display of the model in Substance 3D Painter and Marmoset. Once the base was completed, I decided to finalize one single element right at the beginning, in this case, it was the main hull. This allowed me to understand the level of texture details needed for all the other parts and helped to reinforce the excitement about the project overall. The number of variations may be different depending on the desired look. Almost every element gets a hand paint pass, which brings more liveliness to the final look of the material. To create the base for the wood material, I used Substance 3D Designer. This allowed me to quickly determine the general look of the wood planks I wanted for the interior walls. For a base color, I used a simple photo texture found online, and the default Substance wood material for Normal details. In Painter I followed pretty much the same steps as for every other material, except for this one I decided to vary the color by anchoring roughness output generated from the initial photo texture, tweaking levels and applying it to base color as another layer of variation. The glass material consists of the glass itself and two variations of dirt on top. One covers general dirt and dirt in the corners, while the other was mostly hand-painted using stencils and different alphas in order to break up the procedural look and add some accent details. The base for the dirt mask on the windshield was compiled in Photoshop. Then warped the grunge to fit the shape of the windshield wiper trajectory. Then I opened the smart object contents and added some details along the sides. The beauty of the smart objects is that I can still work with a square undistorted image, while all the deformations are already made and are being applied automatically. After that, I loaded the mask into Painter and pushed it a bit to fit the desired look. During the texturing process, I was using Marmoset Toolbag 4 for lookdev. It allowed me to quickly apply different lighting scenarios to the model, which made it easier to debug and refine the textures. Regarding lighting, I used the basic 3-point scheme with additional light sources to emphasize certain details depending on the camera angle and overall composition. Each new shot was saved as a separate scene and allowed me to make adjustments to each image fairly efficiently. In Photoshop, the beauty pass was combined with the background and converted into a smart object. After that, I applied a Camera Raw filter on it and did basic color correction adjustments, such as exposure, contrast, curves, sharpening, and so on. The non-destructive nature of smart objects makes them very flexible and easy to tweak all the way to the end. On top of that, I also applied some adjustment layers to lighten up some areas, selective darkening by AO and vignette. The same was applied to every other shot. I want to express my deepest gratitude to the community for the incredibly warm welcome. I hope this article will be useful to you. I would also like to thank the 80 Level team a lot for the opportunity to share my workflow. We use cookies on this website to make your browsing experience better. By using the site you agree to our use of cookies. Learn more. Introduction Hello! Coupris Kineema The idea for the project arose spontaneously when my friend Vladimir Shevchuk offered me to 3D-print any model of my choice. Modeling Now the task was to model the rest of the car as well as to develop the assembly process. The process for each part was as follows, I chose an engine as an example: Sort parts by print logic. For objects that should intersect each other, unique material is applied, in order to have them as a single SubTool in ZBrush. A single boolean object with its own material is created for each intersection outlined in the viewport. After all problematic areas were accounted for, I exported meshes with a slightly modified FBX bundle Blender add-on. As all SubTools are separated in the same manner as we prepared them in Blender, it is now time to determine all cut-in areas for each segment. This is what the Live Boolean setup represents. The resulting SubTools represent pieces as they will be printed. Then I used Lychee Slicer, a great tool that allowed me to quickly place manual supports and prepare the file for printing. Finally, print! All the settings and valuable tips were kindly shared by Vladimir. Low Poly and UV After the printed model was completed, the next step was to paint it. Tweaking shapes and searching for details. The ability to see your model on a scale makes decision-making and proportions judgment really easy. The sketch is imported back into Blender for further polishing. This was repeated until I met acceptable results with every part of the model. Texturing Finally, it was time for texturing! In Painter it is Sensitometric tone mapping function, as well as shader AO display quality:. I stuck to the following hierarchy for almost every material in the scene: Base with color variations and height details. Edges and cavities variation dependent on Curvature and AO. Scratches and weathering. All sorts of dust, dirt, soot, etc. Color correction layers if needed. And that was it. Conclusion I want to express my deepest gratitude to the community for the incredibly warm welcome. Keep reading You may find these articles interesting. Comments 0. You might also like. We need your consent We use cookies on this website to make your browsing experience better. Does that mean the work in question explores interesting concepts? Is the dialogue written in wonderful prose, giving each character a unique voice? Do the plot twists effectively shock the audience, leading to a story rich with drama. That might sound like a harsh and unfair dismissal of storytelling in this medium, but I understand that each title should be approached by its own merits. Regular readers of RPG Site will undoubtedly know we love this game. Games like Disco Elysium require the player to fully immerse themself in the world, and that can be difficult for me on console or PC. The Switch is my console of choice for story-heavy experiences, and it has seen quite a few CRPGs grace it in the last few years. Disco Elysium offers a full 3D presentation, being apparently so ambitious that it gave PS5 players some grief with its performance. So, how does it hold up on Switch? The visual presentation is truly a work of art. As I walked the drab streets of Revachol, I felt as if I entered a macabre painting. To some, this might seem miserable, but to fellow enjoyers of rainy weather: congratulations. If this port had needed to make the concessions of many others, that art style and all the feelings associated with it would have been ruined. The 3D models are crisp, and everything looked quite good on each of the four ways I tested it. I initially downloaded it on my Switch Lite, finding it to be quite comfortable. Then I moved over to my second revision Animal Crossing Switch, preferring the larger screen to get a good view of the environment. It certainly was for me. Plugging it into my dock, I found the parity between both modes commendable. There are no improvements outside of the colors, so overall that just playing undocked on an OLED or regular Switch. Every line of dialogue is voiced, and there is a ridiculous amount of text. Each line of dialogue has presence to it, and magnificent voice direction made each line stick with me. The introduction and dream situations are so well done that I found myself hanging on each and every word. The Switch port attempts to combine the control style of the PC and console release. I will forever be disappointed that so many Switch devs ignore its touch screen. Even visual novels, a genre consisting of mostly reading, can make the mistake of not utilizing it. Disco on the other hand offers full touch screen support. From clicking on the map to have Harry and Kim run to it, to dialogue choices and menus, you can essentially play the whole thing in tablet mode. I like that this is here, but I think I prefer the sometimes clunky Joycon controls. It certainly took me a bit to get a grasp at how to interact with the world. At the moment, the biggest glaring issue with the port is the loading times. The flow of Disco Elysium often requires you to often go between several spaces in quick succession, all existing in a massive hub world. Loading a new area or save could take up to around 30 seconds. There are two segments where the tedious waiting bothered me the most so far. For those reading like me, you can forgive it overall… but still groan on occasion when having to stare at back-to-back loading screens. My time with the experience as a whole has truly been outstanding, however. I try to avoid explicit calls to action now, but you really need to play Disco Elysium. Dialogue-focused RPGs have existed before, but never to this extent and never as well designed. Now if you excuse me, I have a mystery to get back to… and a shoe to find. Keep scrolling for more.

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