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Creating Sci-Fi 3D Environments for Games
Rating: 4.8 out of 5(13 ratings)
181 students

Creating Sci-Fi 3D Environments for Games

Learn how a professional environment artist works when creating sci-fi environments for games & cinematics.
Last updated 11/2025
English
English [Auto],

What you'll learn

  • learn how to create large scale 3D environments
  • Learn modular workflows when creating 3D environments
  • Learn how to create 3D environments in Unreal Engine 5
  • Learn how to create 3D environments from start to finish

Course content

1 section • 55 lectures • 24h 17m total length
  • Gathering Our Main Reference31:59

    Gather a main reference for a sci-fi rocket launch administration facility by exploring Midjourney prompts, ArtStation, and Google, while aligning with modular workflows and a reference folder.

  • Finish Gathering Our Reference12:33

    Gather inspirational sci-fi reference from ArtStation to guide the blockout of 3D environments, highlighting panels, lighting mood, interior and exterior cues, and geometry versus texture panels.

  • Start Creating Our Blockout36:19

    Begin a sci-fi blockout in Unreal Engine 5.3, using a third-person setup, ray tracing, and modular wall and door modules to shape a detailed landscape.

  • Continue Creating Our Blockout Part126:22

    Continue building a modular sci-fi blockout by extending duplicates, creating a simple white material, and setting up a cinematic 16 by 9 camera with a 30 mm lens.

  • Continue Creating Our Blockout Part226:59

    Continue the blockout for a sci-fi environment, refining rough shapes, adding a top piece and door opening, bevels, and mirrored structures.

  • Continue Creating Our Blockout Part318:24

    Continue refining the blockout by thinning the pillar, defining the leg structures, planning an interior room with modular walls and a potential antenna, and note basic 3ds Max workflows.

  • Continue Creating Our Blockout Part417:05

    Continue blockout for the sci-fi environment by expanding back and side views, reusing beams, then merge pieces, add insert edge loops, and bend with pivot in 3ds Max and Unreal.

  • Continue Creating Our Blockout Part536:57

    Refine the sci-fi blockout into final pieces by splitting large shapes into workable assets. Export from Unreal to 3ds Max and maintain a non-destructive workflow.

  • Continue Creating Our Blockout Part629:27

    Continue building a minimalist sci-fi base blockout by refining shapes with line edits, loops, and extrusions. Prepare for Unreal Engine 5 with Nanite, pivot alignment, and a modular export workflow.

  • Continue Creating Our Blockout Part7 -Timelapse26:07

    Continue creating the blockout for sci-fi game environments in a timelapse walkthrough of part 7. Learn practical blocking steps to refine geometry, scale, and layout.

  • Continue Creating Our Blockout Part8 -Timelapse41:51

    Continue creating our blockout timelapse for sci-fi game environments, capturing the evolving feel and the emphasis on shine in design details.

  • Creating Small Asset Blockouts -Timelapse4:22

    Create small asset blockouts through a timelapse workflow to rapidly visualize sci-fi 3D environments for games.

  • Creating Our Metal Material Part123:00

    Learn how to build a sci-fi game environment by creating a tileable painted metal texture and first trim sheet in Substance Designer, then apply decals in Unreal Engine 5.

  • Creating Our Metal Material Part224:15

    Craft a metal material with a subtle base color, color variation, and dirt, using gradient and grunge maps, blending layers, and roughness tweaks in substance painter and marmoset toolbag.

  • Creating Our First Trimsheet Part123:49

    Learn to create a trim sheet texture for sci-fi environments, planning with references, adding vents, hinges, and panels, then bake details into a reusable normal map in 3ds Max.

  • Creating Our First Trimsheet Part225:24

    Create sci-fi trimsheets by building modular cylinders, extruding and beveling details, applying symmetry, and planning grids for reusable patterns and future texture details.

  • Creating Our First Trimsheet Part3 -Timelapse8:20

    Explore creating our first trimsheet in part 3 with a timelapse walkthrough for sci-fi 3d environments in games.

  • Creating Our First Trimsheet Part4 -Timelapse23:48

    Watch a timelapse walkthrough to create your first trimsheet for sci-fi 3d environments, part 4, and learn practical workflows for game-ready textures.

  • Texturing Our First Trimsheet Part131:00

    Export the trim sheet geometry from low-poly and high-poly models and bake 4K texture maps in Substance Painter. Utilize pre-made alphas and an opacity mask to add depth and detail.

  • Texturing Our First Trimsheet Part218:36

    Create and refine a trim sheet texture for sci-fi game environments by generating ambient occlusion, masking heightmaps, and building base metal with color, normal, and roughness maps.

  • Texturing Our First Trimsheet Part3 -Timelapse22:19

    Texture our first trimsheet part 3 in a timelapse session to achieve shine and surface details for sci-fi game environments.

  • Texturing Our First Trimsheet Part420:10

    Generate dirt and edge-damage masks to finalize the trimsheet, then export 16-bit curvature and ambient occlusion textures via Substance Designer for use in Unreal Engine.

  • Creating Our First Final Asset Part145:27

    Learn to build a final sci-fi asset from large metal panels to a hydraulics-driven frame, using trim sheets, weighted normals, and symmetry for a high-poly look with minimal geometry.

  • Creating Our First Final Asset Part251:08

    Create a ground-attached sci-fi hydraulic system by modeling cylinders and pistons, applying booleans, chamfers, and weighted normals, then export, UV unwrap, and prep for Unreal with nanite and trim sheets.

  • Creating Our First Final Asset Part326:55

    Unwraps the final asset with tileable materials and automatic UV mapping, defines metal textures in the editor, and demonstrates UV workflows for Unreal export.

  • Creating The Base Of Our Master Material14:33

    Learn to set up a sci-fi master material by importing textures, converting maps to parameters, using static switches for metallic and color overlays, tiling, and creating variants via material instances.

  • Preparing Our Trim Sheets For Use14:23

    Prepare trim sheets by creating a 500x500 plane, applying a trim sheet material, with a normal map, and using cuts, detaches, and preserved UVs for alpha masking in Unreal Engine.

  • Creating Our Trim Sheet Materials20:38

    Apply trim sheets to 3D models in Unreal, using two decals—one normal-map only and one filler material—and fine-tune UVs, pivots, and tiling for seamless sci-fi environments.

  • Adding Trim Sheet Details To Our First Final Asset10:15

    Fix nanite issues by adjusting the fallback target and applying trim sheets, balancing detail and performance. Also tune normal map strength and prepare distance fields for lumen before export.

  • Creating Our Angled Pillar Part126:32

    Finalize the angled pillar by remaking the base, adding fillets and bevels, extruding with symmetry, preparing for weighted normals and cables in the next chapter.

  • Creating Our Angled Pillar Part230:42

    Block out an angled pillar with cable-like pipes, using sweep tools to gauge radius, then refine with cuts, bevels, weighted normals, and trim sheet details for a sci-fi environment.

  • Creating Our Angled Pillar Part319:16

    Refine the angled pillar by adding connectors, bevels, and weighted normals, integrate pipes with trim details, export to unreal, and create a metallic vent texture in designer.

  • Creating Our Angled Pillar Part433:44

    Finalize trim sheet placement on an angled pillar, unwrap UVs, assign orange and white materials, and start pipe texture creation with Substance Designer for Unreal export.

  • Creating Our Large Hallway Module28:47

    Learn to finalize a large sci-fi hallway module in 3ds Max, using trim sheets, modular geometry, smoothing groups, and decals, then preview in Unreal with Nanite.

  • Creating Our Remaining Final Assets Part1 -Timelapse18:13

    Observe a timelapse of creating the remaining final assets for sci-fi game environments, capturing the visual progression.

  • Creating Our Remaining Final Assets Part2 -Timelapse34:17

    Revisit the stated ideas with repeated 'shame' motifs as the timelapse showcases the remaining final assets for sci-fi 3d environments.

  • Creating Our Remaining Final Assets Part3 -Timelapse19:14

    Observe a timelapse of creating the remaining final assets for sci-fi 3d environments in games, highlighting the asset creation process.

  • Creating Our Remaining Final Assets Part4 -Timelapse31:58

    Watch a timelapse of creating our remaining final assets for a sci-fi game. The caption highlights felt moments and mentions I said and shame.

  • Creating Our Remaining Final Assets Part5 -Timelapse20:23

    Watch a timelapse of creating the remaining final assets for sci-fi 3D environments in games, part 5.

  • Creating Our Remaining Final Assets Part6 -Timelapse7:53

    View a timelapse of creating the remaining final assets for sci-fi 3D environments, highlighting asset creation workflows and production milestones.

  • Placing Our Vista Mountains And Foreground Assets38:24

    Place vista mountains and foreground assets to enhance a sci-fi environment, balancing lighting, decals, and materials, using free Unreal Marketplace content and Megascans for detail.

  • Doing Our First Lighting Pass46:45

    Begin our first lighting pass to dramatically improve the snowy environment. Set up sky, lumen reflections, skylight, directional light, and post-process for a cinematic balance of shadows and color.

  • Polishing Our Background Mountains40:50

    Polish the background mountains using Unreal Engine's landmass tools to sculpt a more rugged range with spline adjustments, curl noise, and displacement. Prepare for decals in the next chapter.

  • Creating Our Color Decals Part11:11:07

    Create sci-fi color decals by designing logos, stripes, and grime in Photoshop and Midjourney, then map them onto planes in Unreal Engine for rich ground textures.

  • Creating Our Color Decals Part226:26

    Create and place color decals in Unreal using a mask and opacity controls, mapping to follow shapes. Adjust scale and rotation for stripe decals and refine their transparency.

  • Creating Our Dirt Decals Part132:03

    Create dirt and leak decals, paneling details, and edge damage decals using Substance Painter techniques, then export panel dirt decals for Unreal Engine.

  • Creating Our Dirt Decals Part226:09

    Create and apply panel dirt decals using Substance Designer and Painter, export textures for Unreal, adjust leaks, opacity, and 2D mask maps for subtler damage.

  • Creating Our Dirt Decals Part323:34

    Design and apply metal damage decals in Unreal by creating masks, painting scratches, and using translucent decals, then layer snow details and plan a time lapse camera setup.

  • Placing Our Final Cameras11:20

    Organize decals and Megascans, then create and tune camera angles with multiple camera actors using varied focal lengths. Adjust focus, depth of field, and post processing to preview final shots.

  • Placing Our Decals -Timelapse30:35

    Explore placing decals in sci-fi 3D game environments, demonstrated in a timelapse for learners to see how decals integrate into the scene.

  • Placing Additional Models And General Polish -Timelapse21:23

    Place additional models and apply general polish to sci-fi game environments in a timelapse, highlighting shine while refining composition and detail.

  • General Polish22:43

    Apply a time-lapse workflow to build a small aircon unit, reuse Megascans assets and base materials, add snow via a master material and decals, then import into Unreal Engine.

  • Creating Our Aircon Unit Part1 -Timelapse30:26

    Create an aircon unit for sci-fi 3D environments using a timelapse workflow, illustrating how to build a futuristic system for games.

  • Creating Our Aircon Unit Part2 -Timelapse21:41

    Explore part 2 of creating a sci-fi aircon unit in a timelapse workflow, blending felt and shine to shape engaging 3d environments for games.

  • Final Polish And Creating Screenshots30:56

    Perform final polish and optimizations for a sci-fi game environment, adjust lighting, decals, and snow, and render high quality screenshots for production showcases.

Requirements

  • This course is perfect for people who already have a basic understanding of 3D modeling, texturing and UE5

Description

Creating Sci-Fi Environments for Games – In-Depth Tutorial Course
Learn how a professional environment artist works when creating sci-fi environments for games & cinematics. In this course you will learn from start to finish how to create a high quality environment including everything from Planning, modeling, material creation, engine setup and lighting.


3DS MAX, SUBSTANCE, AND UNREAL ENGINE 5
This course will cover a very large number of topics, but the main topics are as followed:

  • Project planning and creating a proper blockout scene.

  • Creating Trim Sheets to give our models more detail.

  • Creating huge assets that use only tileable materials and weighted normal.

  • Creating the tileable materials for those huge assets using Substance Designer.

  • Creating custom decals to add more detail to our scene.

  • Creating models with unique textures.

  • Doing level art, lighting, composition and post effects in unreal engine 5.

And so much more.

The general takeaway of this course is that at the end, you will have the knowledge on how to create exactly what you see in the images, and you can apply this knowledge to almost any type of environment.


21+ HOURS!
This course contains over 21.5+ hours of content – You can follow along with every single step – This course has been done in real-time with narration except for a few timelapses for repetitive tasks.

This course has been divided up into easy-to-understand chapters.

We will start the course off by planning our environment and creating our blockout assets.
During this time we will already design our entire level layout.

Once that is done we will first create our materials and trim sheets so that we can use them on our models. We will teach you how to create highly reusable materials and details. For example this entire scene only uses one metal texture!

Finally when we have everything prepared we will create all of the final assets. We will also later on create some small unique assets that will contain unique textures made in Substance Painter.
having everything prepared we will replace our blockout in Unreal Engine 5 with our final assets, set-up our materials and place additional assets we downloaded from Megascans or other marketplaces to add some more life to our scene.

We will then continue by creating our custom decals which will make our scene look 10x better and we finish things off with the final lighting, post effects and some polishing.


SKILL LEVEL
This game art tutorial is considered an intermediate course and we require students to have familiarity with a 3d Modeling tool and Unreal Engine 5 – Everything in this tutorial will be explained in detail but we will not be going over the basics of the software mentioned below.


TOOLS USED

  • Unreal Engine 5

  • 3DS Max (you are able to use other modeling software)

  • Marmoset Toolbag 4

  • Substance Designer

  • Substance Painter

Please note that most techniques used are universal, so they can be replicated in almost any 3D software like Maya & Blender.


YOUR INSTRUCTOR
Emiel Sleegers is a lead environment artist and owner of FastTrack Tutorials. He’s worked on games like The Division 2 + DLC at Ubisoft, Forza Horizon 3 at Playground Games, and as a Freelancer on multiple projects as an Environment Artist and Material Artist.


SOURCE FILES

Please note that this project does not come with any source files or extra content due to platform limitations. If you want all source files & extra content like un-timelapsed footage please look us up on ArtStation, Gumroad or FlippedNormals


Who this course is for:

  • Intermediate to advanced artists