The idea and concept art come from Jakub Ridky - art director. More of his work is here:
Whole process begun with brief sketched storyboard and concept picture (made by Jakub) presented with reference music so we could imagine the atmosphere of the site and on the basis of current views pinpoint the basic objects. Those are the crater, detailed part of the crater called the site, surrounding city, a car, a small technical building, the astronauts and the dust monster.
We bought the asset of astronaut (https://www.turbosquid.com/3d-models/strizh-space-suit-model-1172004 )
and used free assets for a tree (https://megascans.se/assets/qlEtl ),
the monster (https://www.assetstore.unity3d.com/en/#!/content/48933 ) that we used just as an transparent object linked to the smoke particle system,
the shed (https://www.turbosquid.com/3d-models/free-3ds-model-building-shed/737803 ) that we built up with some technical details and we used some other free assets of the junk to fill the city. Some pipes, flames and billboards* which Zuzana patiently set all around as well as she did with the city lights and the grass.
The other models are made and textured by Jakub Ridky with significant teaching help of our Blender guru Jiri Rous who also helped with unwrapping the UVs and who was instantly solving many modelling problems.
You can look at our most significant models for the scene here on sketchfab: https://sketchfab.com/houba .
Models of the crater and the site are made in Zbrush. Car, shed, city and smaller stones set all around are made in Blender and the gate bridge is made in Rhinoceros 3d. Textures for those models (except the bridge textured in Unity and the small stones textured in Blender) are made in Photoshop cc.
Camera Filter Pack
Unity Particle Pack
Post Processing Stack v2
Time of Day
Hx Volumetric Lighting
PBR Dry & Dead Grass
Unity Particle Pack
3d models were imported to Unity project. We primarily focused on cinematic result instead of game optimization so we used relatively high poly models. The level of details (texture quality, amount of small objects) was driven by presumed camera path.
At first we placed rough crater model and were experimenting with lights. We used Hx Volumetric Lighting asset, procedural skybox Time of Day and Shuriken particle system (Unity Particle Pack) to create basic look and feel. Enlighten was used for realtime GI. There was a single directional light - sun in the scene.
There was a single camera present in the scene. Virtual camera system Cinemachine was used for composing. Timeline was directing each cut and animation. There was also post-processing layer (Post processing stack v2) attached to the camera which enabled Cinemachine system to focus on a particular part of the scene.
There was also screen canvas layer used for drone camera effect.
We used free Monster3 asset to create misty character made of particles emitted from the skinned mesh renderer.
The Main software tools used for the the sound design besides Unity are DAW Reaper (https://www.reaper.fm) and tracker software Renoise (http://renoise.com/). The sounds are basically divided into three discrete types which are: environmental sounds, event and object foley and music. Most of the sounds are based on samples from freesound.org. We used only samples published under the creative commons zero license. They were later processed and composed to create seamless loops for use in Unity engine.
The music was composed in Renoise. The process of creation was framed by minimalistic composition attitude with strong focus on atmospheric qualities of the resulting sound. Most of the sounds are not premade samples but they are synthesized from the ground up.
In Unity engine the sounds were either used as the specific sound field with spatially dependent influence (moving or static), or as the sounds that are spatially independent in favour of atmospheric and artistic intention. Sound events were controlled by Unity Timeline utility.
Short hand-drawn storyboard: Two scouts are returning from patrol back to their home city, but they crash just outside the city's perimeter. With no way to reach the safety of its walls, the only thing they can do is to wait for the shadows to get them.