Sniper Elite 5 : France
(some assets I worked on)
As a Photogrammetry Artist, I was involved in every stage of asset creation from real-world data capture using photogrammetry techniques to image processing, high-resolution modeling, and texture creation. My responsibilities extended to ensuring that each asset was optimized for performance in-game without compromising visual fidelity. I collaborated closely with other artists, technical teams, and outsource partners to bring historically accurate props, materials, and environments into the game. Whether scanning a small handheld object or a full-size locomotive, I focused on delivering clean, production-ready assets that met the visual and technical standards of a AAA title.
This page explores some of the assets I worked on.
Very happy about how this asset came to life with all its challenges. I was responsible for scanning, image processing, 3D modeling the high poly and low poly, texturing and finally making sure the asset was game compatible and optimized for Sniper Elite 5. This authentic rangefinder was preserved inside the amazing collection of the Combat Dealers in Southwold. I wanted to capture every detail of it so I could have a nice scan and texture. Custom Blender scripts that I wrote with python were used to speed up the 3D modeling.
Collaboration in our team is crucial in order to capture big, complex vehicles like trains. I had the opportunity to scan the green locomotive and its wagon alongside our lead and another photogrammetry artist. The locomotive was one of my first scans after joining the photogrammetry team. We ensured our scanning patterns overlapped to achieve high-quality results in a short timeframe. The visit to the railway centre was a unique opportunity to experience a piece of early transportation history.
This scanning trip was a special moment in my photogrammetry experience. Along with fellow photogrammetry artists, I had the opportunity to visit a farm to scan burned wood. Using fire and a butane torch, we textured disposable wooden planks and logs in real life, with the torch acting as a paintbrush that let us control how intensely the wood was burned. After physically texturing the planks, I piled them up and scanned various combinations. The scans came out nicely and were then sent to the outsource team. Another team member handled their implementation in the game during production. Beauty renders were created using my custom render setup in Blender.
This asset allowed me to work across the full photogrammetry pipeline from on-site scanning through to image processing, 3D modeling, and final texturing. The rucksack, another authentic WWII-era item, was scanned with over 1,000 images to ensure every crease and fabric texture was captured in high fidelity. The top and bottom portions were scanned separately and later aligned and merged using RealityCapture, allowing for a seamless and detailed 3D model. I then optimized the asset and ensured technical compliance for game implementation, delivering a piece that blends authenticity with real-time performance.
