Skip to content
VANTA

Process

Ten stages, three sign-offs.

Every asset goes through the same pipeline. You see it at three fixed points, so nothing big changes late and nothing arrives as a surprise.

  1. 01

    Reference gathering

    Photos, drawings, mood and scale

    We collect photographs, drawings, measurements and your art direction into one board, and agree what 'right' looks like before anything is modelled. For real objects we work from dimensions, not guesswork.

    You getShared reference board and a written spec

  2. 02

    Blockout

    Scale, silhouette and gameplay space

    Simple shapes at final scale, dropped into your engine with your camera and character. This is where proportions, sightlines and collision space get agreed — it's cheap to change here and expensive later.

    You getGrey-box in engine, signed off by you

  3. 03

    High-poly / primary modelling

    Form and detail

    The detailed model: either a sculpted or subdivided high-poly for baking, or clean mid-poly geometry for Nanite and trim-sheet workflows. Which one depends on the asset and your pipeline.

    You getDetailed model for review

  4. 04

    Retopology

    Clean, efficient game mesh

    A low-poly mesh built around the silhouette and the parts that deform or move. Triangles go where the camera will notice them; flat areas are left to the normal map.

    You getGame mesh within the agreed budget

  5. 05

    UVs

    Layout and texel density

    Unwrapped to a consistent texel density across the whole set, with seams hidden where they won't be seen and shells packed for the texture sizes you're shipping.

    You getUV layout, density report

  6. 06

    Baking

    Normals, AO, curvature, IDs

    High-poly detail baked down to normal, ambient occlusion, curvature and ID maps, with cages adjusted by hand where the automatic result skews.

    You getClean bakes, checked in engine

  7. 07

    Texturing

    PBR materials

    Physically based materials built on the bakes, with wear and dirt that follow how the object is actually used. Exported and packed to your engine's conventions.

    You getTexture sets in your packing format

  8. 08

    Engine integration

    Materials, collision, prefabs

    We import, set up materials, collision, pivots and prefabs or blueprints, then check the asset in your lighting and with your post-processing — not just in our viewer.

    You getEngine-ready asset in a test scene

  9. 09

    Optimisation / LODs

    Performance on target hardware

    LOD chains, draw distances, texture streaming and draw-call checks on the hardware you're shipping to. If there's a budget, we profile against it and show you the numbers.

    You getLODs and a performance summary

  10. 10

    Delivery

    Source files and handover

    Engine-ready files plus the sources — Blender or Maya scenes, Substance projects, textures — organised and named to your conventions, with a short handover note.

    You getFinal package and source files

Where you review

Two rounds of changes are included at each sign-off. Feedback goes in a shared board against the exact screenshot, not in a long email thread.

  1. A

    Blockout

    Scale, silhouette and gameplay space, checked in your engine with your camera.

  2. B

    Primary model

    Form and detail before anything is baked. The last cheap point for big changes.

  3. C

    In engine

    Final asset in your lighting, with LODs and collision. Small fixes only from here.

What you receive

  • Engine-ready meshes (FBX, glTF, or engine-native)
  • Texture sets packed to your engine's conventions
  • LODs and collision meshes
  • Prefabs, blueprints or YTYP definitions where relevant
  • Source scenes (Blender or Maya)
  • Substance Painter and Designer projects
  • A short handover note: naming, budgets, known limits

Booking from November

Send what you have: references, a rough asset list, a deadline. We come back within two working days with questions and a fixed quote.

Start a project