The Astrophysical Lunar Observatory (ALO) is a conceptual low-frequency radio array strategically positioned on the far side of the Moon. The idea is that this location would serve as a shield against terrestrial radio pollution, allowing scientists to explore the cosmic dark ages and investigate the origins of the universe.
Objectives
The ALO project is currently awaiting approval, undergoing a thorough internal discussion involving various ESA science and engineering teams. If greenlighted, the plan is to transport ALO to its designated operational site on the Moon using the Argonaut lunar lander and to subsequently deploy it using a custom-built rover. To showcase the interdependence and interoperability within this ESA ecosystem of lunar solutions, the ALO project manager approached our XR lab, seeking a conceptual visualization.
What I did
Taking on this request, I began by researching the current status of the ALO concept. I then created a visualization illustrating the projected ALO deployment procedure. This entailed the development of necessary 3D assets, texturing, lighting, rendering, and image compositing, as detailed below. The entire process took me approximately 60 hours to complete.
Workflow
To achieve the stated objectives, several components needed to be featured in the visualization: a lunar landscape, the Argonaut lunar lander, the ALO deployment rover, and the ALO radio antennas. Fortunately, I could repurpose my lunar landscape and Argonaut assets from past projects, allowing me to concentrate on developing the deployment rover and ALO antennas.
As always, for modeling the assets, I relied primarily on Cinema 4D. Considering potential application in future VR projects, I aimed for the creation of relatively low-poly models optimized for real-time rendering. The end product landed at just above 32,000 polygons.
Next, I textured the models using Substance Painter. Given the abrasive nature of lunar dust, I aimed to evoke a weathered appearance, incorporating visible dirt accumulation in folds and creases.
Once finished, the models were brought back into Cinema 4D and integrated into my virtual lunar landscape together with the Argonaut lander model. To simulate the harsh highlights and shadows characteristic of the lunar atmosphere-less environment, I employed a single directional key light. To enhance the scene’s drama, I introduced an additional soft fill light. The scene was then rendered using Cinema 4D’s Physical render engine, with separate passes for depth, highlights, and shadows.
Finally I brought the rendered material into Photoshop for a final compositing and color correction.
Using the same approach, an overhead illustration was likewise produced highlighting the deployed network of ALO antennas.
