FX

Prototype of a spellbook that I created for my game. I handled everything from the initial concept to the Unity implementation, including animations, VFX, an...

Huge thanks for Frostpunk 2 art director - Łukasz Juszczyk (https://www.linkedin.com/in/%C5%82ukasz-juszczyk/), and of course for the whole Frostpunk 2 team. I had the pleasure of creating volcano VFX for the DLC Breach of Trust. Mayuko Matsubara (https://www.linkedin.com/in/mayuko-matsubara-067518111/) did great work with the volcano mesh, lava lakes and rivers materials, well done! So the main thing done by me is the Niagara system with 4 emitters - Lava Splashes, Billowy smoke, Tephra source and Tephra ribbons. In addition, there's heatblur postprocess, and another environmental Niagara system with falling Camera Ash and Tephra falling over the town.

Training work on poison and liquid VFX on unity 6.

Technical Details: Unity 6, Built in, mesh particles, trails, custom meshes. Stylized light magic ability created for a dark fantasy environment in Unity.

Technical Details: Unity 6, Built in, mesh particles, trails, custom meshes, animator. Stylized light magic ability created for a dark fantasy environment in Unity.

This piece was designed for real-time cinematics and animations, but can also be adapted for in-game sequences with a bit of extra polish. The focus was on creating realistic-looking flames, especially in terms of shapes and speed, which is the main selling point usually. Tried to capture that fast, unpredictable nature of big flames in a roaring campfire environment. The main texture and simulation work was done in Houdini and brought into Unreal Engine. Also added some simulations from EmberGen to get to know the software better, and it was rather delightful to sim in it. It was much faster and more straightforward, but with a little fewer controls and quality of life option, but the speed and iteration time were unmatched compared to Houdini, I would say. Big inspiration from Bruno's work and flipbook packing technique he shared here: https://www.artstation.com/artwork/xYBo2O

Real-Time Niagara Waterfall — The setup combines multiple layers for the main water flow, foam, splashes, droplets and mist. GPU-based techniques, Niagara Data Channels, and Distance Fields are used where appropriate, avoiding CPU particle collisions. — Mist and spray use lighting-aware shading to preserve volume and readability under different lighting conditions, including daylight, overcast and low-light scenarios. — Camera-based near/far fading is used to keep the effect comfortable at close range and reduce unnecessary rendering cost at distance.

water stream, impact splashes, Niagara setup and materials.

Hello everyone! Today I present to you Zeri W fan art with some breakdown. The effect was made by Shuriken particle system. Zeri model and animations belong to Riot Games.

Various artworks on stylized water

Substance Designer is so much more than just material creation: Here's a small animation made with splines, playfulness is key ✨ #MadewithSubstance | 21 comments on LinkedIn

Elemental tornado design explorations for Spellcasters Chronicles. Research focused on shape, motion, readability, and elemental identity across multiple visual variations. Check there the 3D version of the tornado by Germain Cuvelle https://www.artstation.com/artwork/a0K2V8

What is Cartoon Style VFX?

Merci à Thebossplayah pour cette magnifique vidéo à Africa Trips 🤩🤩🤩🤩💪🏿.Venez découvrir la CASCADE DE YIKPA AVEC Africa [email protected]...

Sígueme cada domingo para ver maravillas como esta y mucho más.www.youtube.com/charlysinewan

For this project, I created a snow-based visual effect, focusing on capturing a sense of cold, weight, and subtle motion in a real-time context. The effect was developed in Unreal Engine. To support the effect, I used Houdini to create RBD simulations, allowing me to break apart the snow spikes. Additionally, Substance Designer was used to author custom textures that reinforced the snowy look. In some shaders, for the snow material itself, I implemented Parallax Occlusion Mapping along with bump detail, adding depth and surface variation.

Francisco Garcia-Obledo shared the way he and his colleagues improved the blood in Assassin's Creed 3 Remastered.