FX

Take another look at Cygames’ upcoming action RPG, Granblue Fantasy: Relink, through this brand-new trailer!#PlayStationShowcase #ps5 #ps5games#PS4 #PS4games...

Dive into the techniques and production lessons learned during the development of Mortal Kombat 11 with Houdini. We will focus on our geometry cache pipeline which allowed us to leverage Houdini’s fluid simulation tools to drive our unique cinematic blood effects. As a studio new to Houdini, we will give a behind the scenes look at some of our assets and share a little bit of the wisdom we’ve gained while ramping up on Houdini over a two year development cycle. Matt Battaglia is the Technical Art Lead at NetherRealm Studios. With over 14 years of professional experience, Matt has a background in AAA game development, feature film, and teaching. He enjoys developing asset pipelines and pushing the boundaries of what is possible in real time rendering and visual effects. While not chipping away at his ever growing list of research projects or new software to learn, he enjoys tackling home improvement projects and attempting to entertain his wife and daughter with bad dad jokes. MORE HOUDINI HIVE SIGGRAPH TALKS: https://sidefx.co/2ZE890H

This week we have a look at how to use World Position Offset in our shader to create a growing roots effect. Don't forget the January Sale on Gumroad!JANSAL...

''HALCYON ZERO’’ 2D VFX ANIMATION part 1 Different concepts , drafts and vfx animations i made during working on Pahdo Lab’s project ''HALCYON ZERO’’ https://www.halcyon-zero.com Characters and Environment art done by other artists, my part is only VFX Used tool Adobe Animate

In this shader tutorial for Unreal and Unity, I show how to add surface ripples to our water shader. I also show several techniques for optimizing the shader...

Stylized Explosion and some Chaos tests. All done in UE5.

Trim pipeline --- The trim pipeline was probably the thing I pushed the most during the production of TLOU: Part I. I hoped that the use of baked-bevel-trims might help us to reduce the amount of uniquely baked props as well as other existing trims that didn't follow a shared layout. Our texture memory is always stretched thin in our TLOU games and so this was my effort to combat this. The goal was to create a trim layout that could be shared by the team, a functional replacement pipeline for the many uniquely baked 1-to-1 assets and to document and provide resources like substance designer templates, example assets and tutorials that would help to encourage adoption by the team. --- This work began over 3 years ago and this particular layout was the first of what would become three different layouts (others created to handle assets of different sizes and styles). One of which was presented by Ali Ghadami and Edgar Martinez and further integrated into our pipeline. Since the release of TLOU: Part I we've continued to build on this pipeline and as such, this particular layout and method has since evolved so that what you see here, no longer represents our workflows. However, it's development for TLOU: Part I laid an important brick in a foundation that we, as a team have continued to build upon. --- I'm very proud of the trim work, I pursued it's development and the creation of the Houdini tool for around a year during pre-production, finally landing upon a solid workflow with accompanying tool and thorough documentation. I'd also like to mention that this method is by no means new, rather it's quite an old technique. I first used a very similar method and automatic trimming tool, way back on 'The Lego Movie Videogame' (2014). The workflow and tools to support it on that game were developed by an incredibly talented technical artist called Neil Dorrington and i'm sure the methods were probably used on games prior to that too :-) --- This has been my third Naughty Dog title and it has been an incredible experience and as always, it takes a monumental team effort in order to make such amazing games. Without the hard work and dedication of the entire team, across all departments, none of this would be possible. Please do check out all of the posts from the other incredible Naughty Dog artists! --- Please enjoy this small gallery and stay tuned for more very soon! ---

This is the first part of a "book" in which I try to gather the basic concepts of the Pixel Processor node. This part covers basic but very important concepts. These are the building blocks that allow us to create complex and powerful nodes in Substance Designer. The examples start from simple to more advanced by gradually increasing the complexity of the topic. The PDF document can be downloaded with this link: https://drive.google.com/drive/folders/15icIdDfqHS_F2EWB6bX0gvbYwMga70D5?usp=drive_link

Pick up the .VDB's here: https://drive.google.com/drive/folders/17RueIORCc-Na4zjszHbShv9MbV_RUeBo?usp=sharingHDRI I used in this video comes from Polyhaven: ...

В этой рубрике мы залезаем в потроха известных видеоигр, чтобы разобраться, как они были сделаны.И сегодня мы расскажем про Disco Elysium.RPG от студии ZA/UM...

The amazing Blizzard artist Phillip Zhang shared some techniques, which will help you to build better and more interesting skyboxes.

I have had a lot of fun working on my latest personal piece: Keepers of The Groves. Being a hand-painted 3D art enthusiast. Making my own 3D artwork that includes both character and environment has always been a thing I wanted to try. This piece is my first attempt, and I cannot wait to try more! This post is a breakdown of my process. As you can see, I rely very heavily on doing paint-overs and try not to make too many design calls while working in 3D software. This habit allows me to iterate fast with a relatively lower chance of having to redo a bunch of work in 3D. If you have any questions, please feel free to leave a comment, and I will get back to you asap. ^^

This sketch was designed for submission to the FX102 Game Effect Competition held by the Korean VFX artist community. The theme of this competition was ‘Wind’.

磨了十天左右，最后结果居然只是这么个吊样（ 不过在制作这个特效的过程中真的学到了很多，也尝试了很多自己曾经从未尝试过的东西。,Codi游戏特效原创作品-Magesbox

Hi there, on GhostRecon Wildlands I created in Substance Designer a graph that can generate procedurally a patch from a grayscale mask as input. I tried to get the most logical direction for the fibers. Here some patches that has been generate procedurally. Thanks for watching !

🏜️how to create a sand storm in Unreal Engine 5 🏜️ In this tutorial, we're going to go over how to how to create a sand storm in Unreal Engine 5 . Join us on this creative journey as we optimize your workflow, maximize texture quality, and take your projects to the next level. 🚀 What You'll Learn: -Building a mesmerizing sandstorm from scratch in Unreal Engine. -Utilizing particle systems and dynamic effects. -Controlling and animating the sandstorm for realism. 💡 Why Sandstorms Transform Games: Sandstorms add intensity and ambiance to game worlds, elevating the player experience. Uncover the techniques to master this elemental force with our step-by-step tutorial. 📚 Resources and Links: Desert Project : https://www.sidefx.com/contentlibrary/procedural-desert/ https://mad-vfx.com/ 👍 Stay Connected: Follow us on [Twitter: https://twitter.com/mad_vfx Twitter:https://twitter.com/madvfx_blog] for the latest updates, behind-the-scenes content, and community discussions. 👉 Got Questions or Feedback? Feel free to ask questions, share your thoughts, or suggest topics for future tutorials in the comments section below. Your feedback matters! 🔔 Don't Miss Updates: Subscribe to our channel and ring the notification bell to stay updated on exciting tutorials, tips, and tricks for Houdini, Unreal Engine, and more! Get ready to unleash the power of nature in your games. Hit play and let's conjure a breathtaking sandstorm together in Unreal Engine! 🎮🏜️ #UnrealEngine #Sandstorm #Tutorial #GameDevelopment #ParticleSystems #DigitalArt #ImmersiveEnvironments #SubscribeNow 00:00 Introduction 05:06 Substance Designer 05:24 Sand/Wind Shader