Thrm-EX from Arknights. I made this fanart for practice real-time explosion.
I made main-explosive textures through Houdini pyro and I modeled the 3D model by parts with blender and I took the model to Houdini and fracture it into RBD simulation.
After uploading the video, I discovered some things that need to be fixed, but I’m just going to wrap it up here so I can move on to something new fx works.
short resumed WIP for Sunset.
The reason I stopped working on this piece in the middle was because I participated in two community challenges in a row during production.
Now I’m going to pull it back out and finish it this month.
Currently I’m working on the climax phase, and as soon as I’m done, I’ll upload the full sequence shot and start a new one. :>
Finally, I’m going to wrap up this sketch at this point. As a reminder, this is an FX sketch based on a character designed by Porforever. and I created this VFX fanart by imagining the combat abilities she could use on her lonely journey filled with war and blood. https://www.artstation.com/porforever/albums/6306967
My main experiment for this FX Sketch was to do a Cloth Simulation in Blender and then spawn it many through Niagara Geometry Cache Renderer to decorate the Ambient Environment.
The Geometry Cache Renderer is still limited by poor parameter binding support, but I think there are a lot of possibilities. so I’m looking forward to future updates.
During this challenge, I conducted a few simple experiments on several techniques. Fortunately, I found a few techniques that could be appropriately utilized for this challenge. I will briefly describe the two new techniques that I tried this time.
I wanted to implement a chromatic aberration effect directly in the sprite material without post-processing effects. Regardless of the direction of the sprite’s Facing or Alignment, I wanted the offset to occur to the left and right based on screen space.
For this effect, I calculated a direction vector by transforming a normalized vector (in this case, I wanted the offset to occur to the left and right, so 1,0,0) from View Space to Tangent space, which is the texture UV space. Fortunately, this alone allowed me to achieve the effect I originally wanted.
The second attempt was to represent the KoiFish.
with a ribbon renderer. I had never used Tube Mesh when using the ribbon renderer with Unreal Engine. But this time it suddenly caught my eye and I tried it, and it felt much more alive than simply using the Ribbon Renderer.
In this challenge, I used two emitters to represent the Big Koi. The RotateCore emitter represents the position where the Koi’s heading to, and it continuously calls events through the Generate Location Event module while Rotate around point. The BigKoi ribbon renderer follows the ribbon based on the location of RotateCore through the Receive Location Event. I tried to give the feeling of Koi swimming like in the GIF above.
I wanted to create something as close as possible to the concept art visual, but I couldn’t reach that point due to time&my skill constraints. Instead, I think I successfully implemented most of the context of the concept art, so it was a satisfying challenge.
