Oh no, it is definitely good enough, it looks great!
Thank you for your interest in this.Yes, they are mesh，It is a mesh generated by Trail on the animation event.Add a notification state to the animation event, and then take two points where a stripe is drawn between the two points.
3 Likes
Wow, pretty cool effects! I think the effects match the animations very well. Did you do the character animations and the camera movement also by yourself? They create an epic feeling. 
Yes, the camera also made an animation
Are you using two different particles here? One for distortion and one for adding a little additive stuff? Would you mind share how the textures look like? 
Hi Simon,I’m glad you are interested in the visual effects and questions, in fact, it is only a texture map, and a transmitter, you can see the texture and material from the figure, because the background is the sky box, the texture in this part is not refracted, so it looks like it should be, and in ground transfer part is refracted, so it looks like a two particle.
3 Likes
Thank you! Wow…that’s interesting. I didn’t know that you can use a gray scale map as normal map. Thanks for the post!
How did you create your texture? Is is Photoshop-Painted or generated in Substance? I’m not that good with textures and struggling often to create them
I’m not very good at making maps, and I can draw some simple textures. I saw you share the visual effects of rime some time ago. It’s a great work. You’ve made me learn a lot. Thank you.
2 Likes
You are welcome.
1 Like
from slide 77, Sarah Grissom’s part is all about photoshop tricks for VFX.
For this sort of textures, the radial blur in photoshop is your friend.
(Can’t look at substance right now but I bet they’ve got similar tools)
Start from a fireworks / sparky texture for instance, apply different levels of radial blur in zoom mode, mix and match and voilà!
You can also just start from a few dots but I tend to like using pictures as a base because it gives you more details.
This texture for instance was created using a mix of radially blurred images, it is kind of similar to Silver’s texture:
These as some of the layers that make it up. It’s a case of simple add of multiply blends between layers, and some levels here and there. And every single one of these layers have been radially blurred as a start.
5 Likes
thank you! i just found this, which is also interesting. in substance for example you could use a “Cartesian to polar” node to convert the right textures into the left.
2 Likes
5 Likes
The issue I found with the right-to-left workflow is that it’s incredibly difficult to get some of the “pointier” flares. When you use the polar distort, you get your ends flared out unless the points are very thin and very precise, which I’ve found very hard to get in a time efficient workflow
1 Like
A technique I’ve used in the past is to create some simple geo in maya and render my texture on that to create texture distortions. Super useful for straight to rings etc that photoshop doesn’t do natively. Also means you can use some maya tools in your workflow, like adding noise etc.
An adjustment to the polar coordinate technique I’ve used is to initially not do any fade at all, but rather keep it as a single horizontal gradient. After applying the polar coordinate filter I apply a radial gradient with a darken blend and a curve adjustment layer that applies only to that darken layer. From there you can adjust the curve to shape the points however you want. Using 16 bpc all the way through can be beneficial here to prevent some potential banding.
1 Like
thank you very much, i really appreciate it a lot! may i come back later asking you some questions? i’m currently under the effects of sarms reviews that i’ve taken that my doctor put me on because of my health problems. i see that you really know these things very good and i will appreciate if you could help me a little bit later when i would come back!
Love for that mob spawn ! how you did It 
Hey! I am learning a lot from this thread! So, I delved into the GDC presentation about making burst textures with Photoshop’s polar tools, but now I am quite embarrassed to ask… how are they used? It looks like they are just huge cards, but it is hard for me to tell. The motion is very short and then it sort of holds its position. Does anybody have pointers on this technique?
Are these particles also always aligned to camera as well? It seems like the intention is just an “exclamation” on the impact… like speed lines in manga or something. Are they often centered around an impact point of sorts? They look like they also have motion blur, but I bet that is just the softness (and largeness) of the texture talking, right?
Sorry for the stupid questions, I am just getting started.
Don’t be embarrassed, friend!
First of all, I can draw a vertical line in PS
And then use the motion blur
Use Gauss blur again
Final use of polar coordinates
It’s so simple, it’s done.
I have previously drawn a cartoon light, and I also used the polar coordinates. The basic method is below
I hope to help you
9 Likes