I really like what you achieved by layering these textures. What really seduces me are those shapes here - the clean cutouts - on the energy dissipating away from the collision point and flowing backwards.
How do you achieve those? I take that there is some alpha clipping/dissolve going on, but ir ocurred to me it could also have flipbooks on it too.
I’m currently doing something similar, but it still didn’t “click” in me what kind of textures and noises I should use to have those cutouts shaped like that when dissolving things away.
I’m really eager to make my own anime-like ultimate barrage kamehameha rasengan spirit bomb attack that would completely desintegrate the enemy too
Hi guys! Here’s my second FX post for my student project Umiko. It’s a compilation with some simple breakdowns, please take a look if you want! https://www.artstation.com/artwork/ZeWdJG
(it’s not the best way actually as it was my first fx I didn’t care about optimization so much. I should have made another UV set where I could have the spikes bigger in the texture map because here the spikes are really small so it’s a big loss of resolution)
Once I have those textures and masks, I combine them so that my texture is cut by the spikes to make something irregular.
Finally, repeat those steps with different, textures, speeds and colors.
Hey Chipster! Got carried away doing other stuff and forgot to reply!
Many thanks man! I’ll try it anytime soon once I’m done with a Slash I’m working on and already plan on coming over here again to bother you a little bit more hehe.
I finally found some time to make this personal project I had in mind since the Dragon’s Rise challenge! Check it out on Artstation here: https://www.artstation.com/artwork/xDXbmr
(The mesh is high poly as I wanted to make a nice deformation using World Position Offset)
Thanks to the twisted topology, I could easily get a nice flowing water shader by using two different textures with their own speed and direction.
The coloring of the sphere is made by using two different fresnels (small bright on borders & large darker). I also used a small uv gradient to soften the bottom of the dome.
As mentioned in my artstation post, I used a post-process material to colorize the character and hide its feet.
After that, I duplicated the dome mesh, scaled it, and made a noisy shader with fresnel masking on the edges.
And for the final touch, I faked the highlight with a custom mesh and bright emissive
Same process for the bottom of the dome, I made a simple ring mesh with noise texture. To speed up the process I used some textures of the amazing VFX texture pack by Hun Young Ha you can check them here these are truly awesome:
The main texture is below and I made a special dissolve that allows me to make the swirl appear from the bottom to the top by making a band that scrolls along the UVs.
I like your work and have been greatly inspired by it. Currently, I am attempting to create a similar effect for my studies and am working on a shader for a water dome. My approach involves using a Fresnel node as a mask to interpolate between another Fresnel effect and a color.
While the shader seems to be functioning, I am finding it challenging to manipulate the colors to achieve the desired effect. Could you provide some guidance or tips on how to improve my approach to achieve a result closer to yours?
Actually, I find it easier to work with the standard Fresnel node and then control it thanks to a SmoothStep. This way the mask values are always standing between 0 and 1 so that the input colors are preserved.