Overlaying Wave Rig
At a previous internship, I had a brief that required a 2D AfterEffects wave animation. After researching and realizing there was no easy and nondestructive way to animate overlapping waves, I decided I should create a tool that can help myself and others with this common problem.
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This is a vector-based script UI panel that you install into AfterEffects that includes 5 functions, one to create a rig and 4 options for modules that create 4 different types of waves for whatever the prompt may need. I have created this to have both constructive and destructive interference, meaning that you can layer wave type modules for overlapping waves resulting in wave interaction for a more realistic motion.
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There is no wave rig right now that includes combinable modules, I scripted this with the final animator in mind to make it as user friendly as possible. The modular style and compact layers of this AfterEffects script makes it easy to use and so that you only see what you need to.
Elden Ring Sword Design
When I’m not playing Elden Ring, I’ve been messing around with Substance Painter and creating my own 3D assets. So coming up with my own take on a weapon for the game seemed like a perfect project for me! I’ll be eventually turning this into a full animation with unique VFX to support the sword’s design.
I must give a ton of credit to Ehsan Brd's ornament pack on art station. I hand
placed well over 100 of these assets to create the ornamentation that matches the shape of the sword.
I was really inspired by how intentional Elden Ring’s weapons are and how important they are to the story of the game. I hoped to evoke a similar level of conceptual detail in how this sword is designed. The water droplet and basin shapes are meant to represent harvesting the dew from the erdtree and Im sure that will be visualized in the VFX and moveset as well.
Brush Stroke Explosion
Atomized Scene
An exploration into turning render and material data into point cloud data.
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It started with creating a fully rendered scene in Cinema 4D, with fully setup materials in lighting.
Then, the scene, camera, and rendered frame were imported into Houdini. Based on the contrast of the image, I scattered particles on a grid next to the camera and rayed those particles onto the original scene geometry. All of the particles were then given a camera facing card with the color information of the original rendered image.
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