3D CHARACTER • FX • GENERALIST

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Visual development of a cyberpunk city scene. Explored the use of Niagara VFX systems, Blueprint Materials & Modular Control Rig in UE5.4. Environmental assets were sourced online from Unreal Marketplace and Sketchfab, assembled together to showcase female character model that was made by me. Character sculpted in Zbrush, clothing simulated in Marvelous Designer, retopologised and unwrapped in Maya, textured in Substance Painter, hair groomed using Maya XGen, lastly, Lighting and Rendering in Unreal Engine 5.

Video editing trend on TikTok. Base character model sculpted in Zbrush and retopologised in Maya. Clothing made using Marvelous Designer and retopologised in Maya. Model textured in Substance Painter. Character hair made using XGen Interactive groom. Lighting, Niagara systems, hair groom, Chaos Cloth simulations, posing and rendering done using Unreal Engine 5.4. Colour grading, Speedramp edit and final output exported using After Effects.

Testing out Hair Groom and Chaos Cloth in Unreal Engine 5.4.

Testing out Hair Groom and Chaos Cloth in Unreal Engine 5.4.

In the depths of the Verdant Abyss, an ancient jungle, lives Nineveh, the Insect Mother, an immortal queen who rules over a thriving ecosystem of life and death. Once a humble nature spirit, Nineveh was tasked by the gods to oversee the balance of beauty and brutality in nature. Burdened by this cycle, she sought transformation in the Forbidden Grove, where she drank from the Eternal Pitcher, a sacred carnivorous plant. This transformed her into a hybrid creature, embodying the elegance of a butterfly, the cunning of a flower mantis, and the deadly allure of a pitcher plant, making her the powerful Queen of the Verdant Abyss. Creature designed and sculpted in ZBrush, textured in Substance Painter, rendered in Unreal Engine 5.4.

Anya launches massive hollow purple at peanut thieves. Re-rendered Anya in Unreal Engine 5.4 and added toon outlines and new hair pearlescent material. Experimented with Niagara particles to produce hollow purple VFX.

Sculpted in ZBrush, Retopo in Maya, Textured in Substance Painter, Lighting and Rendering in Unreal Engine 5.

Animation showcasing Single fire, Burst fire, Full auto, Reload & Inspect animations for first-person shooters. Hand and rifle modeled, rigged, and animated in Maya. Textures done in Substance Painter. Final output rendered in Unreal Engine 5.4.

3D model of Kylo Ren's lightsaber. Modelled in Maya, textured in Substance Painter, lightsaber particle effect done using Niagara VFX and rendered in Unreal Engine 5.4.

3D model of Anya based on the iconic Pop Up Parade figurine from Good Smile Company ✨️ Modelled and Rendered in Maya, Textured in Substance Painter.

Animation representing what the average gym bro is listening to. Modelling, Rigging, Animation, Rendering done in Maya. Texturing done in Substance Painter.

Compositing, Camera Tracking and colour grading done in Nuke. Footage and assets taken from various online sources. 0:00 Clip 0:14 Rewind 0:16 VFX Breakdown

A sequel to the original N30 that was made in Unity, N30.2 was rebooted in Unreal Engine 5 with new graphics and 'gameplay'. While not actually a playable game, this project was done to familiarise myself with Unreal Engine 5. I've learnt about: - character retargeting - simple cloth simulations (as seen in the playable character's hair) - basic use of trigger boxes to activate cutscenes, vfx, and sfx; - manipulating material nodes to create emissive colours within existing texture maps - on trigger commands (to whistle for dog companion and activate ki-aura effect around playable character - blueprint programming to reduce opacity of meshes within Niagara VFX - blueprint programming to create zoomable 3rd person camera - scene assembly - lighting 3D Assets asides from playable female character (Hitomi) are sourced from Unreal Marketplace and Sketchfab. Hitomi was sculpted in Zbrush, Clothing done Marvelous Designer, Retopologised in Maya, Textured in Substance Painter, Rigged with Mixamo. Sound Assets from various online sources.

Poster composited in Photoshop and brought into After Effects for animations. Full video (because Youtube blocked the full version): https://vt.tiktok.com/ZS6Vmsu5U/

Unable to move on from her past, the protagonist digs up old VHS tapes that she took during her adolescent years. As she plays back the videos, she reminisces about the good times that she had with her close friends. However, the painful memories of losing her friends come flooding in soon after. She blames herself for not being able to prevent the tragedy and wallows in regret. No matter how tough the situation gets, the protagonist learns that she will have to move on someday, and ultimately drops her camcorder as she finally learns to let go. Before the passing of my friend, both of us really enjoyed Joji’s works as well as his YouTube persona, so Joji has been a big inspiration for my ideas so far and will continue to be for as long as I’m alive. The low-quality nostalgic effect of Joji’s Yeah Right MV stood out to me and I wanted to try and emulate the same mood. As a K-pop enjoyer, the release of Ditto came at the best timing possible and with the song being stuck in my head, I thought I might as well produce a work based on the found-footage clips on NewJean’s alternate account, Ban Heesoo. For narrative-wise, I was inspired by the dialogue of Shelter by Porter Robinson. I used the Japanese voiceover to accompany my original narrative and I think it worked decently well. Video edited in Premiere Pro.