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Check out this cinematic FullDome 8K render created in Unreal Engine by Ivan Elizarov using Camera Render Studio and the Cinematic Earth asset by HuguesCG. The domed presentation format is intended for use cases like Planetariums, immersive theatres and more🌎 "In this render, I wanted to demonstrate how a... show more

Unreal Engine

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Seedance 2.0 - Advanced Workflows Series 12. Cinematics with Unreal Engine and Claude Fable 5 Fable 5 is an absolute beast model that can take control of Unreal Engine and create videogames. We can build scenes as a little video game with physics and assets and configure a playable character to create a cinematic scene. In this example I created a scene of an astronaut lost in space floating between asteroids. I created a zero gravity environment and made assets like cubes and spheres representing asteroids interact in this environment. I recorded the gameplay and later place a camera to build the cinematic. Workflow + Prompts 👇

Seedance 2.0 - Advanced Workflows Series 12. Cinematics with Unreal Engine and Claude Fable 5 Fable 5 is an absolute beast model that can take control of Unreal Engine and create videogames. We can build scenes as a little video game with physics and assets and configure a playable character to create a cinematic scene. In this example I created a scene of an astronaut lost in space floating between asteroids. I created a zero gravity environment and made assets like cubes and spheres representing asteroids interact in this environment. I recorded the gameplay and later place a camera to build the cinematic. Workflow + Prompts 👇

VoxelPlot

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This video shows the velocity buffer used to render motion blur during post-processing in the C4 Engine. The screen-space velocity accounts for the motion of the camera, objects, and even vertices for cloth and skinned meshes. This technique is described in FGED2, Section 10.7.

This video shows the velocity buffer used to render motion blur during post-processing in the C4 Engine. The screen-space velocity accounts for the motion of the camera, objects, and even vertices for cloth and skinned meshes. This technique is described in FGED2, Section 10.7.

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In Uniform you can use multiple viewport panels to design the final render views for a project presentation. All viewports can have independent shading modes and allow scene and camera settings editing. This demo is running on a 2018 3rd gen iPad Pro.

In Uniform you can use multiple viewport panels to design the final render views for a project presentation. All viewports can have independent shading modes and allow scene and camera settings editing. This demo is running on a 2018 3rd gen iPad Pro.

Sparseal

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Check out how Perception designed the main title for the end credits of #TheMarvels in this design breakdown. Using #Cinema4D, we created a 3D model of our type. A render of the type was brought into #Photoshop, painted over and mapped back on to the 3D geometry to create the illustrated look. Each outline, edge highlight and grunge texture was meticulously placed to get the perfect style.

Check out how Perception designed the main title for the end credits of #TheMarvels in this design breakdown. Using #Cinema4D, we created a 3D model of our type. A render of the type was brought into #Photoshop, painted over and mapped back on to the 3D geometry to create the illustrated look. Each outline, edge highlight and grunge texture was meticulously placed to get the perfect style.

Perception

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Color grading in Blender is how you build your visual style. Most artists skip it — and every render ends up looking like a render. Technically fine. Visually forgettable. Grading directly in Blender means no external tools, no roundtripping. Cinematic result straight out of the renderer. But more than that — this is where your signature look comes from. The contrast, the temperature, the way shadows feel. That's not the scene. That's you. Ignore it and you're always one step away from having a style of your own. Power Grade Color Grading in Blender add-on:

Color grading in Blender is how you build your visual style. Most artists skip it — and every render ends up looking like a render. Technically fine. Visually forgettable. Grading directly in Blender means no external tools, no roundtripping. Cinematic result straight out of the renderer. But more than that — this is where your signature look comes from. The contrast, the temperature, the way shadows feel. That's not the scene. That's you. Ignore it and you're always one step away from having a style of your own. Power Grade Color Grading in Blender add-on:

SLAVO | c g s l a v

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What are interactive cutscenes in Echo Of The Horizon? An interactive cutscene is a dynamic storytelling technique that engages players by allowing them to influence the unfolding narrative. In #EOTH, the interactive cutscene is designed to seamlessly integrate player actions with the cinematic experience. Unlike pre-rendered cutscenes, the interactive cutscene in EOTH plays out from the player's exact position in the #game world. This immersive approach enables players to see themselves within the scene, enhancing their sense of presence and immersion. As the cutscene progresses, the camera smoothly transitions to the player's perspective, seamlessly blending the cinematic elements with the player's viewpoint. This interactive design ensures that players remain actively engaged in the narrative, creating a more immersive and compelling gaming experience. #UnrealEngine5 #Web3gaming #playtoearn #GameFi

What are interactive cutscenes in Echo Of The Horizon? An interactive cutscene is a dynamic storytelling technique that engages players by allowing them to influence the unfolding narrative. In #EOTH, the interactive cutscene is designed to seamlessly integrate player actions with the cinematic experience. Unlike pre-rendered cutscenes, the interactive cutscene in EOTH plays out from the player's exact position in the #game world. This immersive approach enables players to see themselves within the scene, enhancing their sense of presence and immersion. As the cutscene progresses, the camera smoothly transitions to the player's perspective, seamlessly blending the cinematic elements with the player's viewpoint. This interactive design ensures that players remain actively engaged in the narrative, creating a more immersive and compelling gaming experience. #UnrealEngine5 #Web3gaming #playtoearn #GameFi

EOTH

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You can basically generate your own custom visual stories using Gemini with just a single prompt 'This is a fictional movie set in a fantasy world similar to The Lord of the Rings. Use this as a starting point and imagine the next sequence of scenes. Create a series of separate images, each depicting a distinct moment in the story, presented in a sequential order like a storyboard. Include quotes for each image to narrate the events happening within it. Ensure the flow between images is consistent and logical, with each one styled like a cinematic movie shot that advances the narrative. Maintain the same format and visual style across all images to keep them cohesive'

You can basically generate your own custom visual stories using Gemini with just a single prompt 'This is a fictional movie set in a fantasy world similar to The Lord of the Rings. Use this as a starting point and imagine the next sequence of scenes. Create a series of separate images, each depicting a distinct moment in the story, presented in a sequential order like a storyboard. Include quotes for each image to narrate the events happening within it. Ensure the flow between images is consistent and logical, with each one styled like a cinematic movie shot that advances the narrative. Maintain the same format and visual style across all images to keep them cohesive'

Cristian Peñas ░░░░░░░░

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Gaussian splatting as part of the UI – a lot went into making this as performant as possible – for example, for the frosting effect I track the card in screen-space and only render to and sample the pixels touched by the blur

Gaussian splatting as part of the UI – a lot went into making this as performant as possible – for example, for the frosting effect I track the card in screen-space and only render to and sample the pixels touched by the blur

🌈 George Corney

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Christopher Nolan says The Odyssey is a promise he made to himself at 16, watching a volcano documentary in a dome-screen IMAX in Chicago. Christopher Nolan: "Going to the Museum of Science and Industry in Chicago when I was 16 years old, seeing a documentary about volcanoes in the OmniMax format, and thinking... why on earth isn't Hollywood using this format? I always wanted to be a director. If I ever got the chance, could I shoot a film in this way?" Christopher Nolan: "I called my friends at IMAX and said, look... if ever we're going to make a film entirely on IMAX, this is The Odyssey. This is the one. Can you find a way to alleviate the limiting factor? The cameras are extremely loud." Christopher Nolan: "What they did is they came up with a way of blimping the camera... a high-tech box that silences it. The thing weighed about 300 pounds. But it let us, for the first time ever, get the quiet scenes, the dramatic scenes, and therefore do the whole film."

Christopher Nolan says The Odyssey is a promise he made to himself at 16, watching a volcano documentary in a dome-screen IMAX in Chicago. Christopher Nolan: "Going to the Museum of Science and Industry in Chicago when I was 16 years old, seeing a documentary about volcanoes in the OmniMax format, and thinking... why on earth isn't Hollywood using this format? I always wanted to be a director. If I ever got the chance, could I shoot a film in this way?" Christopher Nolan: "I called my friends at IMAX and said, look... if ever we're going to make a film entirely on IMAX, this is The Odyssey. This is the one. Can you find a way to alleviate the limiting factor? The cameras are extremely loud." Christopher Nolan: "What they did is they came up with a way of blimping the camera... a high-tech box that silences it. The thing weighed about 300 pounds. But it let us, for the first time ever, get the quiet scenes, the dramatic scenes, and therefore do the whole film."

PrimeNic

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To achieve it, I used a single Niagara actor to read the screen-space velocity directly from the GBuffer and apply that to a render target by using a Grid2D interface to loop through each screen pixel. The rest is mapping, manipulating and masking that in the material :) #Shaders

To achieve it, I used a single Niagara actor to read the screen-space velocity directly from the GBuffer and apply that to a render target by using a Grid2D interface to loop through each screen pixel. The rest is mapping, manipulating and masking that in the material :) #Shaders

Pedro Borges

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Village in the Clouds by Lucas Cavalcanti 3D, is a personal, game-ready environment project based on the artwork of 简繁, created to improve his understanding of large-scale environments in Unreal Engine 5. The scene was crafted from scratch, including props, vegetation, textures, VFX, landscape and buildings. In addition to this, the main character was created in VRoid Studio, the modeling and texturing of the Yak was done by 3D Artist Guilherme Miles and the art direction was handled by Concept Artist Dan Vitoria. "I built this project from scratch, using mostly information freely available on the internet. Planning and persistence were crucial to achieving this result. Unreal Engine’s native tools made my work much easier, such as the Vertex Paint tool for texturing the house walls and the Niagara System for creating real-time waterfalls." - Lucas Cavalcanti

Village in the Clouds by Lucas Cavalcanti 3D, is a personal, game-ready environment project based on the artwork of 简繁, created to improve his understanding of large-scale environments in Unreal Engine 5. The scene was crafted from scratch, including props, vegetation, textures, VFX, landscape and buildings. In addition to this, the main character was created in VRoid Studio, the modeling and texturing of the Yak was done by 3D Artist Guilherme Miles and the art direction was handled by Concept Artist Dan Vitoria. "I built this project from scratch, using mostly information freely available on the internet. Planning and persistence were crucial to achieving this result. Unreal Engine’s native tools made my work much easier, such as the Vertex Paint tool for texturing the house walls and the Niagara System for creating real-time waterfalls." - Lucas Cavalcanti

Unreal Engine

45,598 görüntüleme • 5 ay önce

$Great question! 🤔 How do you simulate *multiple* layers of glass/refraction in video games? In the last breakdown, I discussed how to create a glass shader in Unity URP. In essence, we were taking the render of the scene from the camera without any transparent objects. This is available in URP as the global _CameraOpaqueTexture. This is good enough for most use-cases, and more or less the classic way of doing it. 🔍 What is _CameraOpaqueTexture? As the name implies, there are no transparent objects rendered into this texture, so it's not possible by default to have something like a transparent-type ocean material/shader rendered through a refractive glass shader (which samples and distorts this texture to render on its surface, as if it's transparent). ⚠️ Why it’s tricky: It's much easier to sort without much further setup if you don't have refraction, and only a transparent material, because in that case you're not simulating the transparency yourself via sampling the rendered scene texture. But for refraction, it's required-- unless you want to go down the ray/path tracing route. You could simulate accurate, real dispersion... and that's about as expensive as it sounds, and it requires a rework of your entire rendering. --> 🚫 It's not a viable suggestion to offer. 📚 There are well-known terms regarding transparency sorting you can search up, but as you've specifically asked for refractive boxes, I'll discuss briefly about that. 🧱 Simulating layers of refraction: For this kind of rendering, you need some way to render the backfaces before rendering the front. And the backfaces that are rendered may contain whatever data you'd like for additional processing in the layer front-facing mesh render. 🧪 Examples: You could render the back face as a glass shader of its own, as an intermediate step after _CameraOpaqueTexture. Then you sample this texture instead and you end up with multi-layered refraction, "just like that". You can also render the back normals only, via a fully opaque shader, and use that to manually account for that during the front render. You could even bake in data needed for thickness in realtime. 🛠️ Without making it complicated for yourself, the most straightforward method is via render textures, and you can easily set some fractional resolution. Cameras in Unity have an open slot for target textures to render to. You can use custom render textures to process _SelfTexture2D. ⏱️ It's great to do low-resolution processing for more complex tasks, like blurring and caustics. You can get massive performance boosts, considering the square law and number of pixels/fragments that need calculations (quadratic scaling). 🚧 I've not fully exploited the possibilities myself, but research/development with PRISM is ongoing!$

Great question! 🤔 How do you simulate multiple layers of glass/refraction in video games? In the last breakdown, I discussed how to create a glass shader in Unity URP. In essence, we were taking the render of the scene from the camera without any transparent objects. This is available in URP as the global _CameraOpaqueTexture. This is good enough for most use-cases, and more or less the classic way of doing it. 🔍 What is _CameraOpaqueTexture? As the name implies, there are no transparent objects rendered into this texture, so it's not possible by default to have something like a transparent-type ocean material/shader rendered through a refractive glass shader (which samples and distorts this texture to render on its surface, as if it's transparent). ⚠️ Why it’s tricky: It's much easier to sort without much further setup if you don't have refraction, and only a transparent material, because in that case you're not simulating the transparency yourself via sampling the rendered scene texture. But for refraction, it's required-- unless you want to go down the ray/path tracing route. You could simulate accurate, real dispersion... and that's about as expensive as it sounds, and it requires a rework of your entire rendering. --> 🚫 It's not a viable suggestion to offer. 📚 There are well-known terms regarding transparency sorting you can search up, but as you've specifically asked for refractive boxes, I'll discuss briefly about that. 🧱 Simulating layers of refraction: For this kind of rendering, you need some way to render the backfaces before rendering the front. And the backfaces that are rendered may contain whatever data you'd like for additional processing in the layer front-facing mesh render. 🧪 Examples: You could render the back face as a glass shader of its own, as an intermediate step after _CameraOpaqueTexture. Then you sample this texture instead and you end up with multi-layered refraction, "just like that". You can also render the back normals only, via a fully opaque shader, and use that to manually account for that during the front render. You could even bake in data needed for thickness in realtime. 🛠️ Without making it complicated for yourself, the most straightforward method is via render textures, and you can easily set some fractional resolution. Cameras in Unity have an open slot for target textures to render to. You can use custom render textures to process _SelfTexture2D. ⏱️ It's great to do low-resolution processing for more complex tasks, like blurring and caustics. You can get massive performance boosts, considering the square law and number of pixels/fragments that need calculations (quadratic scaling). 🚧 I've not fully exploited the possibilities myself, but research/development with PRISM is ongoing!

Mirza Beig

51,429 görüntüleme • 1 yıl önce

This is how I like to build components It should feel like a library of lego blocks that you can assemble pages out of - minimize entropy in the api surface - combine components into bigger lego blocks - use render prop slots to enforce layouts

This is how I like to build components It should feel like a library of lego blocks that you can assemble pages out of - minimize entropy in the api surface - combine components into bigger lego blocks - use render prop slots to enforce layouts

jacob paris ▲

39,239 görüntüleme • 1 ay önce

We’ve been saying that OctaRender is the rendering breakthrough every artist has been waiting for, but today, we MEASURE that. We don’t just build a feature-rich platform — we build something that performs. Our goal is for artists to get results as quickly as possible, without compromising on quality. We are continually improving, optimizing, and benchmarking against other platforms. Here's an example of a render comparison between The Render platform and OctaRender. You can check out the comparison in render speeds in the video. Render Info: - Scene: 100 frames at 1024 samples - Rendered on: $RENDER (left) using their Tier 2 (highest speed level) and on OctaRender (right) Notes: The render on OctaRender uses Cycles, while on Render, it uses Octane. Both engines are comparable in terms of rendering capabilities. OctaRender with Cycles maintains compositing nodes.

We’ve been saying that OctaRender is the rendering breakthrough every artist has been waiting for, but today, we MEASURE that. We don’t just build a feature-rich platform — we build something that performs. Our goal is for artists to get results as quickly as possible, without compromising on quality. We are continually improving, optimizing, and benchmarking against other platforms. Here's an example of a render comparison between The Render platform and OctaRender. You can check out the comparison in render speeds in the video. Render Info: - Scene: 100 frames at 1024 samples - Rendered on: $RENDER (left) using their Tier 2 (highest speed level) and on OctaRender (right) Notes: The render on OctaRender uses Cycles, while on Render, it uses Octane. Both engines are comparable in terms of rendering capabilities. OctaRender with Cycles maintains compositing nodes.

OctaSpace

16,475 görüntüleme • 1 yıl önce

$Why spend hundreds on videography when AI UGC can deliver authentic, high-converting content faster and at a fraction of the cost? From image to cinematic video, every scene was created using Al to achieve a luxury skincare commercial look. Prompt in the comments$

Why spend hundreds on videography when AI UGC can deliver authentic, high-converting content faster and at a fraction of the cost? From image to cinematic video, every scene was created using Al to achieve a luxury skincare commercial look. Prompt in the comments

Isabella

31,304 görüntüleme • 12 gün önce

Mirrors in 007 look INSANELY clean. But they’re NOT using pathtracing or raytracing. They literally render the entire scene from a mirrored camera viewpoint and slap it onto the flat surface. Perfect realtime reflections of Bond, his backpack, the whole room + lighting… all super efficient. Same classic planar/render-to-texture trick used in Hitman and even GTA San Andreas back in the day. It works smoothly on any hardware without the heavy cost of raytraced or pathtraced reflections. Smarter than forcing pathtracing everywhere, right?

Mirrors in 007 look INSANELY clean. But they’re NOT using pathtracing or raytracing. They literally render the entire scene from a mirrored camera viewpoint and slap it onto the flat surface. Perfect realtime reflections of Bond, his backpack, the whole room + lighting… all super efficient. Same classic planar/render-to-texture trick used in Hitman and even GTA San Andreas back in the day. It works smoothly on any hardware without the heavy cost of raytraced or pathtraced reflections. Smarter than forcing pathtracing everywhere, right?

Rooster

147,774 görüntüleme • 2 ay önce

A few environments, created locally on my PC in a few seconds each using that cool new Apple image to Gaussian splat tech, stitched together and lit in Octane Render 2026 and combined with a few models made using Hyper3D by Deemos Rodin. Next year is bound to be the year of Generative 3d.

A few environments, created locally on my PC in a few seconds each using that cool new Apple image to Gaussian splat tech, stitched together and lit in Octane Render 2026 and combined with a few models made using Hyper3D by Deemos Rodin. Next year is bound to be the year of Generative 3d.

Martin Nebelong

10,485 görüntüleme • 7 ay önce

I ported my #Gamecube game engine to PC, and even in its unoptimized state, it runs at 60 FPS with a minimum render distance of 64 chunks on my laptop -- double the maximum render distance of Minecraft: Java Edition. Powerful hardware won't be necessary for the game to run smoothly at long render distances. The PC port will streamline the debugging process, allowing for faster improvements across all platforms, including the Gamecube and #Dreamcast, and Wii. #indiegamedev #gamedev

I ported my #Gamecube game engine to PC, and even in its unoptimized state, it runs at 60 FPS with a minimum render distance of 64 chunks on my laptop -- double the maximum render distance of Minecraft: Java Edition. Powerful hardware won't be necessary for the game to run smoothly at long render distances. The PC port will streamline the debugging process, allowing for faster improvements across all platforms, including the Gamecube and #Dreamcast, and Wii. #indiegamedev #gamedev

A Flock of Meese

80,412 görüntüleme • 1 yıl önce

Control and render on the map in three dimensions with the power of WebGL and the Maps JavaScript API. ✨ ✈️ Check out this demo to see plans for a trip to London, including the flight, transportation, stay, and attractions, all in one interactive setting ➡️

Control and render on the map in three dimensions with the power of WebGL and the Maps JavaScript API. ✨ ✈️ Check out this demo to see plans for a trip to London, including the flight, transportation, stay, and attractions, all in one interactive setting ➡️

Google Maps Platform

71,349 görüntüleme • 4 ay önce

The Graphics and VFX team at WWE TV Production had just two weeks to render out 400 deliverables for the Clash in Paris wrestling extravaganza. Unreal Engine 5 helped them hit the deadline and achieve a stunning Van Gogh-style look by laying the smackdown on long rendering times. You can read all about it here:

The Graphics and VFX team at WWE TV Production had just two weeks to render out 400 deliverables for the Clash in Paris wrestling extravaganza. Unreal Engine 5 helped them hit the deadline and achieve a stunning Van Gogh-style look by laying the smackdown on long rendering times. You can read all about it here:

Unreal Engine

16,940 görüntüleme • 8 ay önce