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Restricted: Sublevel Quarantine is an environment project by Lead Environment Artist Doru Bogdan and inspired by the Metro game series. The creation utilizes UE5's MegaLights, Nanite Displacement, Texture Blending and more 🚧 "My spline-based tunnel modular meshes kept flickering and distorting from a distance. I thought it needed more... show more

Unreal Engine

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19,480 views • 5 days ago •via X (Twitter)

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3 Comments

Sierra Division5 days ago

@DoruArt 🔥🔥🔥🔥

zero5 days ago

@DoruArt all with UE5 below

QDY5 days ago

@DoruArt good job.

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Luxury Dinning is a creative project from Environment Artist keerthi vasan. Inspired by professional dining halls, the project is comprised of 60 meshes with lumen and nanite support as well as three level maps handling day lighting, night lighting and an overview level map. "While Working on this project, I learned lighting workflows better - volumetric fog usage is highly useful to create a realistic feel." - Keerthivasan

Luxury Dinning is a creative project from Environment Artist keerthi vasan. Inspired by professional dining halls, the project is comprised of 60 meshes with lumen and nanite support as well as three level maps handling day lighting, night lighting and an overview level map. "While Working on this project, I learned lighting workflows better - volumetric fog usage is highly useful to create a realistic feel." - Keerthivasan

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Proxy Meshes aren't always ideal because many of the vertices are filler. They have to be in the right place to complete the surface shape and you have to worry about keeping the shape clean. But for simple shapes or clean curved surfaces, why not use curves directly Previously I've solved this by lofting the proxy mesh from a simpler set of curve profiles, but why not skip that and just define the Normals with the curve profiles directly? With typical Data Transfer modifier this isn't an option, but with Geometry Nodes it is no problem. And potentially gives much more control over interpolation and rigging.

Proxy Meshes aren't always ideal because many of the vertices are filler. They have to be in the right place to complete the surface shape and you have to worry about keeping the shape clean. But for simple shapes or clean curved surfaces, why not use curves directly Previously I've solved this by lofting the proxy mesh from a simpler set of curve profiles, but why not skip that and just define the Normals with the curve profiles directly? With typical Data Transfer modifier this isn't an option, but with Geometry Nodes it is no problem. And potentially gives much more control over interpolation and rigging.

aVersionOfReality

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Flexible Isosurface Extraction for Gradient-Based Mesh Optimization paper page: This work considers gradient-based mesh optimization, where we iteratively optimize for a 3D surface mesh by representing it as the isosurface of a scalar field, an increasingly common paradigm in applications including photogrammetry, generative modeling, and inverse physics. Existing implementations adapt classic isosurface extraction algorithms like Marching Cubes or Dual Contouring; these techniques were designed to extract meshes from fixed, known fields, and in the optimization setting they lack the degrees of freedom to represent high-quality feature-preserving meshes, or suffer from numerical instabilities. We introduce FlexiCubes, an isosurface representation specifically designed for optimizing an unknown mesh with respect to geometric, visual, or even physical objectives. Our main insight is to introduce additional carefully-chosen parameters into the representation, which allow local flexible adjustments to the extracted mesh geometry and connectivity. These parameters are updated along with the underlying scalar field via automatic differentiation when optimizing for a downstream task. We base our extraction scheme on Dual Marching Cubes for improved topological properties, and present extensions to optionally generate tetrahedral and hierarchically-adaptive meshes. Extensive experiments validate FlexiCubes on both synthetic benchmarks and real-world applications, showing that it offers significant improvements in mesh quality and geometric fidelity.

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AK

38,452 views • 3 years ago

Watching live I thought this was just an overthrow by Hurts. Watching it back I think he is trying to throw it up field a little more to get it over the flat defender since the CB turns and runs in an inverted C2 look. Brown could probably do a better job adjusting to the ball. This is a play these guys make 9 times out of 10.

Watching live I thought this was just an overthrow by Hurts. Watching it back I think he is trying to throw it up field a little more to get it over the flat defender since the CB turns and runs in an inverted C2 look. Brown could probably do a better job adjusting to the ball. This is a play these guys make 9 times out of 10.

Shane Haff

15,407 views • 8 months ago

The #geometrynodes Curve Normals Proxy Rig is almost ready! You place it on the face and adjust some controls to line things up, and it just works. The controls can be worked with in lots of different ways. You can attach it to an existing rig or animate it. Those bones are controlling a mesh which controls the curve points, so you can also make Shapekeys on the meshes instead and Drive them to match other expression keys! The forehead above the top curve blends to Radial Normals, and under the chin blends to the actual mesh Normals. I'm adding the rest of the controls to allow completely arbitrary Normals per curve point, and then its just cleanup and it can be released! (There's lots more that can be added to it like falloff and interpolation controls, but if I try to put everything into the first version it'll never release.)

The #geometrynodes Curve Normals Proxy Rig is almost ready! You place it on the face and adjust some controls to line things up, and it just works. The controls can be worked with in lots of different ways. You can attach it to an existing rig or animate it. Those bones are controlling a mesh which controls the curve points, so you can also make Shapekeys on the meshes instead and Drive them to match other expression keys! The forehead above the top curve blends to Radial Normals, and under the chin blends to the actual mesh Normals. I'm adding the rest of the controls to allow completely arbitrary Normals per curve point, and then its just cleanup and it can be released! (There's lots more that can be added to it like falloff and interpolation controls, but if I try to put everything into the first version it'll never release.)

aVersionOfReality

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This Roman Real-Time Environment is a project by Junior 3D Artist Davide Maddalo for presentation in Unreal Engine 5. Modelled mainly in Maya, the project was a practice in exploring the full real-time pipeline with a focus on how all aspects, from assets to lighting, work together. "One feature I found particularly useful while working on this environment was tri-planar mapping. I learned how it can help project textures consistently across surfaces without relying entirely on traditional UV mapping, which was especially useful for creating more flexible and natural-looking materials within the environment." - Davide Maddalo

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Unreal Engine

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“the most difficult moments were being away from home for a long time, and adapting to something completely different and new. but little by little we became a family, and i learned that i am stronger than i thought. i think what has changed the most is my inner strength. i have learned to take care of my mind, to protect my peace and to stay focused as an artist and as a person. and i also always remind myself why i am here, and who i am, and how i got here, because identity is the most important thing.”

“the most difficult moments were being away from home for a long time, and adapting to something completely different and new. but little by little we became a family, and i learned that i am stronger than i thought. i think what has changed the most is my inner strength. i have learned to take care of my mind, to protect my peace and to stay focused as an artist and as a person. and i also always remind myself why i am here, and who i am, and how i got here, because identity is the most important thing.”

daily meizini

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When the market gets boring and quiet and everyone turns bearish, I like to come back to the story of how I fucked it all up. And I fucked it up a lot of ways, because crypto is genuinely hard. People think the cycles just repeat. They don't. Every one has a different texture, a different context, and it is so easy to get it wrong. I got in back in 2013. Wrote the first ever macro piece on Bitcoin, and bought at $200, straight into a peak right before it slammed down and I felt like an idiot. But I had a thesis. And the mistake was never the thesis. It was letting the noise talk me out of it... selling, trading around it, being clever, when the only thing that ever worked was holding. That is the whole lesson, and it is the one that matters most at times like this. Crypto is one of the only real secular trends that lets you build wealth against the debasement of your salary. And as the Exponential Age accelerates, it matters more, not less. So when the market gets depressing, I do the same thing every time. I go back to the thesis, and I accumulate. Zoom out.

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I built a fully playable 3D platformer game in exactly 3 days, using almost entirely AI-generated assets. To test whether AI can really replace the asset grind, I came up with a steampunk cat universe from scratch and brought it straight into Unreal Engine 5. Here is how it was done, step by step: 👇 🎨 World and prop concepting 🧩 Tripo 3.1 for low-poly smart meshes and PBR textures 🩹 Blender for geometry cleanup and AO baking 🦴 AccuRIG for character animation 🚀 UE5 for level design and blueprints The craziest part is that AI handled the routine, and I still had the creative energy to make the level actually fun. Watch the full workflow and gameplay reveal: #GameDev #TripoAI #UnrealEngine5 #3DModeling #IndieDev #Blender3D

I built a fully playable 3D platformer game in exactly 3 days, using almost entirely AI-generated assets. To test whether AI can really replace the asset grind, I came up with a steampunk cat universe from scratch and brought it straight into Unreal Engine 5. Here is how it was done, step by step: 👇 🎨 World and prop concepting 🧩 Tripo 3.1 for low-poly smart meshes and PBR textures 🩹 Blender for geometry cleanup and AO baking 🦴 AccuRIG for character animation 🚀 UE5 for level design and blueprints The craziest part is that AI handled the routine, and I still had the creative energy to make the level actually fun. Watch the full workflow and gameplay reveal: #GameDev #TripoAI #UnrealEngine5 #3DModeling #IndieDev #Blender3D

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I have watched OVERBOARD countless times. Every generation in my family loved it. It is eminently rewatchable. The great Garry Marshall had a phenomenal run of romantic comedies, and this remains my favorite. There is some suspension of disbelief required, as even as a high schooler, I saw this scene and thought, "That ain't right." No matter how awful she is! But the film is so good-natured, the chemistry and comic timing is perfection, and an early script by yet another great, Leslie Dixon, is superb. How it gets us rooting for them and screaming, "Oh no!" when her husband shows up is an absolute magic trick. It is because I loved movies like this just so much that I never wanted to focus on one genre. Kurt Russell made USED CARS and ESCAPE FROM NEW YORK back-to-back, so I wasn't surprised by his range at the time. But as I get older, I am more and more amazed by it. What a gift he and Goldie Hawn are in this film. I love this movie.

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Here’s Part 2, this time made with Seedance 2.5. This is the final cut, built from shorter generations, and I’m really happy with how it came together. My first attempt was one continuous 30-second generation, but it introduced too many mistakes. At 2.5’s price, repeatedly rerolling a long clip just wasn’t practical. Breaking the sequence into shorter shots gave me much more control over blocking, character placement, vehicles, pacing and the final edit. The biggest upgrade is the rendering. Skin has more texture and looks far less plastic than it often did in 2.0. Multimodal referencing is genuinely useful too. I used character, vehicle and environment sheets, but never needed more than seven references at once. Is it worth the extra cost? Yes, if time matters. I think 2.0 could reach a similar result, but it would take more generations and a lot more work. A few example prompts in next posts 👇 Made via Dreamina AI

Here’s Part 2, this time made with Seedance 2.5. This is the final cut, built from shorter generations, and I’m really happy with how it came together. My first attempt was one continuous 30-second generation, but it introduced too many mistakes. At 2.5’s price, repeatedly rerolling a long clip just wasn’t practical. Breaking the sequence into shorter shots gave me much more control over blocking, character placement, vehicles, pacing and the final edit. The biggest upgrade is the rendering. Skin has more texture and looks far less plastic than it often did in 2.0. Multimodal referencing is genuinely useful too. I used character, vehicle and environment sheets, but never needed more than seven references at once. Is it worth the extra cost? Yes, if time matters. I think 2.0 could reach a similar result, but it would take more generations and a lot more work. A few example prompts in next posts 👇 Made via Dreamina AI

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48,962 views • 1 month ago

How is Esrefrüya going for you? It’s going great. Really. I know it sounds like a cliché, but it truly feels like a dream to me. The project, in every sense the team, the set, the script has really turned out perfectly. It’s a very good production company. And the audience feedback has completely met our expectations. We’re very happy, too. Every week, honestly, besides being an actor, I read the script as if I were a viewer, and I think to myself, “I wonder how it will all come together when we watch it?”It’s all a surprise, really” #DemetÖzdemir #esrefrüya

How is Esrefrüya going for you? It’s going great. Really. I know it sounds like a cliché, but it truly feels like a dream to me. The project, in every sense the team, the set, the script has really turned out perfectly. It’s a very good production company. And the audience feedback has completely met our expectations. We’re very happy, too. Every week, honestly, besides being an actor, I read the script as if I were a viewer, and I think to myself, “I wonder how it will all come together when we watch it?”It’s all a surprise, really” #DemetÖzdemir #esrefrüya

aya 🤍𝑅ü𝓎𝒶

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Everything far away in a game engine can feel small, flat, and washed out. That is correct perspective, but it can make for some poor scenery sometimes. Two features I've added to my engine try to fight against that: Spatial Recession magnifies the distance. After a vertex is projected I push its screen position outward from center. Near geometry is untouched. It only moves x and y, never depth, so nothing sorts differently and nothing z-fights. The result is a long lens bolted onto the far half of a wide one: the tower and the ridgeline loom instead of receding, while I keep the wide field of view I actually play in (FOV is identical in both of these examples). Dimensional Falloff is four distance ramps on the surface itself. Lighting contrast flattens so distant hills stop having a hard lit side and a hard dark side, which is what haze does in real life. Color then desaturates toward its own brightness to fake more distance. Then that desaturated color is pushed, and that is the one doing most of the visible work here. Last is texture detail, with a custom MIP value based on distances. All of it keys off real radial distance from the camera rather than depth This is so it stays put when you turn your head. Performance cost is next to nothing. The recession is two lines in the vertex shader. The falloff is a few lerps at the end of the pixel shader, which was already computing that distance for the mip bias anyway. Quite happy with the results, what do you think? #gamedev

Everything far away in a game engine can feel small, flat, and washed out. That is correct perspective, but it can make for some poor scenery sometimes. Two features I've added to my engine try to fight against that: Spatial Recession magnifies the distance. After a vertex is projected I push its screen position outward from center. Near geometry is untouched. It only moves x and y, never depth, so nothing sorts differently and nothing z-fights. The result is a long lens bolted onto the far half of a wide one: the tower and the ridgeline loom instead of receding, while I keep the wide field of view I actually play in (FOV is identical in both of these examples). Dimensional Falloff is four distance ramps on the surface itself. Lighting contrast flattens so distant hills stop having a hard lit side and a hard dark side, which is what haze does in real life. Color then desaturates toward its own brightness to fake more distance. Then that desaturated color is pushed, and that is the one doing most of the visible work here. Last is texture detail, with a custom MIP value based on distances. All of it keys off real radial distance from the camera rather than depth This is so it stays put when you turn your head. Performance cost is next to nothing. The recession is two lines in the vertex shader. The falloff is a few lerps at the end of the pixel shader, which was already computing that distance for the mip bias anyway. Quite happy with the results, what do you think? #gamedev

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83,914 views • 9 days ago

✨ I made a little demo of #vibejam sponsor Tripo and how you can use it to generate assets for your games In this case I'm generating an apartment flat that's half destroyed and open for my drone sim to fly around, take cover and shoot at enemies from First I write the prompt and select Nano Banana to generate an image first, I get a few different ones, and I select the one I like Then that one is converted into a 3d object called a Smart Mesh Smart Mesh is different than regular image-to-3d models because usually you get issues with uneven polygon distribution, too dense geometry and poor edge flow, so while you think you save time with generating it with AI you end up doing lots of editing after to fix the topology which kinda defeats the point Smart Mesh doesn't have any of this, it's fast and clean low-poly models you can drop into your game Anyway, after generating the model I can then see it in 3d, and if I don't like it, regenerate it, or if I like it start texturing it Once that's done, I export it as a GLB, FBX or OBJ and drop it in (usually I use GLB as ThreeJS seems to prefer that), in my case I just drop the URL into Cursor and let it figure out the placement of the asset into my game!

✨ I made a little demo of #vibejam sponsor Tripo and how you can use it to generate assets for your games In this case I'm generating an apartment flat that's half destroyed and open for my drone sim to fly around, take cover and shoot at enemies from First I write the prompt and select Nano Banana to generate an image first, I get a few different ones, and I select the one I like Then that one is converted into a 3d object called a Smart Mesh Smart Mesh is different than regular image-to-3d models because usually you get issues with uneven polygon distribution, too dense geometry and poor edge flow, so while you think you save time with generating it with AI you end up doing lots of editing after to fix the topology which kinda defeats the point Smart Mesh doesn't have any of this, it's fast and clean low-poly models you can drop into your game Anyway, after generating the model I can then see it in 3d, and if I don't like it, regenerate it, or if I like it start texturing it Once that's done, I export it as a GLB, FBX or OBJ and drop it in (usually I use GLB as ThreeJS seems to prefer that), in my case I just drop the URL into Cursor and let it figure out the placement of the asset into my game!

@levelsio

72,338 views • 4 months ago

Cain Velasquez opens up about managing the emotional toll of prison and the support he found from fellow inmates: "There were moments where I felt like I was going to freak out, but you can't do that. Sometimes I'd just scream for a while, just let it all out and not care what anybody else thought. The guys around me knew I needed that. They knew I had to lose my mind for a minute. By the end of it, I'd just be drained and relaxed. I let it out. I didn't hold it in."

Cain Velasquez opens up about managing the emotional toll of prison and the support he found from fellow inmates: "There were moments where I felt like I was going to freak out, but you can't do that. Sometimes I'd just scream for a while, just let it all out and not care what anybody else thought. The guys around me knew I needed that. They knew I had to lose my mind for a minute. By the end of it, I'd just be drained and relaxed. I let it out. I didn't hold it in."

Ariel Helwani

124,303 views • 1 month ago

this is how i made the Rainbow x MOG COIN app icon. i started by gathering a few joycat references to create a version with new traits while keeping the original style — easy enough since he's literally the cat emoji we all know. from there, it was just about adding the grillz and the vipers. then i illustrated the background by hand to make it more dynamic, following joycat's silhouette and my own trippy backgrounds (but sticking to blue this time). i smoothed out the gradients, redesigned the tears to feel more stylized, and added subtle shadows so the details pop more. the final touch was turning the eyes into two rainbow logos — the cherry on top. it instantly clicked, and imo it's the detail that ties the whole collaboration together.

this is how i made the Rainbow x MOG COIN app icon. i started by gathering a few joycat references to create a version with new traits while keeping the original style — easy enough since he's literally the cat emoji we all know. from there, it was just about adding the grillz and the vipers. then i illustrated the background by hand to make it more dynamic, following joycat's silhouette and my own trippy backgrounds (but sticking to blue this time). i smoothed out the gradients, redesigned the tears to feel more stylized, and added subtle shadows so the details pop more. the final touch was turning the eyes into two rainbow logos — the cherry on top. it instantly clicked, and imo it's the detail that ties the whole collaboration together.

YON

18,224 views • 9 months ago