Esmeralda Ramirez

A lot of brands showcase their products, but not many truly present them. The Xbox controller project exemplifies the power of well-executed 3D animation, enhancing your product to: - Stand out online - Communicate its features - Feel premium and intentional This is the essence of exceptional marketing content. The sound design, curated by Julian Rossi, played a pivotal role in elevating the overall experience. This work resonates with my passion, especially when it involves consumer tech and performance-driven products. #3DAnimation #ProductMarketing #ConsumerTech #MotionDesign #LaunchContent

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Netflix Is Doubling Down on Ads and Dabbling in AI. The streaming giant says The Eternaut is its first show to use AI for visual effects. https://lnkd.in/gKdKckwx

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Just got back from #UnrealFest Orlando and I’m still buzzing with excitement. 😀 UE5.6 is packed with features that make our lives as character artists and developers way easier and more powerful. I had the chance to test some of these updates on a Bruce Lee version I’ve been working on, and honestly… it’s holding up out of the box. That’s wild. Still needs some love on the mouth (of course), but the fact that we can now access blendshapes directly inside Maya is a game changer. I’ll be diving deeper into that soon. Huge shoutout to the team at Epic for pushing the bar on what’s possible in real-time characters and digital humans. Unreal Engine just keeps getting better. #UnrealEngine #UE5 #UnrealFest #DigitalHumans #CharacterArt #Maya #RealTimeRendering #BruceLee #UE5.6 #3DArt

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In 2016, one year out of film school, a client offered me $65 for a brand video. I said no. Months later, they paid me $650 for the same job. Here’s what happened. 👇 A company reached out for a brand video. We had a two-hour discovery call. At the end, they offered 200,000 pesos — about $65 USD. To put that in context: $65 was about 30% of the Colombian minimum wage that year. Not nothing — but for a full professional production, it wasn’t even a conversation. I didn’t argue. I didn’t negotiate. I referred them to someone else. Six months later, they called me back. The first video didn’t work. The production looked cheap, the message was off, and they had to redo the whole thing. This time I quoted them 2,000,000 pesos. They paid it. The lesson wasn’t that I should have pushed harder in that first meeting. The lesson was simpler: some clients need to experience the alternative before they understand what good work is worth. Your job isn’t to convince them. Your job is to know your number, hold it, and be willing to walk. The moment you let someone else decide what your work is worth, you’ve already lost the negotiation. 😉🎬

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We just hit a milestone I've been building toward for over a year. Today, our real-time character viewer went fully live — animated, interactive, and running inside a custom-built game HUD. 26 motion-captured animation clips. Full 3D environment. All systems confirmed green. This is Abyssum · Genesis Verse — a multi-game universe built on an independent studio stack. No licensed engine dependencies. No outside funding. Every system designed and built in-house: the rendering pipeline, the asset delivery architecture, the UX, the blockchain mint layer, and the AI cognitive framework that powers our oracle characters. What you're seeing in the video is the Forge Confirm interface — the screen a player sees the moment they mint their first character and step onto the stage. That moment is the product. Everything we've built is in service of that 10 seconds. Next: ERC-1155 on-chain mint, wallet connect, and the first speaking oracle character going live on stage. The machine doesn't rest. But today it earned it. #IndieGameDev #WebGL #NFTGaming #AfroFuturism #GameDevelopment #BlockchainGaming #GenerativeAI #3D #MintToDeploy #SimproTitans

"Your Texture Map Can’t Save a Bad UV Layout." Even the most detailed textures will look like garbage if your UVs are messy. You finish sculpting. Your textures are sharp. But when you render it… ⚠️ Stretched, pixelated, weird seams. Sound familiar?? Here’s what bad UVs do to your work: -Distorted surface details -Blurry projections -Visible seams in lighting passes -Extra work in compositing 👎 It’s not just ugly — it’s unprofessional. ✅ Here are some UV Layout Tips for CG Artists: -Keep uniform texel density -Optimize UV space: less empty gaps -Use logical seam placement (under arms, back of head, etc.) -Use straightened UV islands where possible -Check your maps on a checker pattern BEFORE texturing 📐 Also Learn UDIMs for high-res detail :)  Great UVs = Professional results. You’ll get: -Cleaner textures -Accurate details -Faster approvals from leads and clients -A pipeline-ready asset Follow for more tips and breakdowns : Nandha Kumar.R #Happy3Ding #revolvisionfx #revolvisionacademy

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I’m thrield to share a project I’ve been working on one of the most time-consuming parts of the rigging pipeline: Naming conventions. Whether you’re working on a stylized game character or a complex VFX creature, this Python-based tool provides a quick solution for maintaining clean, scalable hierarchies in Autodesk Maya. Key Features: Context-Aware Naming: Specialized presets for Biped, Quadruped, VFX, and Game-ready skeletons. Smart Prefixes & Suffixes: Manual entry or automated "By Position" and "By Type" logic to ensure consistency across the rig. Advanced Search & Replace: Quickly swap characters or strings across complex hierarchies. Batch Indexing: Rename multiple objects with a clean, sequential numbering system. Flexible Scope: Apply modifications to your current selection, the entire hierarchy, or everything in the scene. Built for riggers who need precision and speed. I'm looking forward to hearing your thoughts! This tool was one of many applications that we did inside Python workshop with Anas Elkinawy #MayaPython #Rigging #TechAnim #GameDev #VFX #Automation #Python

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“I love traditional filmmaking—but tight budgets shouldn’t restrict creativity. That’s where AI is stepping in. It’s not a replacement, it’s a tool to keep the story alive."   I merge traditional filmmaking & design expertise with the power of AI to create compelling, scalable content for any project. This approach offers a unique, cost-effective solution that is leading the way for modern visual needs. Connect for a consultation to explore how we can achieve your vision and deliver the results you’re looking for at any level.

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There is nothing more annoying than seeing that red "Texture Streaming Pool Over Budget" message pop up in the corner of your screen. ​Most people just open the console and type r.Streaming.PoolSize to a higher number to make it go away. I used to do this too, yeah i was there 😄 ​But that’s not fixing the problem, that’s just delaying the crash. You are basically telling the engine "It's okay to eat more VRAM" until you eventually run out of GPU memory completely. ​The real issue is usually just a few assets having massive 4K or 8K textures that they don't actually need. A small prop in the background doesn't need a 4K Normal Map. ​Instead of increasing the pool size, find those heavy textures and cap their "Max Texture Size" to 1024 or even 512 in the texture settings. The visual difference is often zero, but you save gigabytes of memory instantly. ​Optimization isn't about lowering quality, it's about spending your budget where it actually matters. ​Do you audit your texture sizes manually or do you use a tool to catch the heavy ones? ​Disclaimer: Image for demonstration purposes only. ​#UnrealEngine5 #Optimization #GameDev #TechArt #RealTimeRendering #UE5Tips

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My second ''Insight'' for Mixing Light, where I dive deep into the contrast operations in DaVinci Resolve. I explain why they work the way they do, so you can easily replicate the concepts in other software or environments — and, as usual, I give you more reasons to avoid Camera RAW altogether 🫡

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Check out the latest Weekly Wrangle interview with Tidals Chan - FX artist for Path of Exile at Grinding Gear Games. In this, we talk about gamedev, Tidals story, and how to align your skills for success if you're interested in making real time vfx. https://lnkd.in/g4CjWQ5X #sidefx #vfx #poe2 #3d #cgi #animation

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You know there is a monster under your bed, and it's called animation production in Latin America. I've witnessed firsthand the challenges of creating animated content in our region, where resources are limited and opportunities seem scarce. The animation industry in Latin America faces multiple obstacles. First, there's the financial barrier - producing quality animation requires substantial investment in technology, software, and skilled professionals. I've seen talented artists struggle to find stable work in their home countries, often forced to choose between pursuing their passion locally or seeking opportunities abroad. The lack of consistent production pipelines and sustainable business models makes it difficult to maintain long-term projects. While we have incredible creative potential and unique storytelling perspectives, the infrastructure to support large-scale animation production remains underdeveloped. But rather than asking why it's so difficult, let's focus on how we can transform these challenges into opportunities. One day, instead of fearing the monster under the bed, we'll see it as a motivating force that helped Latin American animation grow and discover its special voice on the world stage, similar to how Japan did after the war.

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At VOS 2D Academy, our goal is simple: To help build the next generation of 2D rigging artists through real production-focused training. Over the years, we’ve reviewed hundreds of demo reels and submissions, and one thing has consistently stood out: Almost everyone has potential. But almost everyone also has gaps in workflow, structure, problem-solving, or production understanding. That’s where we come in. This is NOT a collection of scattered tutorials with no direction. It’s NOT thousands of dollars just to get a solid education in rigging. And it’s NOT “watch and hope you figure it out” training. Our course is designed around the proven workflows production studios use to rig characters professionally, guiding artists through 8 key modules. From prep work all the way to retake submissions. The goal is not just to teach isolated techniques. The goal is to teach production psychology. Our Q3 2026 LIVE classes officially launch June 10th, and it’s not too late to register. Message us the word “Interested” at version1studiosinc@gmail.com to save up to 50% on enrollment. www.vos2dacademy.com

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for my vfx peeps who have an LLC i have a question. When you get hired for a gig, do you just ask to be paid through your LLC? And how receptive are they to that?

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If your game lives or dies on connection…why would you remove the human from it? I spent a lot of time at GDC hearing teams talk about using AI for voices. And I get it, budgets are tough. Especially in indie. But when it comes to performance, voice isn’t just a delivery system for lines. It’s emotion. It’s nuance. It’s culture. It’s lived experience. It’s the thing that makes a player feel something. And that will never come from a dataset. It comes from a human being who has spent years training, working, and honing their craft. There are so many incredibly talented voice actors out there, at every level, who bring depth, connection, and truth to the work. And there are ways to work within different budgets that still respect both the project and the performers. Going fully AI should not be the path forward. All that time, energy, and care you’ve put into your game? This ONE choice risks losing the player connection that makes it truly resonate. #GameDev #IndieGameDev #GameAudio #VoiceActing #Storytelling #NarrativeDesign

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Please, consider not using AI voices, or internal resources for your concepts, pitches, animatics, etc... Let's find a way to use the same human talent (hopefully) you'll consider for the final!! Even the "union rate" for demo reads is pretty low, AND it gives you the chance to start the connection between talent, copy and client. If your client deserves YOUR creative talents... imagine the value added by a trained human artists! Cast them early! Have them standing by. Another tool in your toolbox, ready to make the project shine. In 2025 I worked on several projects that I was able to negotiate attractive demo-fees, so the producer could afford multiple adjustments or even full re-writes as we worked toward the final spot. When that final session date came, it was like old friends walking the path THEY CREATED! Smooth, tested and pre-approved! Adding VO doesn't have to be last minute every time. It can be early, and part of the creative process. 😉

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