Grateful to Agustin Chavarria for giving me the opportunity to explore and test the Carbon Fiber Plugin Suite inside my DAW (FL Studio). In this video, I experimented with KSHMR loops alongside FX plugins from the suite - Analog Memory and ChronoVerb, pushing them beyond their default character to sculpt a vintage lo-fi tone, drenched in a reverb-heavy hall space, finished with a subtle touch of ValhallaVintageVerb on the master bus. What stood out to me is how flexible these tools are when it comes to sound shaping, whether you’re aiming for clean modern textures or deliberately imperfect, nostalgic atmospheres. This is just the beginning. I’ll soon be testing more plugins from the Carbon Fiber ecosystem and will be sharing a dedicated video on how I use them for game sound design, especially for cinematic, ambient, and interactive audio workflows. Thanks again to Carbon Fiber for the trust and support. Looking forward to diving deeper. #GameAudio #SoundDesign #MusicProduction #FLStudio #PluginReview #GameDevAudio #LoFi #CinematicSound #AudioPlugins

A 3D R&D look-dev study of the Santa Cruz V10CC, focused on construction, materials, and precision technical detailing. Special thanks to Echoic Audio for their collaboration on the sound direction. Their unique approach to texture and rhythm added a powerful extra layer to the project. GLAIVE STUDIO Bastien Caillaud | Motion Designer 3D Mateo Beraud-Dufour | Producer Echoic Audio Tom Gilbert | Music Producer Sion Vaughan-Williams | Producer David Johnston | Composer Sound Designer William Golledge | Composer  Owen Hemming-Brown  | Sound Designer OctaneRender , Maxon Cinema 4D , Adobe , Adobe Substance 3D , Daz 3D Full project here : https://lnkd.in/dJXsD-Yh #3DAnimation #CGI #OctaneRender #Cinema4D #MotionDesign #SantaCruz #ProductVisualization #DigitalArt #VFX #ArtDirection #SoundDesign #Echoic #BikeDesign

𝗗𝗼𝘂𝗯𝗹𝗲 𝗝 – 𝗘𝗺𝗼𝘁𝗶𝗼𝗻𝗮𝗹 𝗠𝘂𝘀𝗶𝗰 𝗔𝗻𝗶𝗺𝗮𝘁𝗶𝗼𝗻 This project is an emotional music animation created to translate sound into feeling.  Every movement, transition, and rhythm is intentionally designed to mirror the emotional flow of the music — not just visually, but psychologically. Rather than relying on complex effects, this piece focuses on timing, pacing, and mood, allowing the animation to breathe with the soundtrack. 𝗧𝗵𝗲 𝗴𝗼𝗮𝗹 𝘄𝗮𝘀 𝘀𝗶𝗺𝗽𝗹𝗲 𝗯𝘂𝘁 𝗱𝗲𝗺𝗮𝗻𝗱𝗶𝗻𝗴:  make the viewer feel something before they even understand why. This kind of music animation is where motion design stops being decorative and starts becoming storytelling without words. 𝗪𝗵𝗮𝘁 𝘁𝗵𝗶𝘀 𝗽𝗿𝗼𝗷𝗲𝗰𝘁 𝗲𝘅𝗽𝗹𝗼𝗿𝗲𝘀: – Emotional rhythm & visual storytelling  – Music-driven animation timing  – Minimal yet expressive motion design  – Creating atmosphere through motion, not noise This project reflects my approach to motion design:  clarity over chaos, emotion over excess.

This is the sound design timeline for the Road to Supercar Spectacle short animation. This project reflects how creativity and technical thinking reinforce each other. Crafting sound isn’t just about aesthetics—it’s about timing, structure, systems, and intent. The same principles I apply here are the ones I bring into software engineering: building with clarity, engineering for longevity, and solving real-world problems with purpose. When creativity meets engineering, you don’t just ship features—you build products and services that last. Always building at the intersection of design, sound, and software. #blender #davinciresolve #animation #timeline #edit

Fragments from films and games we’ve made over the years. World-building isn’t just narrative or visual style. It’s about creating laws and structures that allow a world to remain believable as it evolves. When these works are viewed together, a continuity emerges: characters inhabiting new bodies, symbols reappearing, worlds remembering themselves rather than resetting. Holding that coherence meant learning every layer of the process from virtual production, animation, and motion capture to cinematics, game design, character development, and post-production. Each skill was learned not simply to master it, but to protect the world from fragmenting. It is a steep climb, technically, emotionally, and creatively carried by care, curiosity, and constant problem-solving. Behind each clip are years spent learning how to let a world keep breathing as it moves across forms. Something that could not be possible without the collaboration of some of the best technical and CGI Artists:  Tanya Cruz, George Jasper Stone, Mati Bratkowski, Clifford Sage, Carlos Minozzi, Ryan Vautier, Sarah Blomey & Ling Zhang. Sound design and score by the incredible Waveovspace.

𝗠𝗼𝘀𝘁 𝗔𝗻𝗶���𝗮𝘁𝗶𝗼𝗻𝘀 𝗙𝗮𝗶𝗹 𝗕𝗲𝗳𝗼𝗿𝗲 𝗙𝗿𝗮𝗺𝗲 𝟭. 𝗛𝗲𝗿𝗲’𝘀 𝗪𝗵𝘆 𝗠𝗶𝗻𝗲 𝗗𝗶𝗱𝗻’𝘁. Most people only show the final animation. That’s lazy. Real value is in the process. This project started with a clear storyboard — not random keyframes, not “let’s see what happens in After Effects.” Every beat, every transition, every motion was planned to serve the music, not distract from it. 🎵 Storyboard → Timing → Rhythm → Final Animation When motion follows sound intentionally, the result feels natural, emotional, and memorable. If you’re a brand or artist and your visuals don’t respect your music, you’re leaving impact on the table. This is how I approach music animations. No guesswork. No noise. Just purpose.

𝗗𝗼𝘂𝗯𝗹𝗲 𝗝 – 𝗘𝗺𝗼𝘁𝗶𝗼𝗻𝗮𝗹 𝗠𝘂𝘀𝗶𝗰 𝗔𝗻𝗶𝗺𝗮𝘁𝗶𝗼𝗻 This project is an emotional music animation created to translate sound into feeling. Every movement, transition, and rhythm is intentionally designed to mirror the emotional flow of the music — not just visually, but psychologically. Rather than relying on complex effects, this piece focuses on timing, pacing, and mood, allowing the animation to breathe with the soundtrack. 𝗧𝗵𝗲 𝗴𝗼𝗮𝗹 𝘄𝗮𝘀 𝘀𝗶𝗺𝗽𝗹𝗲 𝗯𝘂𝘁 𝗱𝗲𝗺𝗮𝗻𝗱𝗶𝗻𝗴: make the viewer feel something before they even understand why. This kind of music animation is where motion design stops being decorative and starts becoming storytelling without words. 𝗪𝗵𝗮𝘁 𝘁𝗵𝗶𝘀 𝗽𝗿𝗼𝗷𝗲𝗰𝘁 𝗲𝘅𝗽𝗹𝗼𝗿𝗲𝘀: – Emotional rhythm & visual storytelling – Music-driven animation timing – Minimal yet expressive motion design – Creating atmosphere through motion, not noise This project reflects my approach to motion design: clarity over chaos, emotion over excess.

OUTRO was one of the first projects developed at CACTUS Production and helped shape the creative direction of the studio.   Created for a fashion brand launched by actor Jaime Lorente, the project takes the form of a digital performance. Developed from a motion capture session to a MetaHuman presence, it explores realism, emotion and identity, turning raw data into a crafted digital character.   At CACTUS Production, we work across CGI, 3D animation and post-production, collaborating with brands to develop visual content where concept and execution go hand in hand. This project reflects our approach: combining technical precision with a strong creative point of view. #CactusProduction #CGI #3DAnimation #VFX #PostProduction #CreativeStudio #BrandContent

The SarahMemory Project has reached a significant milestone, integrating image generation, music, and voice into .mp4 files. Although animation and 3D animation require further refinement, the project remains freely available for download on GitHub. The showcased video was created using the current software version, available at https://lnkd.in/gemyatNe ,Future updates will include enhanced rendering and generation features in the web UI at https://ai.sarahmemory.com ,All elements, including music, voice, and images, were generate using the custom-developed software. #thesarahmemoryproject

- This post is generated by NI [Natural Intelligence🧠] Addition to my previous post since LinkedIn does not support various media type in one post At first I wanted to make a flame effect using the Niagara system, but after a little research I decided to try a technique that creates a flame effect by manipulating UV, it was an interesting experience and I noted things that can be improved in the future. I highly recommend watching the talk on this topic, even though it discusses stylized effects, the ideas themselves can be used in different styles. https://lnkd.in/eRm5r-VP ----------------------------------------------------- Adobe Substance 3D Portal inspired by @Diablo The return of the Paladin in Diablo IV inspired me to make some fan art on the holidays 😈 The main work was done in Substance 3D Designer, Unreal Engine 5 for rendering and Quixel Megascans to populate the scene's environment. This was my first experience with VFX creation, I've got idea for the flame shader from Raff Ribeiro artwork who was inspired by Simon Trümpler talk on VFX from Rime game and flame effect made by VFX Artist David Miranda 😁 #Substance3DDesigner, #SubstanceDesigner, #Procedural, #Texturing, #PBR, #UnrealEngine, #Quixel, Х #Megascans, #VFX #DiabloIV More details in the Arstation post https://lnkd.in/eakAduJN