#Immersive3dStudio is known for creating motion design, visual effects and digital experiences for clients in the entertainment, culture, commercial and technology sectors. Designing anamorphic 3D billboard content involves creating distorted 2D visuals using 3D software (Blender, Cinema 4D) that appear 3D from a precise viewing angle, focusing on screen mapping, perspective simulation, high-resolution rendering (often 16K+), and integrating environmental factors like lighting, with key steps including storyboarding, building 3D models, rigging for animation, applying textures, lighting, special effects, and testing extensively for the specific LED screen's dimensions and curvature.  #3dbillboard #anamorphic3d #creativecontent #immersivevisual #immersiveexperience #3dexperience #anamorphic #immersive3d #3dstudio #3danimation #simulation #3dmodeling #3d

Upgraded version: Workflow: 1. Figma: Ideation, planning, reference collection 2. Blender: (3D modeling, texturing, lighting, rendering) 3. Photoshop: (Image sequence to video and cropping videos and images) 4. MetaAI: For some vfx (Jalabi frying animation) 5. Microsoft Clipchamp: (post production) Compiling videos, adding music, text, and in-between transition effects. Check out here for more: https://lnkd.in/gBa4xbX8 #creativeart #designthinking #blender #3dart #dribbble #art #visualstorytelling

The gap between "seeing something" and "building it in 3D" just collapsed. VIGA is a multimodal agent that takes any image and autonomously generates Blender scenes — 3D and 4D — without training, without human intervention. Think about what this means: the traditional pipeline of concept art to 3D modeling to animation involved specialists at every step. Now an agent looks at a reference image and writes the code to recreate it spatially. We're entering an era where imagination becomes the only scarce resource in digital creation.

I am currently preparing a detailed video comparing five AI models for transforming static renders into animation. The review will focus on visual quality, motion accuracy, artifact behavior, and practical usability for architectural visualization workflows. I plan to publish it in early March and share insights that may be useful for architects, 3D artists, and designers exploring AI-driven animation. Looking forward to presenting the results and continuing the discussion on how these tools can enhance architectural storytelling. #archviz #3dvisualization #architecture #interiordesign #cgi #rendering #aianimation #runwayml #aivideo #designtech #abdarchitects #3dsmax #coronarender #digitalarchitecture #visualstorytelling #creativeai

Motion graphics creation can be time-intensive — but AI is changing that. From automated animation to smart keyframing and generative visuals, this blog breaks down the tools designers should know in 2026. 👉 Check it out: https://lnkd.in/gRWkaVmV #AIforDesign #AnimationTools #MotionDesign #CueballCreatives #unlimitedgraphicdesignservices

3D doesn’t have to blow the budget. There’s still a myth that 3D motion and CGI always means weeks of modelling and a scary invoice. Sometimes you do need heavy custom work. But a lot of the time, you don’t. On most projects, my first job isn’t opening Cinema 4D. It’s asking: - What do we actually need to show? - What already exists that we can use? Very often we can: - Use high‑quality pre‑built assets - Re‑use or adapt existing brand elements - Spend the money where it really shows: animation, lighting, texturing You still get considered, polished 3D work. Just with more of the budget going into the parts that make the difference on screen. If you’ve got a brief where 3D feels “too expensive” but you’d love to use it, I’m always happy to sense‑check it and see what’s realistically possible.

A peek inside the kitchen. 👨🍳🔥 Here is a short BTS video of how I went about creating my latest post. The goal was a seamless transition between different 3D models, and the workflow looked like this: Phase 1: Houdini. I built the models and animated the transitions between each pot. I needed every possible path (Pot A → B, B → C, etc.) to feel fluid, and match up perfectly with each static state. Phase 2: Rive. I brought those renders into Rive and set up all the different scenes into their own components. That way I could "switch" between each render depending on which was clicked. Phase 3: Integration. I designed the UI, layouts, and icons directly in Rive. By mapping the pot icons to specific triggers, the State Machine triggers which Houdini animation to fire based on your selection, as well as all the other corresponding animations. This project was a massive learning curve. While I'm thrilled with the result, it revealed several ways to further optimize the pipeline. I’ve already got some ideas on how to make the next one even more performant. Onward and upward! #Rive #Houdini #Freelance #Ourplace #3D #Animation #2D #Interactive #MotionDesign

Ana de Armas’s digital double in 3D 💡 Kaisar Ratelrise recently shared a detailed breakdown of his Ana de Armas digital twin, walking through the full character pipeline from scan data to final real-time renders in Unreal Engine 5 with Path Tracing. The workflow builds on Şefki Ibrahim’s pipeline, starting from 3D scan creation, followed by likeness refinement in Wrap 4D and ZBrush. From there, the character moves through 3ds Max and MetaHuman Creator, with facial performance and animation handled via Live Link Hub. Final look development and rendering are done in UE5, with additional grading and polish in Photoshop, DaVinci Resolve, and After Effects. See more: https://lnkd.in/eCHZK_PA #UE5 #3DArt #DigitalArt #Zbrush #MetaHuman #AE

From Viewport to Final Render: The Power of Lighting and Shading ⚡ There is something incredibly satisfying about watching a scene come to life. This project was an exploration of geometric complexity and emissive lighting in Blender. I wanted to create a high-energy, sci-fi aesthetic using a central wireframe core surrounded by a reactive environment. Key takeaways from this project: Procedural Animation: Using math-based movement to give the environment that "breathing" effect. Volumetric Lighting: Achieving that deep, glowing green atmosphere to add depth to the scene. Contrast: Moving from a simple flat-shaded viewport to a vibrant final render. Always looking for new ways to push my motion graphics workflow! #Blender3D #MotionDesign #CGI #SciFiArt #DigitalArt #ViewportToRender #3DAnimation

𝐇𝐢𝐠𝐡-𝐩𝐨𝐥𝐲 𝐦𝐨𝐝𝐞𝐥𝐬 𝐝𝐨𝐧’𝐭 𝐟𝐚𝐢𝐥 𝐩𝐢𝐩𝐞𝐥𝐢𝐧𝐞𝐬. Wrong decimation decisions do. Every animator or 3D artist reaches this fork in the road: Retopo… or Smart Decimate? We’ve learned this the hard way—late nights, broken rigs, stretched UVs, and “why is it deforming like that?” moments 😅 That’s why we now treat decimation as a workflow decision, not a button click. Here’s the mindset we teach inside our studio 👇 • Set a clear poly target — performance first, not ego • Preserve UVs — because textures are time • Test deformations — elbows, knees, facial bends never lie • Compare results — clean topology vs fast optimization • Then choose — Retopo for hero assets, Smart Decimate for speed wins Smart Decimate is powerful. Retopo is reliable. Knowing when to use which is the real skill studios look for. In production, this one decision can save days of rework and protect downstream teams—rigging, animation, lighting, even rendering. If you’re working with game assets, animation-ready models, or real-time pipelines, this is worth saving and revisiting. 💬 How do you decide, Retopo first, or Smart Decimate and test later? Share your workflow. Someone reading this might avoid a painful mistake because of you. #3dmodeling #decimation #retopology #gameart #animationpipeline #maya #blender #zbrush