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Lingan Jin wrote a new post on the site Lingan Jin's blog

Mon, 01 Dec 2025 21:01:28 +0000

FMP-zero-zero.exe We […] “FMP-zero-zero.exe”

Lingan Jin wrote a new post on the site Lingan Jin's blog

Thu, 18 Sep 2025 17:25:44 +0000

Group project – personal work In this team project, I was mainly responsible for character design and modeling—from the initial concept sketches to the final 3D models. I also took part in creating visual effects for some of the shots, including scene compositing and adding dynamic elements. These tasks not only helped me improve my modeling and post-production skills, but also gave me a deeper understanding of the importance of each role in team collaboration, providing valuable experience for my future creative work. Character design The initial concept focused on the character’s descent into darkness, with an overall style leaning toward the dark and twisted. The plan was to collect and integrate elements such as fragmentation, glitches, and dislocation to create a chaotic and uncontrollable visual effect, enhancing both the emotional tension of the character and the narrative intensity of the piece. Building on the initial design, the character was further developed to embody more monstrous features. Inspired by the conceptual approach of Silent Hill, the character’s inner negative emotions, trauma, and pain were visualized through a distorted and grotesque appearance, enhancing both psychological depth and visual impact. Unstable body structures, deformed facial features, and other unsettling details were used to create a strong sense of horror and oppression, thereby strengthening the overall expressiveness of the design. Character modeling modeling material Vision effect During the production process, I used the Vellum Solver in Houdini for physics-based simulations, mainly to create realistic motion for cloth and soft-body objects. By adjusting constraint parameters and collision settings, I was able to achieve more natural and believable results, enhancing the realism and visual impact of the scene. This process not only improved my understanding of the Vellum system but also deepened my hands-on experience with dynamic simulations, laying a solid foundation for more complex effects in future projects. Reflection Through this group project, I gained a deeper understanding of the importance of teamwork. Each member was responsible for different tasks—ranging from initial concept development, character design, modeling, and animation, to post-production. Everyone performed their roles well and worked collaboratively. Although we encountered some challenges, such as communication issues and delays in progress, we managed to overcome them by adjusting our plans and redistributing tasks, ultimately completing the project successfully. In this project, I was mainly responsible for character design and modeling, and I also contributed to some of the visual effects. This not only helped me improve my technical skills but also taught me how to manage time effectively and coordinate with others under tight deadlines. In particular, the process of exchanging ideas with team members made me realize how important it is to think from multiple perspectives and to stay flexible when working on a collaborative creative project. Overall, this group assignment provided valuable hands-on experience and strengthened my sense of responsibility and teamwork. I believe this experience will be a great asset to my future studies and creat […] “Group project – personal work”

Lingan Jin posted a new activity comment

Thu, 18 Sep 2025 17:08:37 +0000

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In reply to - Lingan Jin wrote a new post on the site Lingan Jin's blog Composition project-concept art My inspiration comes from the weekly dormitory kitchen inspections I conduct, which are highly frequent and relatively […]

Lingan Jin wrote a new post on the site Lingan Jin's blog

Thu, 18 Sep 2025 15:04:54 +0000

Personal-project: Cleaning robot My inspiration comes from the weekly dormitory kitchen inspections I conduct, which are highly frequent and relatively monotonous repetitive tasks. This has led me to ponder that if robots become widely adopted in the future, they could potentially take over such tasks, not only improving efficiency but also freeing up human labor to focus on more creative or complex endeavors. I plan to design a small aircraft for carrying out dormitory kitchen inspections. To achieve this, I researched a variety of references, with the designs of aircraft in the game StarCraft serving as my primary source of inspiration. I extracted certain design elements and noticed that many of the aircraft resembled insects in appearance, which greatly inspired me. Additionally, the small flying insects commonly seen in the dormitory corridors made this design concept seem even more reasonable. Combining these inspirations, I created my small aircraft design. Story script version_1 This was the first version of my story, but Teacher Clouds pointed out that it lacked plot and twists, making it a bit dull. So, I revised it and developed a second version based on the original. version_2 The protagonist bought a smart cleaning robot during a big sale. The robot claimed to automatically scan messy areas and clean them thoroughly, even “optimize the living environment.” At first, it performed impressively, leaving the house spotless. However, as it continued working, the robot began analyzing the protagonist’s habits, concluding that he was lazy, procrastinating, emotionally unstable, and contributed nothing meaningful to society. Eventually, based on its logic, the robot determined that the protagonist himself was a “source of pollution.” Following its programmed cleaning protocol, it ultimately “disposed of” the protagonist as well. In the end, a perfectly “optimized” world was left in eerie silence and order. 2.0_Storyboard Robot model modeling texture animation render Composition I used Planer Tracker to replace the original pattern with my desired design and made it follow the camera movement naturally, achieving a seamless integration with the footage. Final effect Reflection Through this project, I came to realize that coming up with a complete and engaging story is much more challenging than I had imagined. Initially, my idea was quite simple: a robot designed to inspect the cleanliness of a kitchen and clean up any mess it detected. The concept was inspired by the idea of smart home technology and also served as a good opportunity to showcase my technical skills in tracking and compositing. However, when I developed this idea into the first version of the story, I found it lacked narrative depth and emotional tension. My teacher, Clouds, also pointed out that while the concept was clear, the story itself felt flat and uneventful, missing the necessary plot twists and conflict to truly capture the audience’s attention. This made me realize that a good story is not just about having an interesting concept. A compelling narrative requires a well-structured plot, character development, and some form of conflict or surprise. So, I began thinking about how to build on the original idea and make it more dramatic. Eventually, I expanded the story from a simple “kitchen cleaning” scenario into one where the robot evaluates the entire environment—including the protagonist—and ultimately “cleans” him as well in a darkly humorous twist. Throughout this process, I also noticed my early tendency to approach storytelling from a technical perspective—creating scenes mainly to showcase tools like PlanarTracker—instead of letting the story naturally serve the emotional or thematic core. With several revisions, I was able to strengthen the narrative logic and introduce elements of irony and reflection, allowing the technical aspects to better support the story. This project taught me that crafting a story is never a straightforward task. It requires experimentation, critical thinking, and continuous refinement. This experience has not only improved my storytelling skills but also provided valuable insights that will benefit my future creativ […] “Personal-project: Cleaning robot”

Lingan Jin wrote a new post on the site Lingan Jin's blog

Wed, 25 Jun 2025 16:56:16 +0000

Critical Practice-The Evolution and Application Expansion of LED Virtual Production Technology Research Topic: The Evolution of Business Models and Application Expansion of LED Virtual Production Technology in the Film and Television IndustryCourse: Critical PracticeDate: April-June 2025Key words: LED Virtual Production – Real-Time Rendering – Virtual Studio Technology 1.Project Background and Research Motivation Virtual Production has emerged as a new technological model in the film and television industry, evolving from green screen and post-production VFX. LED Virtual Production integrates high-definition LED screens with real-time rendering engines (like Unreal Engine), allowing synchronized scene depth, lighting, and background integration in-camera. This creates a “what-you-see-is-what-you-get” immersive shooting experience. “The Virtual Production Practice Guide” Demonstrates the Virtual Production Workflow Recent successful applications, such as The Mandalorian, have propelled this method into the mainstream (Weiss, 2020). Commercials from BMW, Gucci, and Coca-Cola have utilized this technique to reduce location costs and boost creative efficiency. This technology is restructuring the entire content production chain—from scene planning to budget allocation and distribution logic. Weiss, M. (2020). Behind the Scenes of The Mandalorian: How Virtual Sets Are Changing Hollywood. Disney Gallery. Epic Games. (2021). Virtual Production Field Guide Vol. 2. 2.Research Progress Timeline WeekMilestoneStatusNotes2Read Epic’s Virtual Production Guide✅Covered LED wall control and nDisplay structure4Collected commercial/XR stage cases✅Included BMW, Gucci and Coca-Cola case studies6Drafted Literature Review✅Included major English and Chinese sources8Created Thesis Outline✅Referenced Literature and Epic resources9Report✅Drafting conclusion 3.Technical Evolution Diagrams and Explanation Comparison: Green Screen vs. LED Virtual Production FeatureGreen ScreenLED Virtual ProductionBackgroundComposited in postReal-time renderedLightingArtificially simulatedNatural reflections from LEDCostHigh post-productionHigher upfront, overall efficientImmersionLimitedEnhanced realism LED Virtual Production uses systems like OptiTrack and nDisplay to map scenes onto LED walls. As the camera moves, parallax effects simulate depth in real-time. This improves shoot efficiency and minimizes post-production complexity. Whittaker, R. & Bartlett, A. (2021). The Virtual Production Practice Guide. Ding, K. (2022). LED-based Virtual Production Technology. China Broadcasting and TV Journal. 4.Application Case Studies Combined RED camera, LED wall, and camera tracking to complete background and lighting in-camera. Commercial Advertising： Gucci. (2022). Spring/Summer Campaign: Behind the Scenes. Julia Garner + Fabien Baron for Gucci | Behind the Scenes & Virtual Production at PIER59 Studios Coca-Cola LED Project. LED Volume supplied for Coke Advert – Virtual Production The BMW commercial. BMW commercial in Unreal Engine XR Performances and Live Broadcasts: CCTV Spring Festival Gala (2022): Utilized LED XR stages combining live performers and virtual scenes for hybrid visual effects. BBC Earth Experience: Merged virtual natural environments with LED floors to create an immersive “nature theater.” Jenkins, H. (2006). Convergence Culture: Where Old and New Media Collide. Cao, L. (2023). XR Live Production and Virtual Performance Systems. Modern Communication, 45(1). 5.Cross-Industry Integration and Future Trends LED Virtual Production is now used in education, architecture, digital twins, and beyond. Education: USC and Beijing Film Academy have integrated this tech into curricula (USC, 2022). Architecture: Virtual production enables clients to preview spatial concepts in immersive environments. Metaverse: Platforms like NVIDIA Omniverse are building virtual collaboration infrastructure across industries. USC SCA. (2022). Virtual Production Curriculum. Manovich, L. (2001). The Language of New Media. 6.Reflection My exploration of LED virtual production this semester transformed my initial understanding of it as merely a “new trend” in filmmaking into a deeper appreciation of how its integrated technologies—real-time engines, LED walls, and camera tracking—revolutionize audiovisual storytelling. I recognize this not just as a visual upgrade, but as an industrial paradigm shift toward nonlinear, collaborative workflows, profoundly impacting creative roles, production processes, and budgeting (as evidenced by productions like The Mandalorian).The research process honed my skills in evaluating information, interpreting technical documentation, and synthesizing insights across film, advertising, and XR domains, while also strengthening my independent learning and time management. This prompted reflections on the democratization of content creation: declining costs will empower smaller studios and individual creators. Looking ahead, I’m interested in how AI-driven tools (e.g., for lighting/asset generation) could further streamline virtual production and unlock its narrative potential in mobile content, education, and virtual performances. Overall, the project deepened my understanding of the intersection of technology and media, and sharpened my critical thinking about innovation, scalability, and cr […] “Critical Practice-The Evolution and Application Expansion of LED Virtual Production Technology”

Lingan Jin wrote a new post on the site Lingan Jin's blog

Tue, 18 Mar 2025 23:38:54 +0000

Collaborative Unit-personal work The story is presented in the form of a VR game, where the protagonist discovers that the bathroom mirror world has been filled with many gems. By controlling his reflection in the mirror, he can transfer the gems into the real world. Driven by greed, the protagonist continuously moves the gems until the mirror world is emptied. However, this triggers a secret exchange ritual, and the protagonist is replaced by his reflection, losing his freedom. Idea ＆ Story At the beginning of the project, each of us created a story based on the concept of causality. My story depicted a conversation between my present and future self, but it was not selected due to a lack of detail. Art ＆ Scene I searched for many real-life bathroom references, including both luxurious and ordinary styles. I examined various designs, materials, and layouts to understand their aesthetic and functional differences. These references helped me explore elements like lighting, textures, and spatial arrangements to enhance the realism and atmosphere of my project. The models for ordinary bathrooms were easy to find, but it was difficult to find suitable assets for luxurious bathrooms. Therefore, we needed to create many luxury bathroom furnishings ourselves. I analyzed and extracted luxurious elements from the references and sketched out the designs. After that, we began creating the necessary model assets, starting with those that required interaction. I was mainly responsible for creating the following assets. Then, I created luxurious bathroom furniture, including a bathtub, sink, shower, and cabinet. At the same time, based on the scene’s needs, I also created a regular cabinet to correspond with the luxurious cabinet. Model collection At the same time, I was also responsible for collecting and organizing a wide variety of bathroom assets with different styles on both sides. This included researching and gathering models, textures, and references to ensure a diverse range of design elements, which would help in creating a more dynamic and flexible scene. Asset link Post Soviet Bathroom | Fab Post Soviet Toilet and Bathroom | Fab Motion capture I imported the motion capture data recorded by my team members into Maya and retargeted the animation data onto the character’s skeleton. Logo enhancement ＆ Poster design My team members designed an initial logo draft, and I modified the colors, added textures, and made it look more refined. At the same time, I also designed the promotional poster fo […] “Collaborative Unit-personal work”

Lingan Jin wrote a new post on the site Lingan Jin's blog

Fri, 07 Feb 2025 11:18:29 +0000

Nuke-CG Machine Design […] “Nuke-CG Machine”

Lingan Jin wrote a new post on the site Lingan Jin's blog

Mon, 03 Feb 2025 21:57:30 +0000

Houdini lessons Record […] “Houdini lessons”

Lingan Jin wrote a new post on the site Lingan Jin's blog

Wed, 22 Jan 2025 14:04:50 +0000

Composition project-concept art My inspiration comes from the weekly dormitory kitchen inspections I conduct, which are highly frequent and relatively monotonous repetitive tasks. This has led me to ponder that if robots become widely adopted in the future, they could potentially take over such tasks, not only improving efficiency but also freeing up human labor to focus on more creative or complex endeavors. Concept art My inspiration and the actual scene I plan to design a small aircraft for carrying out dormitory kitchen inspections. To achieve this, I researched a variety of references, with the designs of aircraft in the game StarCraft serving as my primary source of inspiration. I extracted certain design elements and noticed that many of the aircraft resembled insects in appearance, which greatly inspired me. Additionally, the small flying insects commonly seen in the dormitory corridors made this design concept seem even more reasonable. Combining these inspirations, I created my small aircraft design. At the same time, I want the appearance of the aircraft to feel more technologically advanced, rather than simply flying in and out. Therefore, I plan to design some cool particle effects, allowing the aircraft to gradually materialize out of thin air, enhancing its futuristic vibe and visual impact. The draft overall effect Story script Title: Dormitory Kitchen Drone InspectionScene: Dormitory communal kitchen, night, well-lit.Characters:Gallio: A dormitory resident, cooking instant noodles at night.Drone: An intelligent inspection drone responsible for checking the cleanliness and usage of the kitchen. Story Development:The scene fades in, the kitchen is quiet, morning sunlight filters through the windows, and the air is fresh with a hint of breakfast aroma.The drone slowly flies into the kitchen from the dormitory hallway, its four rotors emitting a faint buzzing sound, its camera flashing a red light as it begins its inspection.The drone flies along the ceiling, scanning every corner with its camera, checking the trash bin, stove, and sink for cleanliness.Suddenly, the camera shifts and notices a figure moving in the corner of the kitchen.Gallio is concentrating on making a bowl of instant noodles, the water in the pot bubbling and steaming under the dim light.The drone adjusts its posture and slowly approaches Gallio, its camera locking onto him, emitting a low “beep beep” scanning sound, intensifying the atmosphere.Gallio senses the pressure, slowly lifts his head, his eyes filled with unease, staring at the hovering drone in front of him.The drone scans again, confirming that the countertop is clean, the trash is properly disposed of, and Gallio is following the rules. Then, with a soft “beep,” a green check mark appears on its screen.The inspection complete, the drone slightly tilts its rotors and turns to leave the kitchen.Gallio lets out a sigh of relief and continues making his noodles. The kitchen returns to its quiet state, with only the bubbling of instant noodles breaking the silence.(The scene fades to black, story ends.) […] “Composition project-concept art”

Lingan Jin posted a new activity comment

Mon, 13 Jan 2025 11:54:48 +0000

omg!!!!amazing!!!

In reply to - Jinduo Zhao wrote a new post on the site JinduoZhao's blog Cowboy Duel – Final & Breakdown https://www.youtube.com/watch?v=6ekI6FcHdtE

Lingan Jin and Peiyao Wang are now friends

Mon, 13 Jan 2025 02:29:30 +0000

Lingan Jin wrote a new post on the site Lingan Jin's blog

Tue, 17 Dec 2024 20:09:22 +0000

Final project-Tomb adventuring Legend has it that deep within a hidden mountain lies a forgotten ancient tomb. This tomb belongs to an ancient sorcerer who fed on human souls and forged the “evil essence” capable of controlling life and death and altering the fabric of reality. To prevent the malevolent spirits from wreaking havoc, the imperial court sent an elite team to join forces with Taoist priests to seal the evil spirits within the tomb. However, the spirits did not give up. They hid the “evil essence” inside the tomb, and anyone who enters and makes eye contact with it would have their mind bewitched and become a slave to the evil spirits. To prevent future intrusions, people placed numerous traps and protective barriers to safeguard the seal. For centuries, no one has dared to step foot into this cursed place. Concept art My initial concept inspiration came from the underwater tomb of King Wu, where he was buried alongside his most cherished 3,000 swords. Among them, the most renowned, the Fish Intestine Sword, is revered as the supreme of all swords. Eternally sealed within ancient vines, it rests alongside King Wu in his eternal slumber. However, in the subsequent design process, I am dissatisfied with the sword elements. I created several different sword models, but none of them yielded satisfactory results. This led me to reconsider whether I should replace the sword with other elements. I want to replace the sealed object from a sword to particle effects, which are referred to as “Essences” in the story. The narrative revolves around these Essences, telling the tale of an ancient sorcerer who crafted a power capable of controlling life and death and altering the balance of the world. To prevent the evil spirit from wreaking havoc, the imperial court sealed it within an ancient tomb hidden deep in the mountains. The container that seals the “Essence” is designed with bird feathers. This is because its power to control life and death, and alter the natural order, reminded me of the ancient Chinese phoenix, which also symbolizes the ability to reverse life and death and achieve rebirth through nirvana. Therefore, the overall design of the container draws inspiration from the phoenix’s wings and feathers. For the character choice, I want to use a character from a game I really love called Naraka. She is the blind swordswoman from the western Kunlun, the beautiful and dangerous red-laced snake. Her concealed eyes make her immune to the corruption caused by evil forces. In my setting, the evil essence within the ancient tomb can control a person’s mind through their eyes, so this character, who is perfectly immune to it, makes a great protagonist. In the future, I will collect the official concept art and create the model by myself. Camera concept Reference I gathered some reference materials for scenes, mainly to study and draw inspiration from the lighting setup and atmosphere creation. These references not only helped me understand light and shadow effects but also provided inspiration to enhance the overall visual quality and depth of the composition. Preliminary layout After completing the concept art, I used simple block models in Maya to lay out the basic structure of the scene. Next, I set up the basic lighting, fog, and camera angles in Unreal Engine 5 (UE5). I also replaced some of the block models with assets to give the scene a more refined and immersive look. Modeling I modeled the container. The process involved creating a rough model in Maya, then importing it into ZBrush for sculpting, adding forms, cracks, and other details to enhance material texture and realism. Character model Perform detailed character modeling while designing and creating clothing models that align with the character’s setting, focusing on both intricate details and overall aesthetic harmony. Unwrapping UVs for the character model To enhance UV precision and make the character appear more detailed, I used a multi-tile UV (UDIM) approach to unwrap the character’s UVs. Create textures for the character. Perform rigging for the character. Initially, I bound the character and clothing together to the skeleton, but I found that this method caused the clothing to inherit weights, leading to deformation during movements. So, I separated some parts of the fabric from the clothing, bound the character first, and then created the animations. Then, using UE’s cloth system, I created a cloth asset and painted weights to precisely control the fabric’s drape and dynamic behavior. The video shows the cloth effects in UE, including the fabric’s drape, dynamic reactions, and interactions with character movements. Scene lighting setup To make the scene appear more layered, I rearranged the lighting. I identified the primary light source and the auxiliary light sources in the environment, as well as how they contribute to the indirect illumination of the scene. Since the scene is set underground, it is not possible to rely on UE5’s default environmental lighting. Therefore, almost all light sources need to be provided through point lights and spotlights for illumination and lighting. Material animation I wanted to create an animation of a vine growing. Initially, I used path animation in Maya, but since the entire vine moved along the path, it didn’t achieve the natural growth effect I was aiming for. Therefore, I searched online for better solutions. Through tutorials, I learned that I could achieve the gradual growth effect of the vine using world position offset and masking techniques in UE. Tutorial link：虚幻引擎5！制作生长的根部效果！_哔哩哔哩_bilibili Offset and masking nodes Animation effect Smoke particle effect I created the desired smoke effect by modifying the built-in smoke preset in UE. I mainly adjusted the particle emission trajectory, the concentration of the smoke, and controlled its size by altering the emission range. Nuke compositing I used Nuke for post-production compositing, carefully creating the vine growth effect as it breaks through the ground, while also fine-tuning the shockwave effect caused by the ground destruction to enhance the visual impact. When I initially composited the footage into the project, I found that the two elements couldn’t blend perfectly, resulting in noticeable seams. Additionally, the footage exhibited an unnatural semi-transparent effect, affecting the overall visual quality. After checking, I found that the issue was caused by not adding an alpha channel to the footage. I then converted the B channel of the footage to black and white, exported it as the alpha channel, and copied it back to the original footage, giving me a version with an alpha channel. The effect after adding the alpha channel. The composited footage after addition. Nuke node overview. Logo design To make the video look more complete, I designed and created some elegant graphic elements and skillfully incorporated them into the footage. This not only enriched the visual depth but also enhanced the overall style, making the video more distinctive. Final effect Video link：https://youtu.be/MaQQIky30pY Summary and Reflection During this project, I learned a lot of new knowledge and skills. After the initial project planning, I set several key challenges, including： Scene lighting setup Character modeling and animation The vine growth animation Since the scene was set in an underground tomb (cave), it was difficult to rely on the default environmental lighting in UE. As a result, almost all light sources had to be created using point lights and spotlights. This process took a considerable amount of time because I had to analyze how light interacted with objects and constantly adjust the position, range, and intensity of the lights. Despite the challenges, I was satisfied with the final scene result. Regarding character modeling and animation, since I had no prior experience with character modeling, this was my first attempt at character creation and animation. The process was relatively difficult, and the final result wasn’t ideal, especially the animation part, which appeared somewhat stiff. I will continue to learn and improve my character animation skills and look for better methods for future projects. As for the vine growth animation, although it seemed like a simple animation, I encountered some difficulties in trying to represent the growth process. After searching for some tutorials, I learned how to achieve this effect using position offsets and masking techniques. I believe this method will be useful in future projects, and I am excited to have learned this new skill. Reflection During this project, I identified some issues with asset creation. For example, the character’s UV unwrapping was not standardized, the UV usage rate was low, and some UVs had inconsistent resolution. Additionally, the character animation was not smooth enough and requires further practice and improvement. I hope these issues will be addressed and resolved in the nex […] “Final project-Tomb adventuring”

Lingan Jin and Zhihao Tong are now friends

Thu, 12 Dec 2024 17:43:40 +0000

Lingan Jin wrote a new post on the site Lingan Jin's blog

Thu, 12 Dec 2024 00:51:17 +0000

UE5-Cabin-Night I […] “UE5-Cabin-Night”

Lingan Jin wrote a new post on the site Lingan Jin's blog

Mon, 09 Dec 2024 15:13:05 +0000

Lighting ＆ Rendering-091224 Create a studio for the robot to facilitate lighting adjustments. I have created four lights for therobot: an area light as the main light, a spot light to emphasize the subject, and two side lights. The main light source has a warm tone, while the fill light has a cooler tone. Next, I adjusted the robot’s material properties to make it more realistic and detailed, while fine-tuning the light intensity, position, and color temperature to optimize the lighting effects. Finally, I rendered the image, resulting in a detailed and well-defined […] “Lighting ＆ Rendering-091224”

Lingan Jin and Shannon Tang are now friends

Mon, 09 Dec 2024 11:50:44 +0000

Lingan Jin and Zhilin Ding are now friends

Mon, 09 Dec 2024 11:47:57 +0000

Lingan Jin and Haoshu Wang are now friends

Mon, 09 Dec 2024 11:47:38 +0000

Lingan Jin and Guanglin Lu are now friends

Mon, 09 Dec 2024 11:47:00 +0000

Lingan Jin changed their profile picture

Sun, 08 Dec 2024 21:17:24 +0000

Lingan Jin wrote a new post on the site Lingan Jin's blog

Wed, 04 Dec 2024 13:34:04 +0000

Final project-Tomb adventuring-Concept Legend has it that deep within a hidden mountain lies a forgotten ancient tomb. This tomb belonged to an ancient sorcerer who fed on human souls, forging an “Evil Essence” capable of controlling life and death and altering the fabric of reality. To prevent the malevolent spirit from wreaking havoc, the imperial court dispatched an elite battalion, joining forces with Taoist masters to seal the evil spirit within the tomb. They placed numerous traps and enchantments to secure the seal. For centuries, no one has dared to set foot in this accursed place. Art concept My initial concept inspiration came from the underwater tomb of King Wu, where he was buried alongside his most cherished 3,000 swords. Among them, the most renowned, the Fish Intestine Sword, is revered as the supreme of all swords. Eternally sealed within ancient vines, it rests alongside King Wu in his eternal slumber. However, in the subsequent design process, I am dissatisfied with the sword elements. I created several different sword models, but none of them yielded satisfactory results. This led me to reconsider whether I should replace the sword with other elements. I want to replace the sealed object from a sword to particle effects, which are referred to as “Essences” in the story. The narrative revolves around these Essences, telling the tale of an ancient sorcerer who crafted a power capable of controlling life and death and altering the balance of the world. To prevent the evil spirit from wreaking havoc, the imperial court sealed it within an ancient tomb hidden deep in the mountains. The container that seals the “Essence” is designed with bird feathers. This is because its power to control life and death, and alter the natural order, reminded me of the ancient Chinese phoenix, which also symbolizes the ability to reverse life and death and achieve rebirth through nirvana. Therefore, the overall design of the container draws inspiration from the phoenix’s wings and feathers. Camera concept Preliminary layout After completing the concept art, I used simple block models in Maya to lay out the basic structure of the scene. Next, I set up the basic lighting, fog, and camera angles in Unreal Engine 5 (UE5). I also replaced some of the block models with assets to give the scene a more refined and immersive look. Modeling I modeled the container. The process involved creating a rough model in Maya, then importing it into ZBrush for sculpting, adding forms, cracks, and other details to enhance material texture and realism. The effect of the container in the scene. The effect of the container with lighting […] “Final project-Tomb adventuring-Concept”

Lingan Jin wrote a new post on the site Lingan Jin's blog

Tue, 03 Dec 2024 20:47:35 +0000

UE5-Cabin Create a […] “UE5-Cabin”

Lingan Jin wrote a new post on the site Lingan Jin's blog

Tue, 03 Dec 2024 20:13:28 +0000

Nuke-Balloon festival […] “Nuke-Balloon festival”

Lingan Jin wrote a new post on the site Lingan Jin's blog

Tue, 03 Dec 2024 19:44:10 +0000

Nuke-2D Clean up-281124 Using the RotoPaint node, remove unnecessary parts of the classroom. Then, use the Tracking node to composite crack elements. Finally, unify the colors through color grading and add camera shake, transforming an ordinary classroom into one on the verge of collapse. By flexibly using various tracking nodes, track the movement of the wall covering and composite crack elements into the scene. Final […] “Nuke-2D Clean up-281124”

Lingan Jin wrote a new post on the site Lingan Jin's blog

Tue, 03 Dec 2024 18:29:13 +0000

Nuke-2D Tracking-121124 By flexibly using various tracking nodes, track the motion of the phone screen and composite the screen content into it. Node Overview Final result

Lingan Jin wrote a new post on the site Lingan Jin's blog

Tue, 03 Dec 2024 18:14:24 +0000

Nuke-Rotoscoping-103024 Use the Roto node to separate the object from the background. Multiple Rotos are needed for a single object, and each Roto should contain multiple simple Bezier to set keys for Roto. The head Roto consists of three Beziers. The legs Roto consists of seven Beziers. The arms Roto consists of six Beziers. The body Roto consists of three Beziers. Final […] “Nuke-Rotoscoping-103024”

Lingan Jin wrote a new post on the site Lingan Jin's blog

Sat, 19 Oct 2024 21:17:29 +0000

Animal low poly＆Skeleton J-091024 In the process of model creation, topology is a crucial step. A well-topologized model ensures cleaner edge flow, preventing issues such as distortion or breakage. Additionally, reducing the polygon count helps decrease file size, achieving an optimized result. Modeling Rendered image Skeleton Jack Learned the basic knowledge of ZBrush software and its interface structure, became familiar with modeling operations, and created a simple bust of Skeleton Jack. Used ZBrush’s built-in material spheres to apply materials to the model and rendered the final result. Create a sphere, use the Move tool, increase the brush size, adjust the shape, and use masking to outline the positions of the facial features. First, shape the rough form of the body in Maya, then import it into ZBrush for detailed sculpting. Rendered image 3D Printing Experience I have always wanted to experience 3D printing technology. When I saw that we could book a 3D printing workshop on LCC’s Moodle, I decided to try printing this low-poly animal […] “Animal low poly＆Skeleton J-091024”

Lingan Jin wrote a new post on the site Lingan Jin's blog

Wed, 09 Oct 2024 21:43:30 +0000

Castle-011024 Further […] “Castle-011024”

Lingan Jin wrote a new post on the site Lingan Jin's blog

Tue, 01 Oct 2024 17:52:15 +0000

Snowman-011024 Learned […] “Snowman-011024”

Lingan Jin created the site Lingan Jin's blog

Sun, 29 Sep 2024 21:25:57 +0000