✏️New Codepen✏️ Infinite portals : A birdhouse inside a sand castle inside a birdhouse... Dive into these recursive worlds and enjoy the infinite transition. A webgl demo made with @threejs and @greensock 🔗 link to @CodePen in thread ⬇️

Thank you @codrops and @crnacura for the opportunity!

First part of the story of Darkey Kelly, the first female serial killer in Ireland. I relied heavily on #AI and went through the full love/hate relationship that comes with it. Some of the generated shots blew my mind, while others were cringe-worthy. #midjourney #googleVeo3

Original illustrations :

I started experimenting with #veo3 using 3D illustrations I made. Sometimes it looks like a gambling game to make it create the right animation, but I'm very impressed on how it handles running cycles and physics. Original images in the comments. #AIart #3D

Beware this account, they are using a project we made with @1x1_NFT implying this account belongs to me or approved by me. I have nothing to do with them and don't exactly know their intentions but it looks like a scam.

So it's Halloween 🎃 ! Probably a good time to repost this spooky experience we made with @1x1_music .

"Skating bunny" by Karim Maaloul https://t.co/kEdIdKPOjF

🔗 This is a link to the codepen if you want to explore more and play with the parameters. https://t.co/UYWpe98qL9 👋

We can go further by applying a bloom effect in the post processing, adding ashes gently flying or more details to the flame.

Now we need to integrate the fire to its environment, by making the dark areas disappear and the light ones to blend with the fireplace. To do so, we apply an additive blending mode to the shader.

The borders of the fire are too defined and not very realistic. To improve this we can apply a smoothing on each side. It basically creates a black gradient.

We can try to recreate the three different colour layers by simply assigning different noises values to the rgb channels and more or less masking the borders of each layer.

Now let’s work on the colors, we will use the same principle : combining noises. This is how it looks like with one noise, quite boring and really not impressive.

As we want the higher part of the fire to react more to the displacement than the lower part, we can multiply the displacement by the vertical component of the uv. so we basically multiply by 0 at the bottom and by 1 at the top.

So let’s displace the fire geometry using a noise. We can do that in the vertex shader. The trick is to sample the texture according to UVs but we slightly move the vertical component of the UVs at each frame. Each vertex is then displaced according to the value of the noise at

The magic happens when sampling one or multiple noises and using the UVs to make the noise(s) move in a specific direction. Combining different noises moving at different speeds is the building bloc of all this demo.

The most important element to achieve visual effects is a noise (usually a Perlin noise). Glsl noise functions can easily be found. But I usually use a noise texture that I pass to the shader as a uniform, which prevents additional calculations and improves performances. My noise

The Fire shape The base geometry for the fire is a cylinder primitive, with different top and bottom radii (0.03 and 0.2). Starting angle and angle length are set up in a way to only create half a cylinder as we don’t really need the back side of it (-PI/2 and PI).

New @CodePen : Fire Shader. I needed a fire shader in The Cursed Library, so I thought it would be interesting to deconstruct the techniques behind. Made with @threejs and custom shaders. #webgl 🔗link to the codepen at the end of the thread 🧵⬇️

We took some time with @1x1_music to write an article about The Cursed Library for @awwwards blog. We talk about sound engine, 3D tricks, Lighting, technical aspects of the project and remote collaboration. #webgl https://t.co/LoEVJRey38