<h2 style="text-align: center"><span style="font-family: &quot;Times new roman&quot;"><em>3D artist </em></span><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.behance.net/gallery/246698533/Dunes-of-Steel-Cinematic-Environment-Design"><span style="font-family: &quot;Times new roman&quot;"><em>Konstantin Batishchev</em></span></a><span style="font-family: &quot;Times new roman&quot;"><em> takes us to a desolate desert planet where massive industrial structures rise from the dunes, driven by mysterious underground mechanisms. Discover how he pushed his technical workflow to the limit to transform a raw concept into a polished, high-fidelity cinematic masterpiece.</em></span></h2><hr><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/z7TP8F4HwX4?start=0" frameborder="0" allowfullscreen="" width="800" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><h1><strong>Software Used</strong></h1><p>Cinema 4D – Modeling, animation<br>Cascadeur - Character animation<br>Marvelous Designer – Cloth Simulation&nbsp;<br>Substance Painter – Texturing<br>Octane Render – Lighting &amp; Rendering<br>Embergen - smoke simulation<br>After Effects - Post-Production</p><h1><br><strong>Artist Introduction</strong></h1><p>Hi, I’m a Motion Designer with over 10 years of experience working in 2D and 3D animation. I focus mostly on creating visuals for branding, product videos, and storytelling. In my work, I usually handle the whole process - from the initial idea and look development to animation, simulations, rendering, and final compositing.</p><p>I especially enjoy working on cinematics and character animation, so in both personal and commercial projects I focus on building a story and finding the best way to visualize it.</p><p>I work with tools like Cinema 4D, Unreal Engine, Marvelous Designer, After Effects, Blender, and Substance Painter, depending on the needs of the project.</p><h1><strong>Please introduce your project.&nbsp;</strong></h1><p><em>Dunes of Steel</em> is my personal project, where I challenged myself to create a large environment, a desert atmosphere, and a sci-fi story about a character trying to sneak into the center of a city — a huge burning crater.</p><p><img src="https://storagefiles.clo-set.com/public/community/202605/6a24e7e458a448948d97f6bc8b998165/images/d8a9055ec9c8479d8c1486013ab74c01City_Shot1_00111.png" alt="d8a9055ec9c8479d8c1486013ab74c01" class="custom-image original-size" data-id="d8a9055ec9c8479d8c1486013ab74c01" data-width="1920" data-height="1080">The city design and its materials, especially the pipes, show that this is an industrial city that depends on the crater.</p><p>I really enjoyed working on the details and textures. It was important for me to show the scale of the environment and how sand and heat affect the materials.</p><p>I started by choosing a music track, which I used as a base for the animation and editing. The rhythm of the track shaped the whole pacing of the video.</p><p>The project took me about a month from idea to final render, which surprised me — usually my personal projects take much longer.</p><p>There is also a lot of compositing in this project. Elements like smoke were simulated and rendered in Embergen, then composited in After Effects.</p><p><img src="https://storagefiles.clo-set.com/public/community/202605/6a24e7e458a448948d97f6bc8b998165/images/7453b8d9dddc440cb6e6087994ccc8f7Dunes%20of%20Steel.png" alt="7453b8d9dddc440cb6e6087994ccc8f7" class="custom-image original-size" data-id="7453b8d9dddc440cb6e6087994ccc8f7" data-width="1920" data-height="1080"></p><h1><strong>Tell us how Marvelous Designer creates value in this project.&nbsp;</strong></h1><p>For <em>Dunes of Steel</em>, cloth simulation plays a key role - it’s a visual focus on the character that adds complexity and creates a strong contrast against the metallic environment.</p><p><img src="https://storagefiles.clo-set.com/public/community/202605/6a24e7e458a448948d97f6bc8b998165/images/9fbba222bd0e49d498897f66e1c97915Process.gif" alt="9fbba222bd0e49d498897f66e1c97915" class="custom-image original-size" data-id="9fbba222bd0e49d498897f66e1c97915" data-width="698" data-height="348"><br>In fact, improving my cloth simulation skills was one of the main reasons I started this project. Most of the scenes were created in Marvelous Designer, except for the final shot where the cloak is dropped - that simulation was done in Cinema 4D, since I needed more precise and flexible control over the cloth movement.</p><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/94cpPzT7vWI?start=0" frameborder="0" allowfullscreen="" width="800" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><p><br>In most of the cloth simulations, there were no issues because the movements were smooth and natural.</p><p><img src="https://storagefiles.clo-set.com/public/community/202605/6a24e7e458a448948d97f6bc8b998165/images/65708e6e70054843a941dc2f55b6be42jump-1.jpg" alt="65708e6e70054843a941dc2f55b6be42" class="custom-image medium-size" data-id="65708e6e70054843a941dc2f55b6be42" data-width="1395" data-height="693"><img src="https://storagefiles.clo-set.com/public/community/202605/6a24e7e458a448948d97f6bc8b998165/images/0caf358ce99b412495127eadeb8305d5Run.gif" alt="0caf358ce99b412495127eadeb8305d5" class="custom-image medium-size" data-id="0caf358ce99b412495127eadeb8305d5" data-width="698" data-height="349"><br>The difficulties started in the landing scene. In this case, I needed to art direct the cloth simulation so that it wouldn’t just look realistic, but also look visually appealing.</p><p>In the first example, I only use Time Warp, but the wind is too weak, so I’m not satisfied with the result.</p><p><img src="https://storagefiles.clo-set.com/public/community/202605/6a24e7e458a448948d97f6bc8b998165/images/624b6735be63462083d69d4db81c66b4time-1.jpg" alt="624b6735be63462083d69d4db81c66b4" class="custom-image medium-size" data-id="624b6735be63462083d69d4db81c66b4" data-width="1396" data-height="689"><br>In the next example, I increase the wind strength, but I don’t start the simulation from the very beginning. This is a very convenient workflow. The cloth movement during the character’s flight already looks good to me, so I continue the simulation starting from the landing moment. The result is better, but I still don’t like how the cloth behaves.&nbsp;</p><p><img src="https://storagefiles.clo-set.com/public/community/202605/6a24e7e458a448948d97f6bc8b998165/images/7304cbc6e2e14a0a92d26a36f118e605time-2.jpg" alt="7304cbc6e2e14a0a92d26a36f118e605" class="custom-image medium-size" data-id="7304cbc6e2e14a0a92d26a36f118e605" data-width="1392" data-height="695"><br>Then I increase <strong>air damping</strong>. Because of that, when the character moves in slow motion, the cloth also behaves like it’s in slow motion. But it still doesn’t fall to the ground properly because the wind and air resistance are stronger.&nbsp;</p><p><img src="https://storagefiles.clo-set.com/public/community/202605/6a24e7e458a448948d97f6bc8b998165/images/72673e3fd12641a0809e19c127948eb8air-1.jpg" alt="72673e3fd12641a0809e19c127948eb8" class="custom-image medium-size" data-id="72673e3fd12641a0809e19c127948eb8" data-width="1393" data-height="688"><br>In the final version, I increase gravity, and the cloth finally moves the way I want. This way, I was able to control the simulation, and it looks very realistic at normal speed.&nbsp;</p><p><img src="https://storagefiles.clo-set.com/public/community/202605/6a24e7e458a448948d97f6bc8b998165/images/ec47e4f73fb843829354f7f69ae157cfLanding_4.gif" alt="ec47e4f73fb843829354f7f69ae157cf" class="custom-image original-size" data-id="ec47e4f73fb843829354f7f69ae157cf" data-width="698" data-height="348"></p><h1><strong>What is your favorite feature or tool to use in Marvelous Designer?</strong></h1><p>I don’t have extensive experience with Marvelous Designer yet, so I’m probably not using it to its full potential.&nbsp;</p><p>What I like most is that making clothes feels just like in real life - you don’t have to fake seams, and you can tweak any part in real time to fit the character perfectly. I know it’s a pretty basic feature, but I really enjoy it 🙂</p><p></p><h1><img src="https://storagefiles.clo-set.com/public/community/202605/6a24e7e458a448948d97f6bc8b998165/images/be4e9e4310d947e8991ee6f60005fab21_Final.png" alt="be4e9e4310d947e8991ee6f60005fab2" class="custom-image original-size" data-id="be4e9e4310d947e8991ee6f60005fab2" data-width="2160" data-height="3840"><img src="https://storagefiles.clo-set.com/public/community/202605/6a24e7e458a448948d97f6bc8b998165/images/5b1e46ffd3fa4e01a9f4c6516c47640e2_Final.png" alt="5b1e46ffd3fa4e01a9f4c6516c47640e" class="custom-image original-size" data-id="5b1e46ffd3fa4e01a9f4c6516c47640e" data-width="2160" data-height="3840"><img src="https://storagefiles.clo-set.com/public/community/202605/6a24e7e458a448948d97f6bc8b998165/images/12ea29a348394edfb460a886b3b3a722cape%20render.png" alt="12ea29a348394edfb460a886b3b3a722" class="custom-image original-size" data-id="12ea29a348394edfb460a886b3b3a722" data-width="959" data-height="723"><br><strong>For other users considering Marvelous Designer for a cinematic project, do you have any advice or experience to share?&nbsp;</strong></h1><p></p><p>In my project, when simulating cloth, I used Time Warp. This is a key parameter that helps make the simulation more accurate. Animated characters often have fast movements, which can cause incorrect simulations because the distance between frames is too large, and the cloth can intersect with the object.</p><p>I also recommend experimenting with wind direction, wind strength, and gravity. These settings can really help you guide the cloth and get the motion you want.</p><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/T-6BsPwfWWQ?start=0" frameborder="0" allowfullscreen="" width="800" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div>

Dunes of Steel | 3D Cinematic Animation

veil-D150 with pearl

ellen.azizi19

Designer

Seller

Pattern Maker

Freelancer

Others

Collection A

<h2 style="text-align: center"><span style="font-family: &quot;Times new roman&quot;"><em>Bringing Stylized Yokai to Life: An Interview with </em></span><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/yaw_cg_md/"><span style="font-family: &quot;Times new roman&quot;"><em>Samuel Onyina</em></span></a><span style="font-family: &quot;Times new roman&quot;"><em>, Marvelous Award Winner of </em></span><a target="_blank" rel="noopener noreferrer nofollow" href="https://createwithclint.com/community-challenges/12"><span style="font-family: &quot;Times new roman&quot;"><em>Pwnisher’s "Dream Sequence" Challenge</em></span></a></h2><hr><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/7VyjLLpJEWA?start=0" frameborder="0" allowfullscreen="" width="800" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><h1><strong>Software Used</strong></h1><p>Blender – Modeling<br>Marvelous Designer – Cloth Simulation &amp; Animation<br>Substance Painter – Texturing<br>Cycles (Blender) – Lighting &amp; Rendering</p><h1><strong>Artist Introduction</strong></h1><p>My name is Samuel Yaw Ampofo Onyina. Professionally, I am a physician based in Ghana. Alongside my medical career, I operate as a hobbyist 3D generalist under the social media moniker, <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/yaw_cg_md/">yaw_cg_md</a>. I focus on character design and animation workflows to build compelling, narrative-driven visuals.</p><h1><strong>Please introduce your project.</strong></h1><p>This animation was my submission for the Dream Sequence 3D Community Challenge hosted by Pwnisher. The piece centers on a haunting, trance-like state, featuring a Yokai. The core objective was to build an atmosphere of eerie suspense.</p><h1><strong>The template for this contest was very open ended, what was your inspiration for your animation?</strong></h1><p>My inspiration stems heavily from Japanese mythological Yokai and "Kabuki-noir" as well as the work of the popular Malaysian artist, Zeen Chin. I wanted to capture the unsettling nature of a Yokai wraith who transforms the men who murdered her into marionettes that she now has control over as a form of revenge. The flowing, traditional-style robes were chosen deliberately because the way fabric drags, billows, and responds to a slow, deliberate walk cycle inherently adds drama and a surreal quality to the composition.</p><h1><strong>Tell us how Marvelous Designer creates value in this project.</strong></h1><p>Marvelous Designer is strictly necessary for grounding stylized characters in reality. In this project, the character wears a complex, multi-layered robe that interacts heavily with their limbs as they walk with outstretched arms. Hand-animating those folds or relying on standard 3D package cloth modifiers would not yield the necessary physical accuracy. I really did not have to do much to achieve the look I desired and it was genuinely a happy accident seeing how convincingly the sleeves slid down the Yokai’s arms. MD is such an amazing tool. I love it so much.</p><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/56eOkP9ouE0?start=0" frameborder="0" allowfullscreen="" width="800" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><h1><img src="https://storagefiles.clo-set.com/public/community/202605/5ebaca44c6c94cf38e8bb9f50c3af911/images/1c7e7ab2771c40c2aa8c2756cbe3c7a6Yokai5.png" alt="1c7e7ab2771c40c2aa8c2756cbe3c7a6" class="custom-image original-size" data-id="1c7e7ab2771c40c2aa8c2756cbe3c7a6" data-width="1920" data-height="1080"><img src="https://storagefiles.clo-set.com/public/community/202605/5ebaca44c6c94cf38e8bb9f50c3af911/images/1454501597984554968edb1e55d6485eRender1.png" alt="1454501597984554968edb1e55d6485e" class="custom-image original-size" data-id="1454501597984554968edb1e55d6485e" data-width="1920" data-height="1080"><img src="https://storagefiles.clo-set.com/public/community/202605/5ebaca44c6c94cf38e8bb9f50c3af911/images/6c18dcb620724aecbf572657a2857e8cFinal0011.png" alt="6c18dcb620724aecbf572657a2857e8c" class="custom-image original-size" data-id="6c18dcb620724aecbf572657a2857e8c" data-width="1920" data-height="1080"><br><strong>What is your favorite feature or tool to use in Marvelous Designer?</strong></h1><p><strong>Sewing</strong>, the <strong>animation Mode</strong> and the <strong>Alembic export pipeline</strong> are my primary tools. The solver's ability to handle complex layered collisions without intersecting, especially on loose, flowing garments like the robe in this sequence saves hours of manual corrective sculpting. I also love the UV editor. Although rudimentary, at the moment, it streamlines my process considerably. I no longer have to worry about unwrapping in blender and it allows me to jump into texturing quickly. Love that.</p><h1><strong>For other users considering Marvelous Designer, do you have any advice or experience to share?</strong></h1><p>Keep your workflow disciplined. Build your garments with a high particle distance initially to quickly block out the silhouette and test your sewing patterns. Only lower the particle distance to refine the micro-folds once you are ready for the final simulation cache. Additionally, ensure your base avatar's animation is completely clean and free of intersecting geometry before bringing it into Marvelous Designer; good cloth simulation relies entirely on clean collision data.</p><p>Also, don't forget that you can add extra detail in any sculpting program you’re comfortable in and bake the detail down into normal maps in substance 3d painter.</p>

Marvelous Award Winner Interview  from Dream Sequence 3D Community Challenge

Dunes of Steel | 3D Cinematic Animation

Marvelous Designer Official

Marvelous Designer Official