Article
I enjoy making things, solving problems, and getting a little too invested in the details.
I am an Unreal Engine artist, designer, and self-starter who enjoys turning ideas into things you can actually experience. I believe good design isn't just about looking impressive. It's about how something feels, functions, and connects with people.
My work lives somewhere between art, technology, and problem-solving - from real-time broadcast graphics and immersive 3D environments to building tools that make creative workflows smarter.
Article
Article
Tool
A Claude Skill I made to keep AI-generated Blueprints readable, control what agents can change, and make their work easier to review.
References, mood & intent. Defining the shot and the constraints.
Greybox scale, camera language & composition before any detail.
Modular, game-ready geometry built for reuse and silhouette.
PBR + master materials, trims & instances for art-direction speed.
Lumen / cinematic lighting - mood, exposure & volumetrics.
Nanite, LODs, draw calls & profiling to hold the frame budget.
Sequencer renders, look-dev passes & delivery for the medium.
Procedural content generation for scalable, art-directable environments in UE5.
Procedural modeling & tooling - bringing node-based workflows into the pipeline.
In-camera VFX, LED-volume workflows & real-time cinematography.
Python automation & data bridges to speed up live-graphics production.
Exploring real-time 2D broadcast graphics, overlays, and motion design for live productions.
Parul University, Vadodara
Arena Animation, Ahmedabad
Arena Animation, Ahmedabad
Smt. R.M. Tilva HS, Jamnagar
Modular sets, landscapes and set-dressing - lit and dressed for cinematic or real-time use. Lumen & Nanite-aware.
Gameplay & systems logic, UMG interfaces and editor tooling that speed up production.
Data-driven visuals for live sport - overlays, operator interfaces and real-time playout.
Nanite, Lumen, LODs, draw-call & memory profiling to hold a stable frame budget.
Mood, exposure and volumetrics - from study to final cinematic grade.
Python automation, JSON/Socket.IO data bridges and DCC-to-engine workflows.
Real-time padel broadcast graphics · Unreal Engine 5.7 · 2026
For the GENERALI Hexagon Cup in Madrid (28 January to 1 February 2026) I built the live graphics system for Stupa Sports Analytics. I recreated the court inside Unreal Engine on a real-world coordinate system, so the live match data appears in 3D exactly where it happened on court. More than 227,000 people watched live online, across roughly 10 to 12 hours of court time. Nothing could break on air.
Holding PAL 50. The broadcast ran at PAL 50, and any frame drop shows up on air straight away. Frame-rate stability is the problem I fight on every live show, and here it shaped most of the technical decisions (see Optimization).
I was the only Unreal developer on the project. I designed the graphics, built the system from scratch in Unreal Engine 5.7, wrote the scripts that feed it live data, built the operator panel and ran it during the broadcast. The stats came from Stupa's data team.
Last-minute design changes were rare. We had tested the system thoroughly before Madrid.
Live table tennis graphics · Unreal Engine 5.6 · 2025
The stats in these graphics are sample data, used only to show how the visuals work. They don’t reflect real match results.
For WTT Star Contender Chennai 2025, a World Table Tennis event, I built the 3D on-air graphics for Stupa Sports Analytics. I rebuilt the whole venue in Unreal Engine to match the real setup, then ran the graphics live through the broadcast myself, holding 50 to 60 fps on air.
A control system built by a designer. I drove the graphics through Construction Script changes in the editor, without Play mode. It worked, and because I ran it myself I kept it at 50 to 60 fps, but it was heavy and not something I could hand to another operator. On later projects I rebuilt this approach with Event Graphs, custom events, functions and macros.
I was the Unreal designer on the project, and the on-air graphics operator. I modelled, textured and lit the venue on my own, set up the control system inside Unreal and operated it live for the whole event.
Sample data · for visualization only
Unreal Engine 5 Cinematic
A stunning wind farm! Modeled in Maya, textured in Substance 3D Painter, and rigged in Maya, this scene is rendered beautifully in Unreal Engine. This project was a personal goal in which I wanted to create a realistic 3D version of Hamish's original concept in Unreal, whilst still keeping its core aesthetic values and color scheme. Foliage assets are sourced from the marketplace and Quixel Bridge, bringing the environment to life. Based on Hamish Frater's original 2D Wind Farm concept.
Unreal Engine Artist
Unreal Engine 5 Cinematic
🎮 The Sound of 'WAR' – Weekend Project 🚀 Created using Fab assets and Ultra-Dynamic Sky lighting. Color graded in After Effects and rendered in real-time on an NVIDIA GeForce RTX 3060 Laptop.
Unreal Engine Artist
Unreal Engine 5 Cinematic
This Short Scene Entitled ‘The Lost House’ Was Created by Me. The Entire Environment Was Built In Unreal Engine 5.3 ,Using Quixel Assets and Some Marketplace Assets and entire forest made up by Unreal’s Procedural Content Generation (PCG) Tool.
UE 5.3 Cinematic
Inspired by the mesmerizing work of Magnet VFX, this digital realm breathes life into an abandoned village, where echoes of memories linger along the tranquil riverside. 🏡
Unreal Engine Artist
R&D · Rendered 3D · 2026
Tried something new on weekend! After recently trying the epigamia Chocolate Protein Shake, I wanted to recreate it in 3D. So, I took on a short project to visualize it in a cinematic style using Blender & Photoshop. Modeled and UV-unwrapped in Blender, with texturing and try new package design in Photoshop - experimented with chocolate splashes, floating objects, and a dramatic desert landscape to enhance the visual narrative.
R&D · Rendered 3D · 2026
An experiment in building a photo-realistic Earth entirely in Blender, using Claude (via Blender MCP tools) as a technical partner to write and execute Python scripts. The goal wasn't a one-click render - it was to test how far AI-assisted iteration could accelerate a fully art-directed pipeline while keeping every creative decision my own.
Performance vs. fidelity: 43K textures looked incredible but crashed a 6GB GPU. Balanced texture resolution against hardware limits.
Art direction, scene design, look development, and technical review. I specified intent; the AI generated and executed the Blender Python; I evaluated results, caught issues, and drove every iteration and aesthetic call.
Unreal Engine technical artist with 3+ years of real-time work across live broadcast graphics, game environments and cinematic lighting - where the frame budget matters as much as the frame.