Behind the Scenes: My 3D Design Process
I do not use AI for my work. Here is how I build digital worlds from scratch, from the initial blocking in Maya to the final render.
This breakdown video shows the process behind the Chintamani T-shirt animation. It starts with the initial sketch and moves through 3D modeling, texturing, and setting up the final scene in the software before the final render.
This is a piece of concept art in motion, inspired by the rapper Divine. I created a dark, atmospheric world and animated a classic car driving through it, focusing on mood and visual storytelling.
About Behind the Scenes: My Process
My workflow starts with blocking out shapes in Blender before touching any textures. I focus on real-world physics and light simulation in V-Ray so your product does not look like a floating cartoon. You can see how the fabric drapes in the Chintamani breakdown; that is not an automated effect, it is manual cloth simulation set to match specific fabric weight and density.
I build everything from the ground up. When you see a render of a sneaker or a Ganpati-inspired concept, you are looking at hours of manual polygon modeling, not a prompt typed into an AI generator.
The Pipeline
I start in Maya or Blender to set the structure. For products, it is about precision. If I am doing cloth simulation for apparel, I tweak the density settings so the material moves naturally. Then comes Substance Painter for texture—if it is metal, it needs to scratch and reflect light like real metal. I use V-Ray for the final lighting because it handles global illumination in a way that feels honest to the environment, whether it is a dark, atmospheric Mumbai street or a bright studio.
The Human Touch
My inspiration comes from my city. Whether it is the chaos of a Bappa aagman or the sleek aesthetic of Mumbai hip-hop culture, the energy goes into the scene. I am not just hitting a render button. I am manually composing the shot, adjusting the camera framing to mimic real-world cinematography, and finally using After Effects to composite the layers. This is why my work has that 'is that for real?' factor. It is technical, it is manual, and it is 100% human.
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