Blue Marine VR

In my role as Lead Houdini Artist at Unseen Studio, I collaborated with Martin Gunnarsson on a 360-degree experience for the Blue Marine Foundation, showcased at COP 28. This project involved creating, shading, and simulating interactions in three distinct marine environments. The animation of both large and small marine species was skillfully executed by Martin, who developed specialized skeletons for each.


Lead Houdini Artist

Technical Director




Side Fx Houdini

Substance Painter

Davinci Resolve

Concept Exploration

In the initial phase of the project, following the development of an overall script by the creative director at Unseen, I created quick sketches for a rough storyboard. This step was crucial for kick-starting the R&D process and providing the client with a clear vision of our proposed direction.

& Development

The R&D phase presented several interesting challenges. These included optimizing scenes for 360-degree views, achieving a realistic look for underwater environments that balanced quality with shorter rendering times, and selecting simulations that would authentically convey the natural movement of species underwater. Below, you'll find various stills and screencaptures from this process.

Completed Project

The final project was showcased at COP 28 through VR headsets, allowing users to immerse themselves in the environments the Blue Marine Foundation aims to preserve. My contribution included producing the 360-degree video and capturing in-camera shots for another promotional video highlighting the VR experience. Below, you'll find the complete 360 video along with select stills used in promotional materials. Additionally, the in-camera videos at the start of the page beautifully demonstrate the environments we are striving to protect.

Technical Execution

In terms of technical challenges, many were outlined earlier, but extensive research was also conducted to design these environments efficiently. My goal was to maximize details and realism while minimizing rendering times. This involved creating custom rocks and corals, all sharing a single material with multiple UDIMs to add intricate details. The fish simulations were particularly complex, taking into account factors such as incoming predators and stationary objects within the scene. Overall, it was a challenging yet immensely rewarding project to be a part of.