WORK

LanLan StudiosKrafton 3D Environment Design and Animation 2026 Link ↗

Devanshu Tak. BGMI New Lobby Music | Animated Music Video (opens in a new tab)

Developed the 3D approach for BGMI's hand-drawn animated film, integrating stylised environments, animation, and effects with the work of a large 2D team.


I developed the 3D approach for BGMI's hand-drawn animated music video, creating dimensional environments, objects, animation, and effects that could pass naturally into a much larger 2D production. I was the only 3D artist on the project, working directly with two 3D animators who were leading the wider team of 2D animators.

2D and 3D side by side.
Process breakdown.

Making 3D belong in a drawn world

The central problem was not simply producing 3D assets. The work had to match the perspective and movement of animated characters, then arrive in a form the 2D artists could use without breaking the film's visual language. Models, lighting, linework, and movement were deliberately simplified and reshaped so the result felt drawn rather than rendered.

NPR shading and lineart look test.
NPR shading and lineart look test.

I built the workflow in Blender using EEVEE for non-photoreal rendering, Grease Pencil for linework, and custom geometry and rendering scripts to control the stylisation. Shading, lighting, and animation were adjusted shot by shot rather than relying on one generic look. I also wrote a resolution-fitting tool so the 3D output could move cleanly into the 2D team's production setup.

Custom geometry and rendering tools used to control the stylised look.
Custom geometry and rendering tools used to control the stylised look.
Watchtower environment blockout.
Watchtower environment blockout.

My work covered a watchtower, church, stadium, and stacked-crate environments, along with hero-object animation and a stylised bullet impact with breaking glass. Some shots needed the 3D camera and animation to match existing character movement; others established the space that the 2D animation would later inhabit.

Building a usable bridge between teams

Across five sequences and fifteen shots, I handled research and development, asset preparation, environments, selected animation, effects, and the final 3D passes supplied to the animation team. The work ran from initial setup through final passes over approximately three and a half weeks.

The value of the 3D was not that it called attention to itself. It gave the artists stable perspective, dimensional movement, and complex environments while leaving enough flexibility for the final images to remain visibly hand-drawn.

Raw blockout renders next to the finals they became. Click any frame to open it, then step through with the arrows to see the pair.

ToolsBlender
Direction and Animation Direction
Sailesh Gopalan
Production Management
Preetham Gunalan
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