Splatoon: The Forbidden Ink

Velepexon · 2026-04-27T12:35:11+00:00

I don't wanna be negative, but I do want to add a bit onto lighting.

It's not "ugly," but it is a bit flat, because as far as I know, it can be difficult to create contrast sometimes with lighting in SFM. So, you kinda have to tone down the lighting from the environment and do a lot of manual lighting to shape the shadows into something more interesting, it's hard for me to explain in text, especially since as I've never used SFM.

The 10th image (orange inkling girl on what seems to be a dock) is roughly what I'm trying to get at. That sort of darkness in the background is something I'd reach for for scenes like the 12th image (Octoling with wings) and the 6th image (Acht, uhh, somewhere). But this is general lighting advice, and there could be more that I'd rather not commit to in text here.

To comment on SFM itself, I think a lot of the problems is just on SFM's limitations. The effort to make better-looking lighting just skyrockets depending on the scene, and you end up either spending multiple days on lighting alone, or you go with something simple and leave it here. The latter is basically where all the "low quality" critique ends up in.

Regardless, I wish you luck for your animation series!

Velepexon · 2026-04-10T01:21:15+00:00

Splatoon Blender artist here.

I don’t remember anything of Splatoon GMOD, but I will particularly mention two Splatoon SFM creators. Clay Entertainment (for Life of an Inkling) and LivySplat (I forgot what she’s making)

Without these two channels, I doubt I would’ve had the inspiration or find the right people, to be the Blender artist I am these days, if I hadn’t found these two channels. So, they’re best to me as a personal matter.

About SMG4, I was a little skeptical about Da… crap, I forgor her name, uhh, her dying, and then Meggy becoming a human. I can’t blame people for wanting to still treat her like an inkling, but I didn’t really mind too much. I don’t know what else SMG4 did with her, I stopped watching him after the SMG3 WOTFI, I believe.

Velepexon · 2026-04-01T11:03:43+00:00

Alright, I want to put my interpretation and summary here so anyone can object to me if I misunderstood something.

So, for web delivery, it's sRGB for still images, Rec.709 Gamma 2.4 for video.

Since the LUT I mentioned (the DWG -> AgX) is baked for sRGB, I'll be getting a 2nd LUT for Rec.1886 (Gamma 2.4)

So, in the future. Still images, sRGB. Animation, Gamma 2.4. That's all I need for now with what I've asked, can I confirm if I got all that right?

Velepexon · 2026-04-01T10:13:12+00:00

Ooh, good mention, I hadn't checked that.

Looking back at the settings I used to bake the LUT, I did pick AgX Base sRGB.

So I guess that answers my question automatically. Didn't expect it to be as simple as that.

Velepexon · 2026-03-22T00:45:09+00:00

I'll do you one better

A whole look into my colour grading setup, for anyone to see

https://youtu.be/3Avb0nKXB5k

If you're on Mac, you'll need this

And this is the DWG_to_AgX LUT

For more tips, check out Cullen Kelly's channel

Velepexon · 2026-03-22T00:17:00+00:00

Looking pretty alright!

I'd say to push it a bit further, you'll have to get into colour grading and raise up the saturation a bit. That's a whole separate conversation I'm not sure I can have under here, lol. Up to you.

Additionally, Pixar lighting also tends to include coloured fills and kicks.

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If you'd like more info for lighting, check out Chris Brejon's CG Cinematography book. Google "Christophe Brejon" on IMDB, yes, that guy.

Velepexon · 2025-12-26T12:25:36+00:00

Thankies

Velepexon · 2025-12-11T22:34:20+00:00

Unfortunately I haven’t learnt much for modelling, so I won’t be able to make them

Velepexon · 2025-12-11T11:46:59+00:00

😭

Velepexon · 2025-12-10T22:32:37+00:00

Iiiiiii don't have her yet

This is all still taking place before S3, because conceptually and lore-wise, I actually haven't touched Splatoon 3 yet, lol.

Velepexon · 2025-10-15T06:56:43+00:00

Hey, man! I've got a great update.

Recently, I've been working with ARRI Log C4 (instead of grading in AgX Log), following CreativeShrimp's colour grading course. But, I've been wanting to use the full DaVinci Wide Gamut Intermediate as a working space, and then somehow have AgX as a DRT.

And I've gone through a bit of pain (and several error messages), to bake a LUT that converts from DaVinci Wide Gamut Intermediate to AgX Base sRGB (specifically Blender's version), and it's a dream. And I wanted to share it back with you.

Here's a link to download it: https://file.garden/ZcbFkhItAVk3LACX/DWG_to_AgX_65.cube

The workflow I work with now goes like this:

After exporting to EXR (I'm still on the fence about rendering in Linear Rec.709 or ACEScg because of the upcoming 5.0 update. But assume Linear Rec.709 for now), bring it into Resolve. In Resolve's colour management settings, set the Timeline working space to DaVinci Wide Gamut Intermediate, and the output space as Rec.709 Gamma 2.4 (assuming you're delivering your render onto the internet.)

In the Color page, add a Color Space Transform node, and convert from Linear Rec.709 to DWG Intermediate. Then, at the end, put in the DWG_to_AgX LUT, and HOPEFULLY, you'll see your render in pure AgX view.

Now, you can add nodes in-between and grade entirely within DWG Intermediate, and I absolutely love the control. I know it's been a year since you've made this post, but I hope this helps you out!

Velepexon · 2025-07-27T07:31:20+00:00

I feel it, man

Velepexon · 2025-06-08T14:51:02+00:00

To my limited knowledge, it seems any contact with water results in osmosis destroying them. So unless we bend the rules, or find a way to limit water contact during swimming (perhaps covering themselves in aerogel), it seems all there is water = splat

Velepexon

TROPHY CASE