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All artwork on this site is copyright © 2025 Todd Miller or their respective copyright holders.  Do not use without permission

(NWA) Northwest Arkansas

MILLER

All artwork on this site is copyright © 2025 Todd Miller or their respective copyright holders.  Do not use without permission

(NWA) Northwest Arkansas

MILLER

DRIFTER

DRIFTER

Introduction

Started with polygons, ended with tire smoke—this 3D drift car went from Cinema 4D to Unreal in high gear.

Year

2024

Industry

automotive

Scope of work

Timeline

12 weeks

INTRODUCTION

Started with polygons, ended with tire smoke—this 3D drift car went from Cinema 4D to Unreal in high gear.

Year

2024

Industry

automotive

Scope of work

Timeline

12 weeks

Process

CHALLENGES

Royal Purple Drift Car From Polys to Pavement

This was my attempt to turn a Royal Purple-sponsored drift car into a full-blown 3D showpiece. I modeled it from scratch in Cinema 4D, trying to balance real-world reference with just enough attitude. Getting the proportions right was tricky—blueprints were inconsistent, and photos never agreed on anything.

UV mapping was its own beast. Flattening a drift car into 2D space without stretching decals or logos felt like solving a 3D puzzle with a blindfold on. After way too many unwraps and re-wraps, I finally got the Royal Purple livery to hug the curves just right.

Once textured, I brought it into Unreal Engine to animate and light it like a cinematic hero. Getting the reflections, camera moves, and performance dialed in took some trial and error, but the end result? A slick, high-energy render that feels just as fast as it looks.

Final Thoughts

FINAL THOUGHTS

Lessons in Speed and Patience

This project pushed me in all the right ways—from obsessing over polygon flow to wrestling with UV seams and navigating Unreal’s real-time rendering quirks. It reminded me that making something look fast takes time. Every hiccup along the way made the final result that much more satisfying. Would I do it again? In a heartbeat—just maybe with a few more reference photos next time.

This project pushed me in all the right ways—from obsessing over polygon flow to wrestling with UV seams and navigating Unreal’s real-time rendering quirks. It reminded me that making something look fast takes time. Every hiccup along the way made the final result that much more satisfying. Would I do it again? In a heartbeat—just maybe with a few more reference photos next time.