Myself Allen Swapan Season 2 Intro Breakdown | Top VFX Studio in Bangladesh

Setting the Tone for Myself Allen Swapan Season 2

When you are designing an intro for a character like Allen Swapan, "clean" is the wrong direction. The brief called for a mood that felt dangerous, expensive, and inevitably destructive. We needed to establish a visual language that screamed crime thriller without needing dialogue.

As a VFX studio in Bangladesh, we often work on bright, commercial animation, so diving into a dark, cinematic aesthetic was a welcome shift. The goal was to feature iconic elements of the character—violence, luxury, and chaos—but present them in a way that felt like a cohesive art piece rather than just a montage of random objects.

We leaned heavily into high-contrast lighting. We wanted deep shadows punctuated by warm flares and metallic glints. Whether it was a bullet smashing through glass or a scooter crashing, the focus was on texture and physics. We treated every frame like a still photograph, ensuring the composition held up even during high-speed movement.

Building the Pipeline

To get this done on schedule, we had to be smart about how we built our assets. We are a 3D animation studio in Dhaka that likes to experiment, so we decided to test a hybrid workflow. We didn't just sculpt everything from scratch; we used AI to accelerate the boring parts so we could spend more time on the details that actually matter—like the way light hits a scratched scooter or how liquid moves in slow motion.

The result is a sequence that feels heavy and tactile. It’s not just about making things look real; it’s about making them feel like they belong in the gritty world of the series.

How We Pulled It Off

We threw a lot of different tools at this project. Here is the breakdown of the technical execution and why we made those choices:

• Used AI to speed up character base meshes
  We ran Hunyuan3D locally to generate initial 3D forms from reference images. It didn't give us a final product, but it gave us a solid base mesh instantly, saving our modelers hours of blocking out shapes so they could focus on likeness sculpting in Blender.

• Hand-painted textures for grit
  We took the assets into Substance Painter to add specific wear and tear. We didn't want the yellow scooter or the "Art Magazine" to look factory-new; we hand-placed scratches and dirt to make the props feel used and grounded in reality.

• Simulated destruction with Fracture FX
  For the bullet impact and the scooter crash, we avoided pre-canned effects. We simulated the glass shards and debris physically so they would react naturally to the force of the impact, rather than animating pieces by hand.

• Dialed in specific fluid viscosity
  Using FlipFluids, we created the red liquid splashing over the title. We spent time tweaking the viscosity settings to land somewhere between red wine and blood—thick enough to look dramatic, but fluid enough to splash correctly.

• Layered atmospherics for depth
  We used EmberGen and Geometry Nodes to add smoke, sparks, and floating particles. These weren't just overlays; they were placed in 3D space to give the scene volume and tie the different render passes together.

• Finished in DaVinci Resolve
  We handled the compositing and color grading in Resolve. This allowed us to push the contrast and control the final look, ensuring the gold and red tones popped against the dark background without crushing the details.

If you have a project that needs a darker edge or high-end simulation work, get in touch with us. You can also check out Wormhole Descent to get more insights about our workflow.