I’m Arina Petukhova, a VFX artist interested in creating visual effects for film and game cinematics. I combine creative thinking with technical skills to develop effects that support the story and visual direction of a project.My main tools are Houdini and Nuke, supported by a broader background in 3D production.I’m seeking a studio position where I can contribute to a team and grow as an artist. I’m also open to freelance projects.

A personal CG project that turns an everyday breakfast into an unsettling scene: worms pour from a cereal box into a bowl of milk.Created in Houdini and composited in Nuke.

REFINING THE SIMULATIONSThe milk initially looked too thick and formed clumps. Through several iterations, I refined the simulation settings to reduce clumping and create a smoother, more fluid flow. The final result retained some thickness, which suited the look I wanted.The worms initially lost their shape during collisions and passed through the bowl. Reworking the Vellum constraint setup resolved these issues, allowing them to retain their form and collide correctly.

A personal CG project exploring an imagined microscopic world through particles, organic forms and colour. The scene evolves from a few isolated organisms into a dense, shifting environment.I created all elements of the project independently.

CREATING THE DIVISION EFFECTThe main challenge was making each particle appear to split naturally into two, rather than having new particles suddenly pop into view.I refined the transition so that the division unfolded gradually and continuously. Repeating this process allowed the microscopic world to grow in density while maintaining a sense of organic movement.

LARGO is a team cinematic project based on Dota 2. I’m responsible for developing visual effects for the film.The project is currently in development. The character disintegration test below is an early exploration of one effect, with further FX work planned as production progresses.

FX development test — not a final production shot. Invoker character model from Dota 2, © Valve.

CONTROLLING THE DISINTEGRATIONMy focus was aligning the ash particles with the moving edge of the disappearance mask. I wanted them to detach precisely where the character’s surface vanishes, then drift upwards.This makes the disappearing geometry and rising particles read as one continuous transformation.

ONGOING DEVELOPMENTThis test establishes a starting point for the effect. I’ll continue refining it for the cinematic and developing additional effects as the team moves into production.

I wanted to create a realistic platypus with a few eccentric details that would give it a more distinctive character. The aim was to keep the fur believable while making the overall appearance more expressive.

WORKING WITH THE POSEThe main challenge was transferring the groom to the posed model while preserving the intended look of the fur. This stage was important for keeping the grooming consistent with the character’s final appearance.