أبان الفيفي

ABAN ALFAIFY

Technical Artist

Wireframe humanoid rig with octahedral bones

[26.4207°N 50.0888°E · DAMMAM, KSA]

What I do

Rigging & Animation Tech

Control rigs, IK systems, skeletal pipelines.

Maya · Control Rig · Python

Gameplay Systems

Character systems, cameras, combat animation logic.

Unreal Engine 5 · C++

Realtime Production

Live broadcast engineering, build pipelines, shipping under pressure.

OBS · Packaging · Pipelines

Technical Artist Intern · ZNTRX Studio · 2026

Nine weeks inside a Saudi studio's production team, working across animation, engine code, and shipping. The contract ended in August 2026. I stayed on past it to finish the locomotion and tooling work.

First-Person Body & Rendering

First-person body and renderingThe general first-person body problem, drawn twice. Naive setup, left: an arms-only mesh parented straight to the camera, so the chain ends at the wrists and the ground plane under it stays unshadowed. Reworked setup, right: the camera is a node inside the real body chain near the head and neck, the full mesh renders in the first-person pass with near-plane handling, a held tool sits at a hand socket, and the shadow is cast from that mesh down onto the world ground plane. Camera behaviour is its own stage between the body and the final view: spring arm lag, field of view, and shake.

Problem. The player needed to see their own body (hands, tools, shadow) without classic first-person rendering artifacts.

Built. Reworked the first-person rendering path: a dedicated arm mesh with bone-hiding, rebuilt camera and body-chain hierarchy, world-space shadow casting for held tools and gear, and cinematic camera behaviors: spring-arm lag, sprint FOV, camera shake.

UE5 · C++ · AnimBP

Locomotion Overhaul

Problem. Legs driven by input state, not motion: feet skated, sprints misread, steps popped the camera.

Built. Rebuilt locomotion velocity-first on the Game Animation Sample set: speed curves baked into the clips, stride warping, blendspace samples on true velocity circles, a tuned crouch set, and C++ step smoothing that eases the camera over steps.

UE5 · C++ · Blendspaces

Creature Systems

Control rig with a forward and a backward solveTwo rows. On top, a row of animation controls: a box control, a circle control, and a pole control. Below it, a row of joints drawn as a chain of octahedral bones. Solid arrows run down from the controls to the joints, the forward solve: an animator moves a control and the joints follow. Dashed arrows run back up from the joints to the controls, the backward solve: baked joint animation drives the controls, so a clip can be fixed in engine, not in the DCC.

Problem. Animators needed to pose and fix creature animation directly in-engine, in both directions.

Built. FK control rig with forward and backward solve, plus full skeletal-mesh migrations: physics assets, blendspaces, and animation blueprint rebuilds. Projectile hits now read the physics asset as the hitbox instead of a single collision primitive.

UE5 Control Rig · Physics Assets

Combat & Tool Animation Systems

Section driven parry window against an incoming attackA montage timeline split into three sections: windup, an active parry window, and recovery. The montage starts when the player presses, so the window travels with the input. An attack connects at a fixed point on the world timeline. The parry lands only while the window is passing over that point, which makes the window a range of input timings rather than a single frame.

parriedwindow open across 7 frames

Tool head handoff and baked IK gripTwo related diagrams. Above, the tool head handoff: a generic tool, drawn as a bar with a block at one end, sits at a socket transform marked by a small axis cross and labelled hand socket. An arrow labelled handoff runs across to a second axis cross labelled stow socket, where the same tool is drawn again as a dashed outline. The tool detaches from one socket and attaches to the other, and its world transform is preserved across the swap. Below, the baked IK grip: an arm chain of root, elbow and wrist ends in a hand labelled grip. A dashed line labelled ik target runs from that hand to a baked IK bone on the tool itself, marked with its own axis cross and labelled tool ik bone. The hand solves to that baked bone instead of to the animated mesh, so the grip holds when the tool deforms or changes hands.

Problem. Melee had to read crisply in first person: parries, strikes, and hand-offs between held tools.

Built. Montage-section-driven parry with hitbox windows, per-tool wall blocking that pulls the held tool in and gates firing, a tool-head hand-off system, left-hand IK reworked onto baked IK bones, and a correctness sweep: no invulnerability leaking past a holster, no interrupted action leaving the player locked out.

UE5 · C++ · Montages · IK

Death Sequence & Cinematics

Problem. Death cut straight to a menu the frame health hit zero: no weight, no aftermath.

Built. A full death flow: cinematic with hand-keyed head animation and an eye-decay treatment, the menu held until the cinematic finishes, and the stage sequence looping behind it as the menu background. Separately, renderer-comparison stills for marketing through Movie Render Queue.

UE5 · Sequencer · Movie Render Queue

Pipeline & Tooling

Problem. A version-control cutover mid-production, with in-flight work to carry across.

Built. Migrated the team's version control to Diversion: conventions, machine setup guides, and salvage kits so in-flight work survived the move. Built a cheat manager for repeatable testing, wired automation-test hooks, and kept shipping unblocked: cook and packaging fixes, redirectors, batch renames.

UE5 · Diversion · Build pipeline

Also: I broadcast the Kingdom's fights.

Live streaming engineer for the Saudi Muaythai Federation's flagship national event, the Kingdom Championship, in 2024 and 2025, returning the second year as primary technical lead. Two simultaneous ring streams, a five-person broadcast crew directed on the floor, real-time match data integrated on air.

2 simultaneous live streams5-person crew directed35,000+ cumulative viewsrealtime match data

About

I'm a Saudi technical artist from Dammam. I started on the engineering side with C++ and gameplay systems, then worked backward into the art pipeline: rigging, animation, and the connective tissue between disciplines. I study character rigging and animation at The Gnomon Workshop, and I'm finishing my Software Engineering degree at PMU, class of 2027, building inside the Kingdom's growing games industry. Arabic and English.

Let's build something!

aban@abanalfaify.com