20 October 2026 - The courses cover Blueprints, gameplay programming, physics, and MetaSounds, with projects ranging from FPS games to survival horror and platformers.

20 October 2026 - Shubham Vijay talks about the meticulous process of recreating an intricate pattern on a woven basket in 3D, breaks down the process of texturing several different surfaces, like rope and seashells, and explains how he integrated 3D scans of real-life objects into the project.

19 October 2026 - Zeqi Mu explains how he crafted the intricate, true-to-life forest floor texture in Substance 3D Designer, comments on how he achieved a believable root growth pattern, and shows his lighting and rendering setup for the Unreal Engine scene.

17 October 2026 - Moss3D's TexBridge handles the repetitive work of reimporting maps and rebuilding texture connections between Substance 3D Painter and Unreal Engine 5.

16 October 2026 - Yuriy Barchuk walked us through the workflow behind the Breakfast – Chef Extraordinaire project, discussing clothing simulation for a non-human character in Marvelous Designer, sculpting scales in ZBrush, and rendering in Unreal Engine 5.7.

15 October 2026 - CD Projekt Red has completed the world vision for Project Hadar, its first entirely original IP, and is now using Unreal Engine to prototype mechanics and gameplay ideas.

15 October 2026 - Red Rooster from Summer Eternal, a studio formed by ex-ZA/UM developers, is a physics-driven RPG created in the magical realism genre.

13 October 2026 - Dardo Studios explains how Control Rig, Sequencer, Lumen, projected paintovers, and hand-drawn effects helped a small team create a high-octane cinematic without a traditional Maya-to-engine animation pipeline.

09 October 2026 - Albert Serrano explained how he created tileable materials for the scene, shared his tips on ensuring smooth blending between different materials, and talked about how he made an atlas of hand-sculpted plants to create stylized vegetation.

08 October 2026 - Raphael Fabris shares his tips on saving time and preserving the look of the scene when jumping between 3D applications, and explains why, in some cases, creating a new topology during unwrapping is better than using the one from the blockout stage.