Created a series of Maya assets for different types of warp tunnels. Each tunnel rig could be scaled, bent, and tapered to fit the needs of the shot, and a proxy of the effect was visible in the viewport to help animators frame their shots. The tunnels themselves were completely procedural, relying on multiple noise layers displacing and moving in a parametric space baked into the tunnel wall vertices. The underlying geometry was moved at a matching speed and reset per-frame so that multi-sample motion blur could be achieved without ever needing to worry about running out of space. A series of AOVs were included to give Comp more options for glows and transitions. To achieve the characteristic Star Trek rainbow star-lines effect, a custom lens was built to filter different frequencies of light over the course of a frame. This lens rig was fully automated to attach to the shot camera and make the necessary adjustments as soon as the tunnel rig was referenced into the scene. These warp tunnels were among the most heavily used sets in the whole show, being deployed by vendors in hundreds of shots without need for FX involvement once the final versions were delivered. Also responsible for the warp bubble effect, which used a fluid simulation converted to an SDF and then to a mesh along with a low-IOR non-reflective material to achieve the desire look