I contributed to the 3D asset production and rendering of these creative designs
STUDIO: PERSONAL PROJECT
ROLE: Look Dev and lighting using UNREAL. Modeling and Rigging in MAYA.
NOTE: Look Development test renders made in the Unreal Engine. I designed and modeled the car, and made all the car shaders. Stock background assets were used.
STUDIO: ASCEND STUDIOS (Orlando)
ROLE: Lead 3d and post artist. I performed look dev and lighting using REDSHIFT in CINEMA 4D, 3d modeling rigging layout and animation with CINEMA 4D, post with AFTER EFFECTS.
NOTE: This is a test render for a project that was rendered in 360° panoramic perspective at 12,000 pixel horizontal resolution split seamlessly between four 4k videos, for display on a fully immersive video cave at the headquarters of Burns & McDonnell, a multi-billion dollar engineering and commercial architecture company with 13,000+ employees.
CLIENT: NETFLIX (Los Gatos CA)
ROLE: MAYA previs, CFX, contributed to VFX, rigging, character modeling, and animation; ZBRUSH sculpting; NUKE color grading, compositing
NOTE: The project is a teaser for a 3d feature adaptation of the 2d animated Netflix series.
STUDIO: BAKED STUDIOS (LA)
ROLE: 3D Lead. MAYA Book 3d modeling, rigging, animation, BG modeling; PHOTOSHOP textures, REDSHIFT look dev.
NOTE: Aired on ABC and Disney+ This was the #1 TV show in the television ratings on it’s debut. Remote work.
CLIENT: PERSONAL PROJECT
ROLE: All Tasks. Sculpted in ZBRUSH, base mesh poly model made in MAYA, textures with PHOTOSHOP, Look dev and lighing using ARNOLD in MAYA, Rigging, Animation and CFX using MAYA
CLIENT: PERSONAL PROJECT
ROLE: Sculpted in ZBRUSH, low polygon dragon base mesh and skateboard made in MAYA
NOTE: This is an embedded realtime model viewer.
STUDIO: DIRT EMPIRE (NYC)
ROLE: MAYA generalist. All polygonal modelling, keyframe animation, look dev, CFX. I contributed to MAYA VFX, 3d motion graphics, 2d compositing with AFTER EFFECTS
NOTES: The first 2:30 shows the video that was projected during the performance. In the live broadcast they mostly showed close ups on Beyonce and had lots of cuts, so I made this edit to allow you to see the whole video/dance as it was performed live.
STUDIO: DIRT EMPIRE (NYC)
ROLE: 3D Lead. MAYA 3d. I did all of the 3d modeling, character rigging, keyframe animation, Look dev/lighting, scene layout, camera. I implemented cached dynamics of the falling blocks created by VFX TD Bobo Do. PHOTOSHOP textures. Work was performed remote/onsite hybrid.
NOTES: This video became the basis of a hugely popular meme, and the official Youtube upload has hit over 150 million views.
CLIENT: DIR. IAN HUBERT (YOUTUBE FAMOUS) (Seattle)
ROLE: I designed and modeled/look dev of the Icarias set/exterior and the black Aircar using MAYA. Textures with PHOTOSHOP. Look development and final delivery using BLENDER. Work was performed remotely.
NOTE: Youtube viral phenom Ian Hubert's feature debut. This asset had 12 minutes of screen time in total- mostly as a virtual set.
CLIENT: PERSONAL PROJECT
ROLE: All production tasks, using MAYA and PHOTOSHOP
NOTE: What if Weird Al was a 3d modeller? Thats the concept behind this artwork. Parody of a gunpla kit, made with Maya. An original design by me. The un-subdivided base mesh is only 89k polys, suitable for gaming.
STUDIO: PERSONAL PROJECT
ROLE: I performed all tasks in this project, including writing and design. I did 3d Modeling, rigging, animation, look dev, lighting and VFX using MAYA. 2D with PHOTOSHOP. Post with AFTER EFFECTS. AI with KLING.
NOTE: The story is about psychology
CLIENT: DraftFCB (NYC)
ROLE: Lead 3d. I performed all 3d and Lookdev tasks using PHOTOSHOP, and MAYA.
NOTE: These stills are from Flash animations that were embedded in a website. Remote work.
PRODUCTION COMPANY: GREENCARD PICTURES (NYC)
ROLE: 3d Lead. All 3d production and Previs tasks aside from animating the forest at the end, using MAYA; creating texture maps from handmade illustrations using PHOTOSHOP. I contributed to post with AFTER EFFECTS. Work was performed remotely.
NOTES: Directed by JON WATTS (SPIDERMAN) Illustrations by Katy Horan were adapted for use as textures.
CLIENT: THE 3D AGENCY (NYC)
ROLE: Lead 3d I performed the 3d modeling of the engine using MAYA. Remote work.
NOTES: This image was made at print resolution and used in multiple layouts, and repurposed for online also
CLIENT: PERSONAL PROJECT
ROLE: All production and design tasks using MAYA ,PHOTOSHOP, and AFTER EFFECTS. I entirely 3d modeled this truck from scratch.
NOTE: I made this project out of frustration with the character designs in Pixar's “Cars”. In my opinion, the front of a car already forms a face without putting eyes on the window.. The rig could lip sync, but I got bored and never thought of anything to have it say.
CLIENT: JON WATTS (Spiderman director) (NYC)
ROLE: Lead 3D. I performed all 3D tasks on this project using MAYA and ZBRUSH. Compositing with AFTER EFFECTS. Textures and Matte painting with PHOTOSHOP. Remote work.
NOTE: This was made to support a pitch for a feature film, updating “The Wind in the Willows” classic animation using CGI but retaining a stop motion feel.
CLIENT: KONOKOKINOKO (Seattle)
ROLE: I performed all production tasks using MAYA, PHOTOSHOP, ARNOLD, and AFTER EFFECTS
NOTE: This is a test render of an asset which the client intended to make into an NFT
CLIENT: YAT LABS (Nashville)
ROLE: I performed look dev and texturing using MAYA, PHOTOSHOP, and ARNOLD
NOTE: Remote work
STUDIO: PSYOP (NYC)
ROLE: MAYA generalist. Contributed to scene layout and modeling of the cyber-world, configured 50 plus render passes as requested by the post artists.
NOTE: Despite being for the German market, work was performed in NYC.
CLIENT: ARTMACHINE (LA)
ROLE: I lit, surfaced, rigged, and posed the characters using MAYA, post with PHOTOSHOP. Model and texture maps provided by client. Remote work.
NOTE: This is a look development test for the image which was used on the physical cover of the video game “Gengi”
CLIENT: PERSONAL PROJECT
ROLE: I performed all modeling, rigging, VFX using MAYA, textures with PHOTOSHOP, and compositing with AFTER EFFECTS
NOTE: This image is designed to make the a similar point as the animation, but compressed into a single image.
