I contributed to the 3D asset production • Look development • Lighting • Rigging • Animation • Post of these projects in various combinations of roles.
STUDIO: PICTUREMILL (LA)
ROLE: All 3D Modeling using MAYA. Work was performed remotely.
CLIENT: BRICKYARD VFX (Boston)
ROLE: I did 3d Modeling using MAYA and look development using VRAY and PHOTOSHOP for all the props and environment aside from the car and hedge. Remote work.
NOTE: The set is entirely handcrafted 3d models and textures, based on 3d scans and photos from the Barbie Movie set. Remote work.
STUDIO: UNIT9 (LA)
ROLE: Toon shading and animation using MAYA, Look Development and lighting using UNREAL. Remote work.
CLIENT: ANIMUS STUDIOS (Providence)
ROLE: I cleaned up the CAD data and did the rigging in CINEMA 4D.. Look Dev and lighting using REDSHIFT based on photos from client. Remote work.
CLIENT: ANIMUS STUDIOS (Providence)
ROLE: Look Dev and lighting using REDSHIFT. I cleaned up the CAD data and did the rigging in CINEMA 4D. I contributed to C4D animation and compositing in AFTER EFFECTS. Remote work.
CLIENT: TTI (Anderson SC)
ROLE: I cleaned up CAD data and performed look dev and lighting using REDSHIFT in CINEMA 4D. Remote work.
NOTE: Authored in 10k, These renders are used in print, product packaging, and online marketing. Remote work. I created renders of multiple angles and exploded views for about 50 products on a multiple month contract. Remote work.
CLIENT: TTI (Anderson SC)
ROLE: CAD data cleanup and 3D modeling in CINEMA 4D, Look Development and lighting using REDSHIFT. Remote work.
CLIENT: PERSONAL PROJECT
ROLE: Look Dev and lighting using UNREAL. Modeling and Rigging in MAYA. I modeled the car in MAYA, and custom made all the UNREAL shaders on the car. I also designed the car.
NOTE: Look Development test renders made in the Unreal Engine. Stock background assets were used. This model is the basis for an AI animation, click to view it.
CLIENT: THE 3D AGENCY (NYC)
ROLE: 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: THORNBERG AND FORESTER (NYC)
ROLE: 3D Lead. 3d modelling, look dev, lighting, using MAYA . PHOTOSHOP for textures. AFTER EFFECTS post. Onsite work in NYC.
CLIENT: TRANSISTOR STUDIOS (NYC)
ROLE: 3d modelling, look dev, lighting, using MAYA and PHOTOSHOP for textures. Integrating fluid sim data. Onsite work in NYC.
NOTE: This project was authored in various resolutions for display on oddly shaped custom video billboards in Times Square NYC. The footage of the actual billboards was taken by me with an old Android phone, sorry about the quality.
CLIENT: 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. Onsite work in NYC.
NOTE: Despite being for the German market, work was performed in NYC.
CLIENT: 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. Remote work.
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: PERSONAL PROJECT
ROLE: All production tasks, using MAYA and PHOTOSHOP
NOTE: Original parody designs by me. The un-subdivided base meshes are less than 100k polys, suitable for gaming.
CLIENT: 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
STUDIO: SUPERFAD (SEATTLE)
ROLE: 3d modelling, look dev, lighting, rigging, animation using MAYA and PHOTOSHOP for textures. Onsite work in Seattle.
NOTE: These assets were Polygon modeled and textured from scratch using the real toys as reference.
CLIENT: YAT LABS (Nashville)
ROLE: I performed look dev and texturing using MAYA, PHOTOSHOP, and ARNOLD. Remote work
CLIENT: 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: THORNBERG AND FORESTER (NYC)
ROLE: 3D Lead. MAYA Previs, camera and scene layout, animation, lighting, look dev, environment model. AFTER EFFECTS compositing. Remote work
NOTE: After the shoot the client changed their mind so I had to remove the original objects from half the peoples hands and replace them with 3-D. (I'm not telling which all objects are 3-D, but the car in the thumbnail image is one). I also composited the multiple live action takes to make the final shot, each hand was shot separately. And I created the texture for the blackboard using illustrations provided by the client.
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..
STUDIO: TRANSISTOR STUDIOS (NYC)
ROLE: 3D Lead. I did modelling, look development, 3d animation with MAYA, 3d tracking with PFTRACK, and 2d tracking and roto with AFTER EFFECTS. Onsite work in NYC.
NOTES: These clips and other similar ones not used here were repurposed in many different configurations for broadcast and promotions.
CLIENT: SPARK + ASTER (Baltimore)
ROLE: I did look development on this asset, and lighting of the render, using MAYA and ARNOLD. Color and post with PHOTOSHOP. Remote work.
NOTE: This render and other material using this asset was used to raise sponsorship and awareness for the team. In 2021 Paretta Autosport became the first woman owner and woman driver team to compete in the Indy 500. The car did not race using this livery because they got major sponsorship that had their own branding.
CLIENT: SPARK + ASTER (Baltimore)
ROLE: 3D Lead. I did 3d animation with MAYA, look development and ighting with ARNOLD, and 2d post with AFTER EFFECTS. Remote work.
CLIENT: DSIG
ROLE: I did cleanup and heirarchy organization of pre-existing 3D assets using MAYA, look development with ARNOLD.. Remote work.
NOTE: Assets provided by the client. These are refurbished older-model military vehicles, nothing about them is classified or secret. These assets were rigged and shaded to create exploded views and animations for web videos.
CLIENT: DraftFCB (NYC)
ROLE: 3D Lead. 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.
CLIENT: GUERILLA ANIMATION (LA)
ROLE: 3D Lead. I modeled and performed look development on this asset, including all internal mechanical systems. Remote work.
NOTE: Replicating a specific truck used throughout the branding of the show, this model was used in animated segments of the TV show ice Road Truckers, re-enacting accidents and illustrating the mechanical function of systems. I did not work on the animations.
CLIENT: GO3DVIZ (San Diego)
ROLE: 3D and post Lead. MAYA 3d. I did all of the keyframe animation, Look dev/lighting, scene layout, camera, and VFX, and cleaned up CAD data, using MAYA. PHOTOSHOP textures. AFTER EFFECTS post. Work was performed remotely.
CLIENT: OFFICE OF DEVELOPMENT AND DESIGN (NYC)
ROLE: I retopologized CAD data using MAYA and did Look Development using reference provided by the client. I also did the animation. Onsite work in NYC.
CLIENT: INTERBRAND (NYC)
ROLE: 3D Lead. I did 3d Modeling and Animation using MAYA and compositing using AFTER EFFECTS. Onsite work in NYC.
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 is a supercut of the most interesting shots featuring my work, which had 12 minutes of screen time in total- mostly as a virtual set.
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. The interiors of the control room and restaurant are not modeled because live action video was composited in for shots of those areas.
