A Collection of 3D Work created for Professional Applications
This was originally designed for a magazine cover but wasn’t used. It is a time-lapse of a Flatground BMX Volumetric Capture. Lighting and Rendering by me in Cinema4D, with the environment modelled and textured in Maya and Substance Painter.
This is the featured Splash Screen for the 2021 version of HoloEdit, designed and rendered by me in Cinema4D.
For Way of Kings: Escape the Shattered Plains, I was in charge of making the creatures that inhabit the experience. While the amount of creatures was trimmed down for the final production, I was still happy to flex my muscles a bit and take a creature through every step of the pipeline. The limitations for performance in VR are such that you need to be very diligent about polycount and textures, and I’ve long enjoyed optimization of character models.
I took the Cremling, from concept art through modelling, texturing, rigging and animation. There was a strict Poly count, and even stricter bone count. It was a fun challenge to work in tight restraints, and create a small creature that lived amongst your feet.
One of the first projects I worked on with Arcturus was Virush, a riff on a quick game idea. The colors, the pulsing soundtrack, the minimal style all made for a really fun and different VR experience.
This is the starting location for Beast of Lycan Isle. A lot of things happen in this room, and so it had a lot of time poured in to it. The lighting contrast, warmth of the fireplace and spooky discomfort all made me like the space a lot.
This is the landing pad for the city in the sky, and it also became the Title Screen. This shot was intense, building and layering over and over again with more and more detail. Looking back I would like to add more clarity to the shot, but overall it does set the tone for the expansive and otherworldly adventure ahead of you.
Taking a beautiful ordinary space and making it both magical and memorable were the goals of every setting we created. I feel like this ancient tree took on an entire different story. I really enjoyed using volumetric lights in this scene to accentuate just how radiant and warm this space was.
The game starts with you washed up on the shores of one of the few land masses in the flooded world. A sea creature is bound by some device, and an air balloon lies in ruin. You must scavenge parts to get it working again, and free this Dolphin for your journey to begin. Summarizing all of these things in to one render while also pushing home just how beautiful each space is was the best part about working on these kinds of games.