3D artist for film and TV:
VFX environments and assets
REFERENCES
Working in film and television means accepting the highest standard of demand in 3D: images projected on a very large scale, scrutinised frame by frame by VFX supervisors, that have to blend seamlessly into live-action footage. It's within this context that I've built a significant part of my career, at studios such as Framestore, Pixomondo and The Mill, on productions including Moon Knight, The Little Mermaid, House of the Dragon, Halo, Wonka and The Midnight Sky.
My speciality in this register is environments. On Moon Knight, the Marvel Studios series, I modelled and textured complete environments: sets that have to hold up under lighting, camera movement and audience scrutiny without ever betraying their digital nature. This environment artist's work calls for the eye of a set designer as much as a technician: understanding what the set is meant to convey, prioritising detail, building for the camera rather than for the beauty of the wireframe.
I also work on assets and props: hero objects handled on screen, vehicles, set dressing, with photorealistic texturing where every material has to react correctly to light. And when a production needs it, my background as a rigger and sculptor lets me lend a hand beyond my main role, which is exactly the value a generalist brings to a VFX team.
For a studio, entrusting me with an environment or a batch of assets means relying on someone who knows the pipelines of major houses, delivery conventions, review cycles with supervisors, and the pressure of a broadcast schedule. I integrate into your team, remotely or on site, for the duration of a show or a sequence.