3D ARTIST FOR ADVERTISING: CHARACTERS, PRODUCTS, AND ENVIRONMENTS
REFERENCES
Advertising is a school of precision. Thirty seconds on screen, months of work beforehand, and no margin for error: the product has to be flawless, the character has to be likeable from the very first frame, the world has to tell the brand's story. It's within this demanding framework that I've built a large part of my career, working for brands such as Audi, PlayStation, Samsung, Nissan, Oasis and Sky.
My advertising work spans three main registers. Characters first: brand creatures, mascots, stylised characters, which I model, sculpt, texture and rig so they're ready to animate. The mischievous fruit of the Oasis campaigns, including the collaboration with McDonald's, are a good example of this register, where their personality carries the whole campaign. Products next: cars, consoles, packaging, where photorealism has to hold up under extreme close-ups, as on the automotive and high-tech campaigns I've contributed to. Environments last: full sets, from virtual stages to fantastical worlds, that establish the frame of the film.
I work at every stage where 3D comes into play. Upstream, previzualisation lets the agency and the advertiser sign off on shots before the shoot or the final render, an investment that heads off bad surprises further down the line. In production, I deliver clean, optimised assets that fit the pipeline of the studio in charge of the film. I work just as comfortably embedded within a production studio's team as directly with an agency that needs an autonomous 3D contact.
The projects shown below each detail my exact role on the campaign: what I modelled, textured or rigged, and in what production context. A transparent way of showing not just the finished result, but the part I played in it.