2017
Client: Framestore, The Third Floor
Softwares used: Maya, Zbrush, Photoshop

Working on this very quick turnaround project I was responsible for creating previs assets at the Third Floor, London. Using reference images and concept art I recreated the sets accurately to help the shoot and production.

2013-2014
Client: Disney
Softwares used: Maya, Zbrush

I had the privilege to work on the seventh instalment of the  epic space saga at Pinewood Studios. Working in close collaboration with the director and the art department I was responsible of modelling various assets and weapons, and recreating the cockpit of the Millenium Falcon as close to the original as possible, based on reference images.

Working in Maya and Zbrush I had to follow 3D print ready guidelines. All models were watertight, scaled 1:1 with exact measurements. After printing these models were finished and painted in the workshop and used on set of the Force Awakens. 

2015
Client: Taylor James
Softwares: Zbrush, Maya, Vray, Photoshop

Working closely with the creative director I was responsible for developing the shape and look of the parachute to closely reflect the client's needs and represent their brand. I was also responsible for creating a high fidelity digital human, realistic face and clothing sculpt, textures and blendshapes. Considering all the needs of the animation and rigging departments the model was created in an A-pose.

2016
Client: The Third Floor Inc.
Softwares: Zbrush, Maya, Photoshop

Working with the director and art director I was responsible for developing various assets for previs. This includes a fast paced workflow, creative problem solving, concepting and visualization. At an early stage of the production ideas and concepts are still developing so a flexible mind and great imagination is a must.

2015
Client: Stolichnaya, Saddington Baynes
Softwares: Zbrush

To create this ad we had to make a high fidelity replica of the bottle itself. Working from reference images and taking measurements of the actual bottle, I created a high poly digital version of the bottle and generated displacement maps to be used in Maya, for efficiency.

2015-2016
Client: Taylor James
Softwares: Maya, Vray

Working from concept art I was responsible for all asset work seen in the images. After creating the models and laying out the UV maps I was responsible for look development, composition and lighting.

2015
Client: Nike
Softwares: Zbrush, Modo, Photoshop

Using photo reference and the actual measurements of the shoe itself I created this high fidelity high poly replica of the Nike AF1 Flyknit shoe. The technical challange of the sculpting was accurately mimicing the intricate lace patterns across the shoe and matching everything up with the textures.

2016
Client: Taylor James
Softwares: Zbrush, Maya, Photoshop

This project required the sculpting of an astronaut character from scratch. Using concept art and other reference images I created the high poly Zbrush assets and high resolution textures. Working closely with the art director and clients we tailored the model to fit our needs.

Finite detail such as the clothing pattern was paramount since the final media included high resolution 8k print images apart from the 1080p HD animation.

2015
Softwares: Maya, Zbrush, Photoshop, Vray

Creating all aspects of this chimpanzee study I was focusing on animal anatomy and how it relates to humans. Developing high resolution textures and grooming was also essential to this project which I handled myself.

The base sculpt was created in Zbrush using dynamesh, retopologised in Maya and added high resolution detailing in Zbrush again. The hair was created using Joe Alter's Shave and Haircut plugin for Maya. Image was rendered using Vray.

2012
Client: Toyota, Blink Ink
Softwares: Maya, Illustrator

In this fun stop motion commercial I was responsible for some of the low poly car assets. The workflow included an initial block out modelling in Maya, focusing on the faceted paper style look. Then the 3D files were exported and laid out using a software called Pepakura. This created illustrator files which could be fed to a paper cutting machine. The cutouts were then assembled by the artists in the workshop and later shot on stage.

2015
Softwares: Zbrush, Maya, Vray

Gathering references from the Victoria and Albert museum where the original of this sculpture is on display, I recreated the scene with Zbrush. This was an anatomy, dynamic movement and composition study. After the piece was finished I created a marble material and set up a simple light rig in Maya, using Vray.

2016
Client: AEG, Superblimp
Softwares: Modo

My task was to clean up and retopo the CAD files of the Brushless drill. This included complex and accurate modelling, optimising the mesh for production workflow and generating normal, displacement maps where necessary.

2013
Client: Blizzard, Propshop
Software: Zbrush, Maya

Working from concept art I was responsible for modelling and sculpting several of the orc weapons and also horse armour. These sculpts were created in Zbrush according to 3D printing guidelines (watertight models, high resolution mesh, real life scaling and proportions).

For the horse armour we received 3D scan data of the horses so we could tailor make the pieces to fit the horse on stage. This process made the armour a lot more lightweight and comfortable for the horses which helped during the  shoot.

All these sculpts were 3D printed and finished, painted in the workshops to be used on stage by the actors as props.

2015
Software: Zbrush, Maya, Vray

This anatomy study was based on the sculpture displayed in Tate Britain (London). Working from reference images I took on site I recreated the sculpture and also created a watertight 3D print ready version.