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Demo Reel Breakdown
Modeling Demo Reel
Texture Demo Reel
Long Way Down: City Set One
Maya (Arnold) | UV Layout
Created for a VR immersive film, A Long Way Down, the city was completely modeled in Maya. The set takes on a stylized form and will be featured up close in a film-noir setting. Tasks included in this model are keeping quad topology, attention to details at eye level, and clean up of geometry if needed.
Vitality: Bed Set
Maya (Arnold) | Mari
For this asset of the film Vitality, I was responsible for shading and texturing of the bed. Tasks that were needed to complete the bed was the creation of seamless textures for the bedspread, render optimization to reduce noise, and the balance of attributes to produce realistic textures on a stylized model.
Two of a Kind
Maya (Arnold) | Mari | Zbrush | UV Layout | Nuke
A project focused around photo-real integration and collaboration between partners. This project was mentored by four members of the Mill (NY). Documentation for this project can be found here. I was responsible for the completion of this shot: uving, shading of the car, texturing of the car, light matching, camera tracking, filming, and compositing. The dust effect was completed in Houdini by my partner Candice Woon, and the ladybug shading and texturing was created by Brooke Eilers, yet modified by me to bring it into Arnold 5.
Good Ol’ Singer
Maya (Arnold) | Mari | Zbrush | UV Layout | Nuke
A texturing assignment inspired from the mini sewing machine I bought at a flee market. The project focused on the use of layering in regards to texture customization and Hypershade node trees. Using layeredTexture nodes allowed for the build of rust on the machine, dust on the machine, and dirt stains on the cloth. This technique was also used on the specular and bump maps. The cloth pieces were draped over proxy geometry with ncloth. All assets were modeled by me.
Barton Fink Light Match
Maya (Arnold) | Nuke
A lighting exercise that focused on recreating a lighting situation from a movie that involves legendary cinematographer, Roger Deakins. The scene also explores a change in mood that lighting creates and how that would transition through time. The first lighting set was to match the screen grab of the movie of our choice, and the second set was the mood change I chose. The following scene involved around 8 lights to create the match and around 10 lights for the mood change. The mood change lighting is how I wanted to interpret Barton Fink , as he slowly descends into maddness yet play off the softness of the room from the beginning.
The Temptation
Zbrush | Topo Gun | UV Layout | Nuke
A creature creation project that focused on the study of anatomy and form. This was my first project using Zbrush and taught me a great deal about the inner sculpting tools and workflow in creature creation using this program. The creature I created was inspired by a concept by the artist, Michael Kutsche, yet altered with my own ideas with features from the Axolotl, the Mexican Salamander. All texture mapping, alphas, and rendering was accomplished in Zbrush while re-topologizing was done in Topogun and UVs were done in Headus UV Layout. Compositing of the render was done in Nuke.
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