I am 3D Asset Generalist with more than 10 years of experience in the Visual Effects industry. My skill set is mainly focused on complex modelling, sculpting, texturing and lookdev, both hard-surface and organic. I was recently leading asset builds at DNEG on blockbuster projects like Avengers: Endgame or F&F: Hobbs and Shaw.
Currently I work on a remote freelance basis. All my recent projects are under NDA. (including VR and real-time projects)
• Wonder Woman 1984 – props – models, textures, lookdev
• Fast & Furious: Hobbs & Shaw – complex environment – models, assembly, additional texture
• Men in Black: International – props – model
• Avengers: Endgame – character, environment, props – model, texture, lookdev
As a lead artist I was responsible for hero asset builds. On Avengers: Endgame I made model of Captain Marvel digi double and full CGI costume. These had to be up to highest standards as they full screen size in the film. As for hard surface roles I was, for example, leading a build of very complex turbine hall environment for F&F: Hobbs & Shaw.
• Fantastic Beasts: The Crimes of Grindelwald – creature/prop – model, asset management
• Venom – characters – model, texture, lookdev
• Pacific Rim Uprising – characters – additional design, model, texture, asset management, scripting
I switched to solely asset build during Pacific Rim: Uprising. As a part of Jaeger team. My tasks varied from designing parts of mechs and doing motion weapon motion studies over modelling to designing workflows and writing tools for managing massive assets. On shows like Venom I gained an experience with building (model, textures, lookdev) hero characters while working on Carlton Drake and SWAT team full screen size digi doubles.
• Dunkirk – vehicles – textures, first pass lookdev
• Life – creature – additional design
• A Cure for Wellness – character, creature – model, blend shapes, creature fx, shot sculpt
I started at DNEG in a 3D Generalist role, working on various tasks from additional design, organic and hard-surface model, texturing, lookdev to creature FX and even lighting. Later I started to lean solely to asset build role.
• Antonio Cacto – VFX supervision, models, textures, lookdev, lighting
• Charge the Dragon – VFX supervision, textures, lookdev, lighting, compositing
I played important role as a core member of the 3D team at R.U.R. My responsibilities were modelling and texturing, but I also did a lot of other 3D related tasks, such as lighting, compositing, on-set supervision or pipeline design. Aside from TVC we also worked on few short film projects as a VFX supervisor.
• Wildlife Crossing – VFX and pipeline supervision, models, textures, lookdev, lighting, compositing
I worked as a freelance artist for a wide range of companies in advertising, iOS games development, TVCs etc. One of the most complex freelance projects undertaken was the Wildlife Crossing animated short film, which was still collecting awards all around the world.
I worked on one of the hero and one of the supporting characters for a feature film. My work included digital concepting, sculpting and finishing the production models and textures.
• Saxána a Lexikon kouzel - character modeling and texturing
• Season of the Witch - creature – additional design, model, texture, lighting
• 2012 – vehicle – model, lighting
• Pandorum – environment, creature – model, texture, lookdev, lighting
• The Nutcracker 3D – environments, vehicles – model, textures, lighting
I worked on big feature films and several top tier commercials as a generalist, but I mostly focused on modelling and texturing.
I did models and textures of props and environment for an RPG game Numen: Contest of heroes.