Content

Head Sculpt

June 2017



This portrait piece was created as a look dev/ sculpting and texturing exercise, focusing on facial anatomy and details. I started from a sphere in Zbrush using dynamesh, and the hair was created with fibermesh. Textures were painted in Mari combining pores and tertiary maps with hand painted textures.




I was excited about the AlShader that had been ported into Vray, and wanted to experiment with its sss attributes for this project. It provided a lot of artistic control, especially with the three inputs for subdermal layers. Admittedly, that's not a physically accurate way to create skin. The maps were then driven by a scatter map to control the scattering along the nose, eyes and lips.









It was a fun challenge and a learning opportunity. In retrospect, I should have spent more time adding wrinkles and imperfections...details that would take away from the face looking too perfect, as it does now. The skin also has a waxy quality to it that I'm not satisfied with.

Maya | Zbrush | Vray | Mari


Benesse House

November 2015



I first came across Alex Roman's art while studying in school, and have ever since aspired to achieve his level of aestheticism. His film "The Third and the Seventh" is what inspired me to start incorporating textural realism and camera phenomenon into my work.



My interpretation of Benesse House is a homage to his art, and a humble attempt to recreate a piece. It was modeled, textured, and lit in Maya and Vray, and composited in Nuke.

It is nowhere near his quality of work, but in the process, I learned the importance of lens distortions, glares, and chromatic aberrations to mimic real world lenses. They are minute subtleties, but plays an immense role in creating a cohesive piece.





Maya | Vray | Photoshop | Nuke


Spirit Project

August 2017



Spirit is a short film that I have been working on for the past year. It is based on the real-life Mars rover, Spirit, that spent six years exploring the Martian planet.





I designed the character with key features from the original robot, but some of it is very much inspired by Wall-E, my favorite film.





The rig is based on the rocker-bogie suspension system that the rover uses. The back wheels move in counter of the front, while the chassis maintains an average pitch between the two rockers. The textures are created in Photoshop and Mari. All the shaders are layered with separate dust shaders, which can be dialed up and down. Spirit is going to get dusty on Mars.



I am almost done with animation, and am starting lighting soon. The page will be updated as the film progresses. This is a passion project for me, and progress is slow as I am working alone. But I love the character, cute little Spirit that he is, and I hope to share his story with you one day.

Maya | RenderMan | Nuke


Digital Emily

July 2017



During a little reprieve at work, I decided to play around with RenderMan. I especially wanted to try the new path-tracing sss model that shipped with RIS 21.5.



Digital Emily is a human scan project created by members of the Digital Human League. They have provided an archive of the scanned models and texture assets online. I used the Emily head model and textures to attempt a look dev in RenderMan.





Comparison of the Burley-Normalized sss model with the new non-exponential path tracing. The path tracing method retains more detail sharpness, most evident around the eyes and mouth. The skin looks less gummy overall, which is a problem I've always struggled with in the past. I can't wait to experiment more in the future.

RenderMan | Maya


Tars Texturing

Feburary 2017



This was a Mari texturing exercise for Tars, a character from Disney's John Carter. I found a 3D model of Tars online, and took to painting it up in Mari. The goal was to take a very low res asset, and see how much I could push with the texturing.



I used the Vray SSS material for the skin, and blended that with a dust texture to create the dry, scaly skin effect. It helped to add a touch more to the overall look.

In retrospect, I should have sculpted my own model or modified the existing asset. It was too soft, and no amount of texturing could create the illusion of deep wrinkles. This is especially apparent around the eyes and mouth. 





Mari | Maya | Vray


Godfather Death

June 2013



"Once upon a time, there was a young doctor whose godfather was Death..."

Godfather Death was my undergrad film, inspired by Ben Hibon's animated "The Tale of Three Brothers" in Harry Potters. My goal was to create similar shadow-puppetry aesthetics, set within an ominously sparse world.

The story is based on a Brother's Grimm fairy tale, and I spent eight months in production. The first month was for scripting and storyboards. Another two months went into modeling and rigging the characters. The rest were spent for animation and tweaking the cloth simulations. Fortunately, rendering and compositing were speedy processes.

I hope you enjoy the film as much as I did creating it.

Maya | Mudbox | Mental Ray | After Effects | Photoshop

Air Canada enRoute Film Festival 2013, Best Animation
TIFF 2013, Top 10 student films in Canada
TIFF Film Circuit 2014
Athens ANIMFEST 2015
NSI Short Film Festival 2014
Fantasia Film Festival 2013
Amsterdam Imagine Film Festival 2014
NSI Short Film Festival 2014
Cornwall Film Festival 2013
CFF Honorable Mention 2013