A high-energy motion graphics concept combining digital technology and physical sports. Modeled and animated in Cinema 4D and rendered with Redshift. I designed the audio mix using a blend of synthetic cybernetic impacts and live stadium noise to create a broadcast-ready feel.
Built within the same Cinema 4D and Redshift pipeline as the sports broadcast concept, this animated headline utilizes dynamic lighting and geometric displacement to create a modern technical tone.
This is a split-screen FPS game I developed in UE5. Players can shrink to utilize small spaces and grass for stealth, or contest the center of the map for a power-up that grants giant size and increased health. To prevent perimeter camping, I implemented a moving train hazard, alongside an excavator that provides rapid vertical traversal from the lower caves to a high vantage point. All gameplay mechanics and dynamic assets were scripted by me using Unreal Engine Blueprints.
Developed in Unreal Engine 5, Crooked Corridors is a solo-developed puzzle game where the player acts as a burglar robbing a wizard’s mansion. To build a disorienting escape-room experience, I utilized hidden portals to create non-Euclidean geometry and environmental puzzles. One mechanic involves recursive scaling: players can manipulate a miniature version of the house; then, walking through the real house’s main doors teleports them out of the miniature at a shrunken scale. Custom mechanics, like an interactive piano puzzle and a wizard that actively heckles the player, create a challenging and comedic experience.
I developed this playable robot spider character from scratch. After modeling and rigging the asset in Blender, I animated seamless transitions between its walking and ball forms. I scripted custom mechanics that allow the character to walk on walls, launch like a rocket, and traverse as a rolling ball. Additionally, I integrated two distinct projectile weapons and utilized a procedural motion plugin to generate a natural walk cycle. To showcase the mechanics, I designed a custom laboratory environment, with plans to expand this prototype into a full game.
I rendered this cinematic to practice product lighting and showcase an original design that I was proud of. Afterward, I optimized the geometry to be 3D Printed.
Bringing an old sketch to life, I modeled and textured this custom guitar. It features a traditional hardtail humbucker layout, highlighted by a vibrant flame maple finish.
I designed this cinematic sequence to mimic an automotive promo. It features a custom cloth physics simulation for the initial reveal and a fully rigged driving animation to showcase the car in motion.
Drawing inspiration from the sweeping, historical lines of the Bugatti Type 57 Atlantic, I modeled this custom concept car. For this static shot, I focused on environmental setup and soft, natural lighting.
Bringing the kitbashed design to life. I wanted to ensure it felt grounded and functional, so I built a custom rig for this motion test that inherited the motion from the character wearing the suit. It has constraints that keep the lower legs perpendicular to the floor.
An exercise in rapid hard-surface design. I kitbashed this steampunk exosuit to experiment with mechanical joints and structural balance, using a stylized lighting pass to highlight the complex silhouette before moving on to textures.
A cinematic scene featuring a custom Art Deco-inspired hover car. Built entirely in Blender, this sequence features dynamic smoke and fire simulations, as well as sound design.
A behind-the-scenes look at the asset creation process for the Sci-Fi City Render. My hardware was a limiting factor, so geometry needed to be minimal.
A brief cinematic I rendered to show off my monster character. I used a VHS filter to give it the feeling of old recovered footage. I added a noise modifier to all of the camera motion to make it feel hand-held.
This was my first attempt at character design. It’s not my specialty, but I had fun creating this eerie slender monster in Blender.
This anvil model is simple, but a great exercise in creating clean edge-flow in a variety of shapes. I also used this as an opportunity to practice 3-point lighting.
I Modeled this stylized low-poly table from scratch in Maya.
I sculpted the mesh in ZBrush and textured it in Substance 3D Painter.
These swords were also modled in Maya and textured in Substance 3D Painter. This was part of a render challenge between friends to see who could design the best sword in 1 day.