Product Visualization / Motion Ads
As a 3D artist, I thrive on tackling complex modeling challenges, while working full-time as a rendering artist for Muha Meds and Dialed Moods I’m able to hone in on those skills. Their expansive product catalog and sophisticated yet playful designs provide endless inspiration, making it a joy to bring their vision to life in 3D.
All the products showcased below were meticulously modeled from scratch in Maya, with the exception of the 12oz can. UVs were organized in Maya, while texture layouts were created using Photoshop, and Substance Painter. Once the assets are production-ready, they are brought into Houdini for lighting and rendering, with occasional fine-tuning the shader builds before completing final renders.
Beyond visualization, my role has extended to social media ads. From concept to completion I’m able to combine my narrative and motion based skills to make visuals that are informative and retentive to their current and potential customers.
Below is a screenshot from Miro of my storyboard process for AD based projects. Having a place to reference my process is crucial in my workflow. Once I have the shots roughly sketched and written out I’ll search for audio and build a layout in After Effects so I can gauge the timing of each shot efficiency.
Organic Modeling
Bringing Lil Kool’s 2D characters and landscapes to life in 3D was an exciting creative challenge. My process began with sculpting asset bases in ZBrush, followed by UV organization, rig adjustments, and, crafting facial blend shapes in Maya. From there, I set up and finalized scenes for rendering in Unreal Engine. I utilized Mixamo for rigging and animations.
The content produced was used for social media and early-stage cartoon pilot tests, helping to explore the potential of Lil Kool’s unique art style in a 3D space. This project allowed me to refine my skills in stylized modeling, rigging, and scene assembly while pushing creative boundaries to maintain the original essence of the 2D artwork.
Realtime Props and Environments
In 2020, just a few months after graduating college, I landed my first industry role at CGO Studios, contributing to their EX LIBRIS catalog of historically accurate trailers for over two years. My journey began with modeling crucial props for the First Everest Summit Demo, eventually expanding into environment work within Unreal Engine.
Over time, I played a key role in the development of three demos—CURIE, GUTENBERG, and ED JOHNSON—handling nearly all 3D aspects, apart from a few marketplace assets. My workflow encompassed the full production pipeline, starting with modeling and UV mapping in Maya, followed by texturing in Substance Painter, and then to scene layout, lighting, and rendering in Unreal Engine. Finally, I brought the sequences into After Effects for final compositing.
Each project spanned several weeks, requiring precise, research-based modeling guided by historical references. Weekly progress reviews and iterative feedback sessions helped refine every detail, ensuring the highest level of realism and accuracy. During my time at CGO Studios, I honed my skills as a high-detail modeler and developed an efficient workflow for managing large-scale projects. This experience reinforced my ability to break down complex tasks into structured, time-efficient processes while maintaining high quality standards.
