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RAW METAL

Video Game Environment Creation
As part of my role on the Team Crucible team, I filled out two floors of our game, Raw Metal.  Our lead would provide a top down layout for the level, and our modeling artist would create the shell.  It was then my job to go about detailing the level, creating an immersive, lived in environment for the player to explore and fight in.

Consideration was taken for both the top down perspective and third person combat cameras.  Care was taken to keep with the style of previous levels, while keeping details frequent enough to be seen.

Lights in Raw Metal are a huge component of the stealth gameplay, so placing them was an important collaboration between our lead and myself to develop a fun level to play.

Collateral

Video Game Environment Modeling
Created for the 2024 Game Maker's Toolkit Game Jam, Collateral was created over the course of 4 days.  Going off the prompt of 'Built To Scale', Team Crucible wanted to create something where you play as a little guy surrounded by much larger, much more dangerous things.

Collateral places a heavy emphasis on player mobility to escape the enemy mechs, and as such the game level had to reflect this.  Tall buildings, many with holes to encourage creative navigation, scatter the landscape, interspersed with open areas with seldom cover.  

Collateral is built in Godot, and the team used the jam to experiment with the open source software, and learn its benefits and downsides.  Modeling for the project was done in Maya, and texturing in Substance Painter.

A Light in the Woods

3D Animated Chase Through A Dark Forest
The dark and foggy forest holds many secrets, and was the setting for my 3d animated capstone film.  All assets in the film were my own, and I carefully designed the environment to provide a spooky, oppressive ambiance.  Everything was modeled in Autodesk Maya, then assembled into a final scene in Unreal Engine 5.  To create the fog and lighting effects, I worked in depth with volumes and cloud systems to create the look I desired.

The Miraculous Healing of Lucy Damon

Virtual Production Film Set In A Sci-Fi Laboratory
Shot on a LED volume wall, this film was a collaboration between the virtual and physical spaces.  I was in charge of creating the environments of the underground laboratory in Unreal Engine (from pre-existing assets), so that they could be displayed in real time behind the physical aspects of our set.  Lighting and effects were also handled by me.

Angler

3D Sci-fi Action Film With A Surprise Twist
Modeled and rendered with Maya's Arnold render engine, Angler was a collaborative effort between myself and another artist.  I was in charge of created all of the models sans our main character (who I textured), along side a variety of other roles.  The misty space outside the ships created interesting challenges for storytelling, with much of the worldbuilding and mystery of what has occurred being created through environmental storytelling.
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