Technical Showcase | Unreal Engine 4 & 5, Maya 2024, Blender 4.4
These cinematic sequences represents a significant technical milestone in my animation pipeline development, merging high-fidelity character rigging in Maya and Blender 3D software with Unreal Engines advanced animation and rendering capabilities. Both of these animations (One being a work in progress) demonstrate my proficiency in keyframe animation, skeletal rigging, and the implementation of dynamic lighting systems to create atmospheric tension.
The production workflow for animations like this involves a multi-stage pipeline: character modeling, advanced rigging with custom control systems, and meticulous keyframed animation to capture the nuanced weight and timing essential to convey dramatic scenes. In certain cases, I even used A motion Capture studio and Tracking suit to create custom character animations.
I leveraged Unreal Engine 5’s Lumen global illumination system to achieve physically accurate bounce lighting throughout the scene. These projects showcase my ability to maintain consistent artistic vision across multiple software platforms while navigating technical constraints inherent in real-time cinematic rendering.
Done in Maya 2023 and Unreal engine 4, October 2023
Done in Blender and Unreal engine 5.5, May-June 2025 (WORK IN PROGRESS)
Environment Design | Unreal Engine 4, Maya 2023 & Substance Painter
These immersive environments demonstrates my comprehensive asset creation pipeline and environmental storytelling capabilities. These scenes are carefully designed to convey narrative through environmental detail and atmospheric composition.
The production process involved modeling assets in Maya or Blender, then using UV mapping to maximize texture resolution while maintaining while maintaining high quality textures. I then texture the models in Substance painter to create the desired material for each object.
The final scene assembly in Unreal Engine 4 involved strategic prop placement guided by composition principles and narrative intent. Post-processing effects including volumetric lighting, screen space ambient occlusion, and color grading were implemented to enhance the atmosphere while maintaining visual clarity. The project demonstrates my ability to balance technical constraints with artistic vision to create cohesive, narrative-rich environments optimized for real-time applications.
Done in Blender 4.4, Substance Painter, and Unreal Engine 5.5, May-June 2025 (WORK IN PROGRESS)
Digital Compositing | Nuke 16.0v1, Photoshop, Premier Pro, & After Effects
My VFX/Digital compositing work explores advanced volumetric compositing techniques to create a photorealistic effects that bridges the gap between Fiction and Reality. These works demonstrate my proficiency with node-based compositing workflows and my ability to leverage Nuke’s powerful 3D compositing environment.
Interactive elements were synchronized through expression-linked parameters, allowing for consistent timing illumination, particle movement, color, and environmental lighting. These both demonstrate my ability to blend technical precision with creative vision in high-end compositing work.
Done in Nuke 16.0v1, and Premier Pro, April 2025
Done in Nuke 16.0v1, and Premier Pro, May 2025
Done in Nuke 16.0v1, and Premier Pro, May 2025
Digital & Brand Communication | Adobe Creative Suite Primarily InDesign
This collection showcases my strategic approach to visual communication across multiple platforms and brand contexts. During my experience as Digital Marketing Co-Op at MIAX Exchange Group, I spearheaded visual elements for their company-wide rebranding initiative, creating cohesive design systems that maintained brand integrity across diverse digital touchpoints.
The portfolio includes custom animations and digital collateral developed to support the updated brand identity, demonstrating my ability to translate static design principles into dynamic visual experiences. Featured work includes the interactive PDF forms I converted from outdated templates, showcasing my focus on both aesthetic refinement and functional improvement.
My design philosophy emphasizes purposeful visual hierarchy, strategic use of typography and color theory, and meticulous attention to composition. Each piece in this collection represents not just technical proficiency with industry-standard design software, but the strategic thinking that drives successful visual communication in professional contexts.
Done in Photoshop 2024, and Premier Pro, March 2024
Done in InDesign 2025, Premier Pro, and Figma, February 2025
Done in InDesign 2025, and Premier Pro, March 2025
Motion Capture | Shogun Live & Post 1.15
This project represents one of several motion capture sessions I’ve been involved in as part of the Drexel Motion Capture Club and my own personal Motion capture study’s. These sessions are conducted using professional optical marker-based systems, demonstrating my broader experience with performance capture workflows from initial setup to final implementation in a game engine.
In each session, I’ve worked with high-speed optical systems involving a series of 48 individual cameras to record precise full-body motion. I’m well-versed in setting up and calibrating the capture volume, managing actor preparation, and operating Shogun Live for real-time visualization and initial data handling.
I have experience retargeting motion data in Unreal Engine and Maya, including custom rig mapping, constraint setup, and weight calibration to ensure that captured performances translate naturally across different character models.
This technical fluency across tools—Shogun, Maya, and Unreal—enables me to not only process high-quality motion data but also adapt it creatively to a range of narrative and gameplay contexts. My ongoing work in motion capture reflects a deep commitment to both technical precision and expressive digital performance.
“Last Of Us” Motion Capture Session in Shogun Live 1.15, May 2025
3D Modeling & Photorealistic Visualization | Maya & Arnold
This selection of hyper-realistic 3D models demonstrates my meticulous approach to digital asset creation, showcasing technical precision in polygon modeling, texture creation, and lighting execution. Each piece exhibits careful attention to real-world material properties, scale relationships, and subtle surface imperfections that contribute to photorealistic rendering outcomes.
The modeling process for these assets involved detailed reference analysis and precise technical execution, beginning with optimized polygon topology. Each model features strategically placed edge loops to maintain proper deformation characteristics and silhouette clarity from multiple viewing angles.
Material development followed physically-based rendering (PBR) principles, with custom shader networks designed to accurately simulate complex surface interactions. Texture maps were created at 4K resolution and the UV maps were hand-crafted with precision.
The final renders utilize Arnold’s path-tracing capabilities with carefully calibrated global illumination settings to achieve photorealistic light behavior. Multiple light bounces were calculated to correctly simulate color bleeding and indirect illumination effects, while compositing techniques were employed to enhance depth and atmospheric perspective in the final images.
These technical studies represent my commitment to achieving the highest level of detail and realism in 3D asset creation—skills directly applicable to product visualization, architectural rendering, and high-end visual effects production.
