From Drawing to Digital
I spent around seven years studying traditional art before transitioning into 3D and visual effects.
What I enjoy most is working on a shot as a whole—from setting up the camera and lighting to rendering and compositing. I also love simulations. Even something familiar, like fire or water, behaves differently every time, and I enjoy figuring out what each scene requires.
A Bat, a Cocktail & Some Borscht
Character Grooming / Look Development
Can a bat sell a borscht cocktail?
For a grooming assignment, I had the freedom to select both the subject and the format. I opted to create a fictional advertisement featuring a bat promoting a rather unusual drink. I wanted the final result to feel slightly absurd, yet mysterious and atmospheric.
Behind the Fur
The biggest challenge was developing the groom and getting the materials right. The original bat model lacked an SSS map, which made parts of it look too artificial. I painted one in Photoshop and adjusted the shading to improve the character’s appearance. I also created additional elements for the cocktail in Houdini, worked on the materials, and assembled the scene.
Before and after compositing in Nuke
The Final Touch
The final step was compositing in Nuke. I added smoke and worked on the color grading to create the mysterious atmosphere I had in mind.My role: grooming, texture adjustments, shading, scene assembly, lighting, rendering, and compositing. Third-party assets: bat model and glass model.Burning Piano
Fire is one of my favorite things to simulate because every shot requires a slightly different approach.
For this project, the challenge was to shape the flames around the piano and adjust their movement and scale to fit the scene.
Doctor Strange — Shot Recreation
Vellum / Environment Assembly / Lighting
Left: original film still; right: my recreation
This was part of a class project inspired by Doctor Strange. For my shot, I modeled the cloak and used Vellum to simulate it on an animated character. I then assembled the city environment using existing building models, arranged the scene, set up the lighting, and rendered the shot.
My role: Cloak modeling, cloth simulation, scene assembly, lighting, and rendering.
Third-party assets: building models and character animation. The shot is presented without final compositing.
One Setup, Many Corals
Procedural Modeling & Texturing
For this project, I created a procedural coral in Houdini. Instead of modeling each variation from scratch, I built a setup where adjusting different parameters would generate new forms. I also created its texture procedurally. The result was a flexible asset that I could integrate into my underwater scene.
Underwater Study
Vellum / Procedural Modeling / Compositing
For this scene, I aimed to evoke a sense of depth and underwater atmosphere using lighting, materials, and movement. I began with an existing jellyfish model, developed its materials, and composed the final scene, utilizing my procedural coral to construct the environment.
Bringing CG into Reality
Camera Tracking / CG Integration
How do you make a 3D object feel like it belongs in real footage?
For this exercise, I tracked a live-action shot and integrated a 3D coffee machine into the scene. The focus was on matching the digital object to the camera movement and the filmed environment.Creative Experiments
Outside of 3D and VFX, I also experiment with AI image generation.
My process usually starts with collecting references and developing a character concept. I then work through different iterations, adjusting the appearance, clothing, materials, and smaller details until the character feels complete.
