I've spent the last 10 years building photoreal environments for feature films, episodic TV and commercials, with studios like Scanline VFX, DNEG, Outpost VFX and TRIXTER, on shows including Andor, Loki, Doctor Who and Fast 9. My background started in graphic design before moving into VFX, which is probably why I care as much about composition and colour as I do about technical accuracy.
What keeps me interested is the moment an environment stops reading as CG. Not the modelling or the render, but everything after: the atmosphere, the imperfection, the light behaving the way it does through a real lens. That's the part I find genuinely satisfying, and it's what I chase on every shot.
Lately I've been pushing hard into procedural workflows in Houdini and building my own AI-assisted tools for DMP concepting. Not to replace the craft, but to get to a readable keyframe faster and spend more time on the part that actually matters.
Where I'd like to go: senior and lead work on ambitious environment-heavy projects, ideally where there's room to shape how the DMP and environment pipeline gets set up rather than just delivering shots. I've done that a few times now and it's the work I enjoy most.
Reel Breakdown
Hand-selected by the VFX Engine team
A selection of environment and matte painting work across feature films, episodic TV and commercials including Andor, Loki, Doctor Who, Fast 9, The Wheel of Time and Nautilus.
The reel covers the full environment pipeline: 2D and 3D matte painting, 2.5D camera projection, set extensions, full-CG environments, procedural layout and set dressing, lookdev, lighting and final compositing.
Software: Photoshop, Nuke, Maya, Houdini (Solaris/USD), ZBrush, Substance, SpeedTree, Gaea, Unreal Engine, with rendering in Arnold, Karma, V-Ray and Redshift.
What I'm most proud of is the range moving between hero set extensions that had to hold up in a live-action plate and fully digital environments built from scratch, while keeping the same photoreal standard across both. A lot of the work involved setting up the DMP approach for a show, not just delivering shots.
