Production-grade CG characters, environments and composites, hand built frame by frame. Maya · Redshift · Houdini · Substance Painter · After Effects.
Reference gathering, silhouette blocking, proportion studies. Every project starts with intention — understanding what the asset needs to communicate before a single poly is placed.
Clean topology in Maya, hero detail in ZBrush. Built for render and rig — no shortcuts that break downstream. UV-unwrapped with consistent texel density.
Substance Painter for storytelling through surface — directional wear, material differentiation, narrative damage. Redshift for physically accurate shading and lighting.
AOV pipeline into After Effects. Linear EXR workflow, colour-managed grade, FX integration. Batch render via command-line — efficient, repeatable, production-ready.
VFX Artist combining deep technical fluency with a drive for craft-led storytelling through surface and light.
My current major project — a Bumblebee character retexture — pushes every stage of the pipeline: material storytelling through directional wear and damage, an updated gun arm, hero pose with rubble, and a production-ready Redshift rig. The goal is always a frame you could mistake for a film still.
Across OSCAR and CABIN I've built and owned my own render pipeline — command-line batch rendering, AOV management, linear EXR into After Effects — the kind of technical depth that production environments expect.
Outside VFX, I run an audiology practice. The overlap is more direct than it sounds: precision, the physics of perception, and the human response to quality are what both disciplines run on.
Open to VFX roles, freelance character or lookdev work, and collaborative CG projects. Based in Norfolk, UK.