From Drawing to Digital
I spent around seven years studying traditional art before moving 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 needs.
A Bat, a Cocktail & Some Borscht
Character Grooming / Look Development
Can a bat sell a borscht cocktail?
For a grooming assignment, I was free to choose both the subject and the format. I decided to create a fictional advertisement featuring a bat promoting a rather unusual drink. I wanted the result to feel slightly absurd, but also mysterious and atmospheric.
Behind the Fur
The biggest challenge was developing the groom and getting the materials right. The original bat model didn’t have 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 put the scene together.
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 shot 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 changing different parameters would produce new shapes. I also created its texture procedurally. The result was a flexible asset that I could use in my underwater scene.
Underwater Study
Vellum / Procedural Modeling / Compositing
For this scene, I wanted to create a sense of depth and underwater atmosphere through lighting, materials and movement. I worked with an existing jellyfish model, developed its materials and composited the final scene, using my procedural coral to build 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 idea. I then work through different versions, adjusting the appearance, clothing, materials and smaller details until the character feels right.
