Working on the Avatar sequels has been one of the biggest accomplishments in my career. I am honored to be a part of a historic team that allowed me to enhanced my skills over the years.  All of the following scenes include my own contributions, but they could not be completed without the talented artists that I am l grateful to know and work with!

Wind Traders and the Gondola

• For these shots I was responsible for creating Peylak's outfit (also known as the Wind Trader leader) for real-time use, including his earrings and cloak. I sculpted a highpoly in ZBrush, created a lowpoly to run in real time. I used Substance Painter to texture and bake the details out.  
• I also worked on the outfits for various background Wind Ttrader Na'vi. For optimization, I created procedural textures in Substance Designer, and used what is essentially a trim texture workflow to produce many variations quickly.
• On the Gondola itself, I was responsible for set dressing, modeling highpoly/lowpoly assets and texturing using Substance Designer/Painter.
• Some specific assets of mine include the webbed ropes, the bags with jars and vases in it, and the wooden support that the Ikran and background Na'vi are on. Other props include baskets, hide, sleeping bags, weapons, tools and flags.
• I created procedural textures in Substance Designer and used a tileable texture workflow to optimize for real-time use during filming.
• I modeled and textured the suspended ropes connecting the Gondolas to the "Windrays."
• Contributed procedural textures for the weave patterns on the exterior of the Gondola and created decals to breakup repeating patterns.
• Collaborated in the modeling, texturing, and lookdeving of Medusoids.

Ash Navi Village

• Contributed dead trees and rock assets, including sculpting some in ZBrush then optimizing in Maya
• Created unique props for the Ash Na'vi, such has RDA weapons with Ash Na'vi paint, totems and  Ash Na'vi religious artifacts on the trees.
• Communicated with and implemented feedback from Art Director, revising assets to be in line with Art Director's vision.
• Contributed tileable textures in Substance Designer.

Avatar: The Way of Water 

The environments below represent what we see in real time before all final render effects and lighting are added. These shots aren't often shown outside of production, but these are a few shared with the public. I wanted to showcase some of the technical work that goes into it and the effort to maintain high fidelity in real-time. A lot of these assets we worked on were shared with Ubisoft for the video game Frontiers of Pandora.

• Optimized several Ikrans and created texture variations and baking in substance painter.  
• Contributed textures to the floating islands and finalizing their layout.
• Created several LODs for the foliage, environments, characters.
• For this part of production we would work with Leads, the Art Director, and Director James Cameron to block out these scenes, do quick turnarounds, and do emergency changes and revisions in the fast--paced environments.

Characters and Creatures

I also had the opportunity to work on many outfits and creatures throughout my time on this production. I learned a lot of tricks for optimizing on short notice and working as a team to meet tight deadlines or quick concept changes. Responsible for modeling highpoly and lowpoly in Maya and ZBrush.

• Responsible for modeling highpoly and lowpoly in Maya and ZBrush Texturing and baking done in Substance painter and designer
• UV mapping done in Maya Assisted with Skinning 
• Texturing and baking done in Substance Painter and Substance Designer Used a modular character pipeline to fix cloth variations to different body types.
• Matched models to concepts provided
• Created various paint patterns with material masking for all characters.
• Used a modular character pipeline to fix cloth variations to different body types.
• All assets were used for real time filming pipeline.