Pipeline ownership, from raw geometry to what ships in engine
01 / Sci-Fi Creature · Blender to Unreal Engine 5
Final frame: Aracnet, hatched and ready
64
deform bones driving eight legs, seven animation clips
A robotic spider enemy for Unreal Engine 5, taken from blockout to a hatching cinematic: high poly, game mid-poly with UVs and bakes, PBR textures, a 64-bone rig and seven animations.
02 / Real-Time Environment · Unreal Engine 5
Final frame: the nave in Unreal Engine 5, Lumen lighting
12
props textured in Substance Painter for one modular nave
A gothic nave rebuilt as a machine shrine. I blocked it out and built the modular kit and props in Blender, textured them in Substance Painter, and lit the scene in Unreal Engine 5 with Lumen, Nanite displacement and volumetric dust.
03 / MetaHuman Pipeline & Web Integration
Final MetaHuman render — the only frame cleared for publication
3
MetaHumans, pipeline built from scratch
No off-the-shelf path connected Unreal's MetaHuman framework to the rest of the production, so I built one. ZBrush for sculpt passes, Maya and Blender for cleanup and assets, Cascadeur for animation, Substance Painter for texturing, back into Unreal — then out to an Angular + NestJS ecosystem carrying the same brand across 3D and web.
04 / Architectural Retopology & Optimization
Final render — 29 modular assets in engine
10,000 → 29
objects rebuilt as modular assets
The building arrived as raw architectural-design geometry: thousands of loose objects, unusable in real time. I rebuilt it as 29 modular pieces — clean topology, hand-laid UVs, new material set and mapping — running in Unreal Engine 5 and web 3D.
05 / Mechanical Design & 3D Visualization
Presentation render of the simulator rig
100%
modular, fully disassemblable
A full-scale RTG crane simulator that ships flat. I designed and modeled the rig itself: square-tube structure, entirely modular and disassemblable for transport and on-site rebuild. SolidWorks for the structural work, Blender and Substance for the presentation renders.
06 / Stylized Prop · Blender Cycles
Studio frame: marble blade, gold guard and lacquered grip
38 cm
real-world scale, every material procedural
Fan art: my take on Jhin's daggers from League of Legends, before his rifles. Two ceremonial daggers in marble, gold and purple lacquer, staged on theatre steps with velvet, petals and a kintsugi porcelain mask, rendered in Cycles.
07 / Realistic Prop · Blender Cycles
Final frame: window light and drifting dust
3
materials carry the story: wool, leather and brass
A military officer's cap built as a realistic prop: worn wool, cracked leather peak and a brass crest, lit by a single window with dust drifting through the light. Rendered in Cycles.
08 / Motion Design · Blender Cycles
Loop 1: glass shards between red and white light
2
seamless loops, rendered in Cycles
Two abstract loops built for motion practice: a tunnel of glass shards between red and white light, and a ribbon of light crossing a field of golden particles. Lighting, materials and camera timing, all in Blender.
09 / Stylized Character · Rig & Animation
Virsi waving: stepped cel shading with colored shadows
36
bones, nine of them for the face, and four animation clips
Virsi is a small service robot with a lot of personality. I gave it a saturated cel-shaded look with ink outlines, rigged it with bending bellows joints and an expressive screen face, and animated an idle, a walk cycle, a wave and a talk.
10 / Botanical Realism · Blender Cycles
The flower spike: three open flowers and two buds
0.4 mm
petal thickness, translucent and veined like the real flower
A Phalaenopsis orchid built from a single petal study: sepals, petals, lip and column modeled to scale, translucent shading with radiating purple veins, and a bud that opens into full bloom.
A production asset running in the browser: swap between PBR, base color, AO, metal/roughness and wireframe, and drive the lighting yourself.
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