Star Wars Super Teams

My role: 3D Storyboarding & Layout • Retopology • 3D Modeling • Texturing • Animation • Rendering
Collaboration: Production studio for final editing & motion design.

🎬 Final Teaser (published)
Version released by the studio, enhanced with motion design, editing, and additional visual effects.

✨ My delivered version (pre-edit)
Render and Animation I provided to the studio, prior to their final touch editing and motion design work.

🔧 CREATION PROCESS

Retopology & Adaptation: The two videos below present a sample of the 3D retopology and adaptation work I completed for each game element, with careful attention to faithfully reproducing the physical game in its entirety.

Modeling & Texturing:
I developed detailed 3D models and applied PBR textures. This workflow was particularly efficient, as it allowed me to accelerate the storyboard and layout process by reusing the same 3D models for the following stages, including storyboarding, animation and rendering.

3D Storyboarding:

I built a 3D animatic (layout) to establish the staging and define the camera angles.

3D StoryBoard Extract / shot 18

3D StoryBoard Extract / shot 18

3D StoryBoard Extract / shot 19

3D StoryBoard Extract / shot 19

3D StoryBoard Extract / shot 20

3D StoryBoard Extract / shot 20

This video below shows an early work-in-progress stage of the 3D animatic, combining both completed and rough shots.

3D Animation & Rendering:
I animated each starship as well as the cards, respecting the movement constraints specified by the game rules, so that the audience could understand the gameplay and objectives. The teaser served both promotional and tutorial purposes. I employed standard 3D animation techniques using the timeline, keyframes, and animation curves to refine the movements and give them a natural look. The four example videos below showcase different types of 3D renders directly from my scene: ambient occlusion, lighting, color, and finally the fully animated final render with materials and lighting.

Promotional packshots:

I produced the complete set of packshot images for promotional use. Below are some examples of the 3D renders I created for marketing purposes.

Technical Notes:

Throughout the creation of this trailer, I utilized a range of software that I genuinely enjoy working with!

Deliverables:

I optimized models, PBR textures, animation sequences, EXR/MP4 renders

Organization:

Files versioned with timestamps and a clear naming convention to facilitate studio integration, with frequent exchanges and full transparency on project progress.

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Mario is definitely one of my lifelong favorite characters, and I'm excited to present my work on him here. This includes high-definition sculpting and low-definition retopology using ZBrush. The blue and orange version shown is the HD model exported from ZBrush, which I rendered in KeyShot. The low-definition retopology is presented here as the final rendering, textured in Substance 3D and rendered in Iray.

Flash Light 1950

Here is a flashlight I created from scratch, based on the reference picture shown at the bottom of this page. I enjoy creating low-poly assets and making them look realistic in terms of shape, texture, and overall appearance. I wanted to explore some techniques in Substance 3D, such as the anchor point functions and others. I designed the seahorse graphic and used it in the height channel to stay close to the reference while creating a different logo. For all the modeling, I primarily used ZBrush, specifically the ZModeler brush, along with Substance 3D.

I designed the central piece of the game, the metal-cast medallion, based on the specifications I received and my own concept art. I utilized 3D sculpting and printing technologies, along with my traditional art and molding skills. Additionally, I designed the back of the cards and the token illustrations to match the medallion.

I'm happy to share this 3D asset I created in ZBrush and Substance 3D. Once again, I chose an object to teach my students some hard surface techniques and procedural texturing. Here is the final visual version of the related course, rendered in Iray and Marmoset Toolbag. During my classes, I demonstrate the entire process using a video projector, and for online teaching, everything I explain is directly visible through screen sharing.

Mitch Pigs Demo

Here is a short demo I created from scratch to explore the new update of Unreal Engine 5. My goal was to push the boundaries of my technical knowledge by utilizing Lumen for lighting, along with many other software tools I generally use for video games and real-time rendering. I sculpted the pigs based on a concept art piece I discovered while watching the Instagram artist Mitch Leeuwe. I really enjoy his overall cartoon style, which reminds me of the Preston Blair animation books that I’m particularly fond of. This inspiration led me to create a 3D version of this cute little pig.

I created this gramophone using Houdini SideFX, as I wanted to explore Houdini's techniques for low poly modeling with nodes, in contrast to the 3D polygon modeling in Blender or Maya that I typically use. This was during my time learning procedural techniques in Houdini. I then proceeded with unwrapping the UVs, also in Houdini, and used Substance 3D for baking the input maps, such as normal maps, curvature, ambient occlusion, etc., and for texturing. Finally, I utilized Marmoset Toolbag for real-time rendering and MViewer, which I should embed here, as well as Adobe Premiere Pro for the Ken Burns presentation and turntable. I chose the delightful "Petite Fleur" music by the soloist and composer Sidney Bechet.

I created some of the merchandise pieces for this game using 3D sculpting and printing technologies, along with my traditional art and molding skills. I'm excited to share pictures of this released game so that we can fully appreciate its high-end and polished quality in every aspect through these visuals. I was also fortunate to collaborate with two amazing and talented illustrators, FORTIFEM. In the last picture, you can see them on the wooden floor surrounded by their craft. As I admire their graphic art and believe in the value of working with great artists, I’ve posted the illustrations they created for the cards and packaging, as it provides a better sense of the overall game quality. They produced both colored and black-and-white versions, and I really love the result of this project, which was created by Maxime Le Dain and published by Bragelonne Games.

I sculpted this version of Link from Link's Awakening in ZBrush, using a collectible as my reference. As an art and 3D teacher, I create numerous tutorials and courses, and this is one example. I always choose subjects or characters that I think will engage my students, as I believe it's important for them to enjoy the learning process in my classes. I chose Link because he has a simple overall shape while also allowing for a mix of organic sculpting and hard surface modeling, making it an excellent way to introduce ZModeler techniques. During classes, I clearly explain and demonstrate the following key steps in the 3D character creation process using a video projector: model sheet creation, sculpting, retopology, UV unwrapping, texturing, setup, and animation (for simplicity, I used Mixamo) as well as 3D rendering.

Packshots & Design Marketing – 2025

Here is a collectible I created from scratch based on my own concept art and love for this character, using ZBrush. Dragon Ball Z is one of my favorite childhood anime series, and I had a great time sculpting this piece in 2014; it’s one of my older works. I remember struggling at that time to create the cloud in 3D because there were only 2D references available, and there weren't many merchandise items or collectibles of Son Goku molded back then.

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