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.

You may also like

I created this short demo from scratch, using the software I generally use for video games and real-time rendering. I set up a composition with lighting and cameras, and then used the sequencer in Unreal Engine 5 to create a cinematic rendering with path tracing.

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.

I designed and created this figurine, along with all its accessories, using Maxon One and Substance 3D. Inspired by the World of Warcraft universe and its creatures, I aimed to create a 1/6 scale 3D-printed character of an Orc. Approaching morphology is always a significant challenge. I enjoy working on both stylized characters and props as well as more semi-realistic and detail-oriented projects, like this one I’ve just completed.

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.

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.

Here is another collectible I created from scratch in ZBrush. I used Unreal Engine 5 and its sequencer to produce the 3D turntable presented here.

PLANET OF THE APES - THE MINIATURES BOARDGAME

I created all the miniatures, including the apes and soldiers, for this game, as well as many of the 2D graphics. The project is still in production and is expected to hit shelves in June 2025. All the characters were designed based on my observations from repeatedly binge-watching the movies, as well as the references provided to me by 20th Century Fox. The turntables created by Weta Digital were especially helpful in supporting my 3D conception and adaptation of the film characters into small tabletop game pieces.

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.

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.

↑Back to Top