Star Wars Super Teams

scroll down

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

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.

Blue Moon Cristal

I created this crystal while working for Studio XP, a school focused on video game development for students aged 8 to 20. My role involved creating several chapters to update the online class content for the school, and this crystal was one of the courses I developed. Studio XP uses free and open-source software such as Blender, Krita, and Unity. After completing my assignment for Studio XP, I decided to refine the crystal further and develop an entirely new course using Unreal Engine 5 instead of Unity, aiming to incorporate some impressive UE techniques to teach the students.

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 have a strong affinity for buggy cars, so I created this buggy from scratch using various reference pictures of this type of vehicle. I used Blender for all the polygon modeling and UV mapping processes, and I utilized Substance 3D for baking the input maps and texturing. Additionally, I used ZBrush to sculpt parts with higher levels of detail to incorporate into the normal map. I created the number plate graphics in Adobe Photoshop and Adobe Illustrator. I also experimented with some HDR environment maps and performed 3D rendering using Iray. My goal was to replicate the sparkling blue paint of the reference cars I used.

Here are some miniatures I created based on my concept art for the board game Battle Zone. I sculpted them in ZBrush, using the same techniques employed by Avalanche Software for the creation of the Disney Infinity figures, which have always been a great inspiration for me in terms of design and game concepts. I also used KeyShot for the 3D rendering. Additionally, I designed some trading cards for the game, as shown.

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.

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.

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.

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 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.

↑Back to Top