Still frames from James Cameron’s Avatar: The Way of Water and Avatar: Fire and Ash, where I worked as a 3D Environment Artist for over four years. My contributions included building and detailing assets, creatures, characters and environments, optimizing assets for in-engine performance, and collaborating closely with the art and VFX teams to bring Pandora to life during the Previs Phase of production. This work was part of a large team effort from all the talented people at Lightstorm Entertainment and its partners.
All screenshots are from the final version of the movie and not made by me. All contributions made by me were during the previsualization step in production before the final render.

This character explores my take on lycanthropy, a more human centric interpretation. Rather than a full wolf transformation, I imagined the curse as a slow, deforming affliction. Twisting the body and mind without fully letting go of the man inside.
The gnarled teeth, stretched skin, and grotesque features take away from an otherwise human form, showing the torment of his soul which is caught between man and monster.

Taking my original cursed werewolf character into Unreal Engine 5 for real-time presentation. I experimented with natural moon lighting, post-processing, and simple animation to get a realistic feel of the character in-engine. Using UE5’s Lumen and Nanite systems, I was able to push detail retention and lighting realism while keeping performance stable for interactive viewing.

An environment which explores the idea of a mega-castle: a towering stronghold that functions as both fortress and city, and is home to hundreds of thousands of inhabitants. Built and rendered in Unreal Engine 5, using ultra dynamic skies for the lighting and procedural textures for landscape and foliage.

Built as a personal worldbuilding exercise, this scene depicts a sci-fi corridor aboard a large space station. The flashing red lights signal proximity to a star with an immense gravitational field, a visual cue that transforms the hallway from a quiet peaceful area into a place of sudden panic and urgency. Rendered in Vray for the final image, but also built in Unreal Engine 5 to get a feel of it in real space. A quick camera run through the scene is included to show how it could look in-game.

Built for the unforgiving deserts of a Mars-like world, this military crawler serves as a mobile infantry unit in a high-tech combat scenario. Operated from a reinforced cockpit, the mech is engineered to traverse hostile terrain while providing heavy support to ground forces. The keyframe scenes depict the crawler in its storage bay, armored, armed, and awaiting deployment. While the accompanying charts include callouts where I expanded more on my thinking about how the design would function and operate.

A cutaway view of a spacecraft’s interior corridor, designed for passenger safety during extreme maneuvers. Each seat conceals a compartment holding a magnetic restraint vest — powerful magnets at the ends of each appendage lock into the wall, anchoring the occupant securely. The final image shows how a passenger would appear when fastened in, ready for turbulence or gravitational shifts.

The Flex Surg-Limb is an advanced AI-assisted surgical robot designed for zero-gravity medical environments and high-demand planetary hospitals. Featuring multi-axial articulated arms and precision optical sensors embedded in its surgical hands, it can perform complex operations with minimal human oversight. Its modular tool system allows for quick interchange and sterilization, making it ideal for rapid-response medical bays on space stations.