Optimisation

Optimisation is the part of the job nobody sees when it is done well. A beautiful asset that is too heavy to render, too dense to lay out or too fragile to reuse eventually slows the whole production down, so I treat efficiency as part of the quality of my work rather than an afterthought. I have optimized assets for underwater environments that had to stay rich in detail while remaining light enough for final rendering, reducing polygon counts and moving fine detail into displacement and normal maps. I have prepared environments for real-time assembly, splitting buildings into reusable pieces that could be instanced across a city, and worked closely with the artists using them in the engine. On immersive shows displayed at resolutions far beyond cinema, I balanced visual detail against render cost so the image stayed sharp across the whole screen. As an Environment TD, I also build vegetation libraries with clean proxies, levels of detail and predictable naming. Whether I am working as a modeler, an Asset Artist or an Environment Artist, I always come back to the same question, which is what the camera actually needs and what can be simplified without the audience ever noticing

Optimisation: 7 professional productions at 4 studios, including “The Little Mermaid”, “The Last Frontier - Season 1”, “Flite” and “The Last of Us - Season 1”