Props

Props are small, but they are often what the camera looks at longest. A helmet worn by a character, a key at the heart of a scene, a teapot in a close-up or a set of backpacks for a single sequence all have to hold up under scrutiny, and they have to feel like they belong to their world. I have modeled props for feature films, series, commercials and games, from quick previs pieces to hero assets, and from hard surface equipment to stylized decorations. My approach starts with the object's purpose and its story. How it is held, how it has been used and how it will be seen on screen tell me where the detail belongs. I usually model in Maya, add finer forms in ZBrush and prepare the asset for texturing with clean UVs, lighter versions and extracted maps. When I handle the whole asset, I carry it through texturing and look development myself. As a Hard Surface Modeler and Asset Artist, I enjoy the precision props demand. They are also a good test of discipline, because a prop that is quick to build but hard to use costs a production more time than it saves

Props: 10 professional productions at 9 studios, including “Beast”, “Mayday”, “The Last of Us - Season 1” and “My Dad the Bounty Hunter - Season 1”