Maya
Maya has been my main modeling tool since the start of my career, and it is still where most of my assets begin. I use it for clean, controllable topology on hard surface vehicles and props, for architecture and environment pieces, for characters rebuilt from scans and for stylized assets in animation and games. Its strength for me is precision. Edge flow, UVs and naming stay exactly as I intend, which matters when an asset will be textured, rigged, lit or instanced by other people. Maya rarely works alone in my pipeline. I move between Maya for the base, ZBrush for sculpted detail, Substance 3D Painter or Mari for textures, Arnold or V-Ray for look development and rendering, and Houdini when an environment needs procedural control. Knowing how each of those stages will read my Maya files helps me prepare assets that travel well, with lighter versions for baking and clean hierarchies for layout. I have also used scripting in Maya to speed up repetitive tasks when a production called for it. Whatever the title on the contract, whether modeler, 3D Artist or Environment Artist, Maya remains the tool I rely on for the part of the work where every vertex counts
Maya: 36 professional productions at 14 studios, including “Thor: Love and Thunder”, “Moon Knight - Season 1”, “The Little Mermaid” and “Guardians of the Galaxy Vol. 3”
- Productions
- 36
- Studios
- 14
- Period
- 2020-2026
Productions
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