Photoshop

Photoshop is the most versatile tool in my kit as a 3D Artist, even if it rarely gets the credit. I use it for texture maps that need a painter's touch, for adjustments that are faster by hand than through a procedural setup, and for the final assembly of images when a project ends on a still rather than a shot. On key art for streaming series, I assembled my own CG renders in Photoshop in a slap comp, balancing light, color and detail so each element served a single promotional image. On vegetation, I have used it alongside Substance 3D Painter and SpeedTree to prepare the textures of plants for film and series environments. On stylized vehicles for an animation project, it supported textures that had to follow a clear art direction. What I value in Photoshop is how directly it lets me shape an image by hand, whether that means refining a texture map or finding the right balance in a final composition. It keeps me close to the picture itself, which is easy to lose sight of in a long technical pipeline. For me, it is the bridge between the image I imagine and the one the pipeline finally delivers

Photoshop: 7 professional productions at 3 studios, including “Foundation - Season 3”, “The Last Frontier - Season 1”, “Bob Marley - One Love” and “Constellation - Season 1”