ZBrush
ZBrush is where I add the detail that tells an object's story. I use it for sculpted damage and wear on hard surface assets, for organic forms, creatures and characters, and for the subtle surface variations that make architecture feel built rather than generated. As a Character Modeler, I also rely on it to refine characters created from full-body scans, cleaning up the areas where the raw capture falls short. What matters most is how the sculpt reaches the rest of the pipeline. I extract vector displacement, displacement and normal maps so the detail survives on lighter geometry, and I decimate high resolution models while keeping their UVs intact, so texture artists can bake exactly what they need. That preparation lets a heavy sculpt become a practical production asset. I usually combine ZBrush with Maya for the base mesh and topology, and with Substance 3D Painter or Mari for texturing, moving back and forth as the asset develops. In the end, I value ZBrush for the freedom it gives early in a design and for the control it offers at the finishing stage, when a few precise strokes can transform how an asset reads on screen
ZBrush: 28 professional productions at 13 studios, including “Thor: Love and Thunder”, “Moon Knight - Season 1”, “The Little Mermaid” and “Foundation - Season 3”
- Productions
- 28
- Studios
- 13
- Period
- 2020-2026
Productions
2026
2026
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2023
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2022
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2022
2026
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2023
2020