Over the past few years of my college, I have learned everything I know from the internet, this has often landed me in trouble for my attendance. But also the one that's shaped how I approach problems. Because I've largely taught myself, most of my experience comes from working on my own directing projects: figuring out technical problems, optimizing backend pipelines, and pushing toward visually immersive results rather than following a set curriculum.
My work spans photorealistic automotive visualization, environment reconstruction, biome development, miniature-to-CG integration, real-time cinematics, and digital intermediate. I approach environments as designed cinematographic spaces rather than simply assembled asset collections — using research, whiteboxing, procedural materials, foliage systems, camera composition, lighting direction, atmospheric depth, and shot-specific optimization to construct believable worlds.
On automotive projects, I focus heavily on material response, surface development, vehicle rigging, physically informed motion, virtual cinematography, and controlled lighting. I also frequently work with constrained or pre-existing assets, finding ways to maximize their visual potential through look development rather than relying solely on higher geometric complexity.
Across both environment and automotive work, my approach centers on visual consistency — from acquisition and production through final DI. I'm particularly drawn to hybrid workflows, where live-action footage, miniature photography, CG environments, procedural systems, and compositing all have to exist convincingly within the same image space. I rely on ACES-based color-managed pipelines, 16-bit EXR workflows, shot-specific grading, film emulation, optical finishing, and selective image treatment to unify these elements while preserving their intended lighting and material relationships.
The result is work that combines technical discipline with a cinematic visual philosophy — treating art direction, engineering, and post-production not as separate stages, but as interconnected parts of the same image-making process.
With 3 years of experience across filmmaking, real-time cinematics, VFX, DI, and design, I specialize in Unreal Engine as a tool for building cinematic worlds — for the big screen and beyond. As an Unreal Engine generalist, I'm comfortable leading teams, optimizing production workflows, and pushing the boundaries of what real-time filmmaking can look like. At the core of it, my work is about blending art and technology seamlessly — crafting photorealistic, cinematic content that strengthens storytelling and makes production more efficient.