Summer,Autumn,Winter
I worked as a Senior Environment Artist on Battlefield V, working across both Singleplayer and Multiplayer with polishing, pushing quality across the board and wrapping up the environment art. I had a chance to do polish around this level and help out in various hot spots. This game was a massive undertaking and a true product of teamwork, big thanks to everyone involved!
Environment Study 4 by Tris Baybayan on ArtStation.
Practice ( workflow experiment )
All asset modelling, texturing, lighting, world building, and some particle FX created by Kristen C. Altamirano. Programs used: Maya, Photoshop, UDK Additional…
High above the L19 Worker's District, in the large straddle frames that adorn the ash covered plates of Lorville, a worker must wind down for the day, before spending the night in one of the many habitation pods. The habs are where the player spawns in the game, as well as bring back their loot from their adventures. They are part of our common element archetype, this means it's scale-able to fit all kinds of different locations throughout the Stanton System by easily changing some dressing, signage, lighting, and color palette. I was responsible for taking the level from whitebox to final, mostly by using existing architectural elements and props, with lots of asset support by Joel Azzopardi, who was also responsible for the pool/bar area dressing. Lobby lighting by Christopher Campbell, hab pod lighting by Fumio Katto. Huge thanks to the rest of the awesome environment/concept/lighting team and leadership at CIG involved in its creation!
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A personal scene done in Cryengine 3. All modeling, texturing, lighting done by me.
One of the interior areas I built out for Anthem was the cave used in the Incursion mission. I was responsible for the build out, propping, and initial lighting of all areas using a palette of cave assets developed by other artists from the anthem team. Final lighting by Ben McGrath and Christian Clark.
DOOM: Eternal (2020) Environment Art. Humbled to have been able to contribute to such an amazing project. I was responsible for worldbuilding these environments from blockout up, using existing kits/props, and creating new modular kits and assets. These areas would not look nearly as good without the awesome work from the id lighting and fx team.
I'm glad to present my project in a realistic environment. I wanted to create a cinematic in the style of anime but at the same time realistic. I made 2 lighting options. Day and Early morning. Timelapse is attached
Dark dystopian planet in decay Environment concept art explorations
Working alongside Dan McKim I was responsible for the lighting and color grading for the into level of God of War. As Environment Art Lead I oversaw all modeling, layout, and material work for this level as well as the general art direction for the environment.
Captain's Cabin
I made this scene to test out variations of photoscans created by Quixel and messing around with some lighting. Buildings created by Evermotion and other assets from Unreal Marketplace.
