This show holds a special place in my heart as my first Virtual production project. I worked both remotely and on set for this project, working on many stages of development, including: set dressing, animation systems, cloth simulation, tech viz for art department, shader development, niagara systems, 3D modelling, in-editor tick animations and more. 

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My work on this project started with the Mayan village sets - creating animation montages for the background characters. From there, I worked on the Harlem Rooftop scenes under the supervision of Brent Alexander. We created kit bashed roof sets, laundry line blueprints, and I textured, rigged, animated and lit the Harlem F-train, ensuring it had all the controls for stage to drive it and see the animations in editor. 

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While in New Zealand, under the supervision of Alex Jenyon, and alongside Marko Seper & Sean Houghton, I worked on the Mansa Musa sets, creating the tech vis for the art department to build the set at the correct slope to match the dunes and camera angles. I created the large sand dunes framing the camp, the spindrift at the top of the dunes (using embergen) and contributed to the mid ground dressing. 

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For the Ice Age scenes, I kit bashed and created the background neanderthal huts. They were made using scans of bones made by the art department that were going to be used in the practical set. I then did a cloth simulation of furs overtop the bone structures I made. Lastly I ran a snow buildup simulation in Houdini that was created by Alex, and then optimized the huts for the scene. For lots of the mid ground dressing, I simulated many smaller bones and dropped them organically in Unreal Engine, baking their scattered layout.