I build environments that look real and stay fast. Most of my work happens where art and code meet: lighting, shaders, LODs and the profiler.
One neon street at night, inspired by Cyberpunk 2077's Night City and built in Unity's High Definition Render Pipeline. The goal is to prototype the lighting and optimization techniques studios use for night scenes, and to measure how each one changes both the look and the frame time.
No Asset Store content: everything is modeled in Maya and textured in Substance Painter, so I control poly counts, LODs, UVs and texture sizes.
The volume was covering a 1 km ground plane. Sizing it to the street cut memory from 292 MB to about 2 MB and bake time from 6.5 to 1 minute.
Reflection probes instead of leaning on SSR, which can only reflect what is already on screen. A planar probe stays only if a side-by-side comparison proves it is worth the extra render.
Modeled interiors up close, a parallax interior shader further out, culled beyond that.
Road normal map was imported as Default with sRGB on, which skewed reflections. Seven mask maps switched to sRGB off.
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Latest
The curb corner loses edge loops at each step until it is two cuts, only seen from a distance. All four LODs share one texture set, so Unity uses a single material.
From 214 triangles down to six flat planes for the pole, arm and light. At that distance you can't tell.
Top and side bevels unrolled into three side-by-side segments, with separate shells for the rounded end and the step. No overlaps, no flipped UVs.
Still to come: neon signs, holograms and far-building LODs, then facades and car paint, full night lighting, occlusion culling and GPU instancing, and finally Profiler and Frame Debugger captures comparing every change before and after.
A liminal indoor pool, built from an empty project in one five-hour sitting. I gave myself the time limit and no plan going in, so every choice had to be made on the spot: what to light, what to script, and what to leave out.
The water is the centre of it. It reacts to the player, throws moving light onto the tile, and turns into a window to the room above once you dive under. Getting that working meant learning Unity's water deformation system from scratch inside the deadline.
Scripted in C# on top of Unity's water deformation graph, with the ripple logic in PoolRipples.cs.
A full first-person controller written from scratch, with separate behaviour above and below the waterline.
Several layered sound effects and a reverb zone so the room sounds tiled and hollow.
Rows of fluorescent fixtures, glossy tile and a global volume tuned for the clinical, slightly-off look of the space.
A Backrooms maze for VR, built for realism first: real-world wall heights and room dimensions, high-detail textures and lighting that reads correctly at headset scale. The wallpaper textures are my own, made from scratch in Substance Painter. Every wall, floor plane, and ceiling is both an occluder and occlude with their occlusion scales tuned to perfection.
The constraint was frame rate. VR punishes dropped frames and input latency, so every technique was chosen to keep the frame time low and steady on the headset.
Progressive GPU lightmapper, 256 direct and 1024 indirect samples, 2 bounces, baked ambient occlusion.
Long walls are broken into separate pieces so frustum culling skips anything outside the player's view.
Walls, ceilings and fixtures built at true size so the space feels right in a headset.
On a Quest 2 with the render resolution maxed at 5408×2752, it held the headset's 120 FPS cap. The only limit was the PC-to-headset connection.
In a Unity game me and my friend are making, players need to pair up socks to sell. I built the core systems: interaction, a hotbar inventory and the sell feature. The game needed thousands of uniquely coloured and patterned socks that could identify each other's pair.
Instead of one material per sock, I wrote a Shader Graph that pulls each sock's look from one shared texture sheet. Every sock uses the same material, so the GPU can instance them all, and the variety costs almost nothing so its limitless on how many different socks we can have.
I'm a third-year Game Design student at Sheridan College, focused on rendering, lighting and optimization. My favourite problems are art problems solved with a technical decision. Like a shared material so thousands of objects can instance, a probe volume sized to the playable area, a wall cut into pieces so the camera can cull it.
On teams I handle the systems and fix bugs fast so nobody else gets blocked. At Sheridan's Design Week, where teams of about five build a full game in a week, I delivered every feature I committed to.
Outside school I set up a dual-boot PC with a headless Ubuntu Server partition for running open-source AI models locally, and I'm curious how tools like ComfyUI and 2D-to-3D generation could speed up artist workflows. Next on my list: Python for Maya tooling, and C++. None of my projects used AI, however I am open to using it and understand the basics of prompt engineering.
I grew up on shooters and exploration games: Titanfall 2, Rainbow Six Siege, Subnautica, No Man's Sky. Away from the screen it's airsoft, rock climbing and the Ontario car scene.