I have worked on 2 unannounced projects at Ubisoft in Sherbrooke city as a Level Artist working on a wide range of tasks outside my role.

I worked on Miraculous Ladybug & Cat Noir: The Movie, doing mostly scattering and layout tasks on multiple environments, especially the final fight sequence where there are lots of debris in Paris.

I have worked on the virtual production of Avatar: The Last Airbender (Netflix live-action serie), doing 3D modelling, scultping, UVing, texturing, shading/lookdev, rendering, digital matte painting and trees using Maya, ZBrush, Substance Painter and Designer, Nuke, Photoshop, Clarisse and SpeedTree.

On Borderlands, I've worked on some tasks with Clarisse and Maya.

On Devotion, I've done cloud scattering, rendering and slap comps for multiple shots using Clarisse and Nuke.

On Sonic the Hedgehog 2, I've done the 3D modelling and layout of the roof inside Eggman's mecha using Maya.

On Shazam! Fury of the Gods, I've done 3D modelling, UVing, texturing, lighting and digital matte paintings using Maya, Clarisse iFX, Substance Painter and Photoshop.

On Masters of the Air, I've done 3D modelling, UVing, texturing using Maya, UVLayout and Substance Painter.

During downtime, I also learn procedural terrain generation, modeling, texturing and scattering inside of Houdini and how to use Karma.

On Inhumain, I did different types of digital matte paintings from brain tumor to graffitis to dirty windows and walls to rocks on a road. I also removed some stuff from the plates that we didn't want to see.

I did a concept art/digital matte painting at night for 2 shots of Lost in Space season 3.

I also did a 2D concept for a shot of Locke and Key season 2 that ended being made fully in 3D.

For I Know What You Did Last Summer season 1 episode 1, I did digital matte paintings for multiple shots of names carved on a cave's wall.

For Dopesick, I did snow digital matte paintings for a couple of shots in Photoshop and helping out a pure digital matte painter with a lot of their camera projection setups in Nuke.

On the virtual production of Disappointment Blvd/Beau is Afraid, I've done 2 digital matte painted skies 360 cycloramas and I modeled, UVed and textured some assets.

I've worked on Unearthed season 8 building different environments like Seahenge, the pyramid of Lahun, Pavlopetri and on the episode about the legend of King Midas. I've also worked on an unannounced chinese project which was a Mars ride for which I did a space station and worked on some vehicles in collaboration with Tippett Studio.

On Zombieland: Double Tap, I modeled a clean version of a LIDAR scan, UVed it, textured it and shaded it, and modeled, UVed, textured and shaded rooftop assets and a watch tower as a reference for crowd all in Maya, Substance Painter and Arnold. I also did a pass of dirt in digital matte painting on the skate park and a grass digital matte painting and all of my camera projection setups using Photoshop and Nuke. I modeled a hill and scattered trees on it in Clarisse as well.

On Jumanji: The Next Level, I did camera projection setups, digital matte paintings to remove stunt mattresses and shadow rotoanimation and a digital matte painted sky cyclorama using Photoshop and Nuke, clouds proxies in Houdini and clouds scattering in Clarisse. I modeled, UVed, textured and shaded assets placed in the Oasis like barrels, carts, cloths on rooftop, entrance gates, etc. using Maya, Substance Painter and Arnold.

I did a wounds digital matte painting for an episode of The Walking Dead season 10.

On Lovecraft Country season 1, I help to plan the show with Alan Lam, the Environment Supervisor, and cleaning a LIDAR scan in ZBrush.

On Underwater, I've done 3D modelling, UVing, sculpting, texturing, layout, lighting, lookdev, rendering, and I did a camera animation for one shot.

On X-Men: Dark Phoenix, I've done 3D modelling, UVing, sculpting, texturing and layout tasks.

On The Predator (2018), Ive done modelling, sculpting, texturing, scattering, rendering and slap comps.

On Godzilla: King of Monsters, I did some layout and low res proxy versions of destroyed buildings.

On Shazam!, I've done 3D modelling, UVing, texturing, lookdev, layout, rendering, camera projection setup prep and modification, projection modeling. I took care of a few sequences with a small team of environment artists under my leadership.

On Maleficent: Mistress of Evil, I've assembled the early version of Ulstead Castle.

On Noëlle, I've done snow, ice skating paths and added details on house as digital matte paintings and my own camera projection setups in Nuke, did lighting, rendering and deep compositing using Photoshop, Nuke, Maya, VRay, Katana and Renderman. I've also done Photo stitching using PTGUI and Photoshop.

On The Voyage of Doctor Dolittle, I've done vegetation lookdev and scattering, rendering, layout and rendering, and a digital matte painting of a wall and a house.

I worked on hundreds of holograms for the live action movie of Ghost in the Shell under the supervision of the CG Supervisor François Schneider and the TechAnim Department.

I worked in this small advertising company as a creative director, Web designer and developper, graphic designer, motion designer, creative strategist, copywriter and SEO specialist.