Hi there! I'm Parker, and I've been teaching myself 3D art and Unreal since 2015. I entered the industry in February 2021 as a mocap realtime technician, then in 2022 I started my journey as an Unreal Engine Generalist at Fish Flight Entertainment, participating in several multi media projects, game trailers, and in game cinematics. Most noteably of which I was a cinematics lighting & vfx artist for Unknown 9: Awakening for all of 2023. Recently I've been working on a series of extremely high res 3 min timelapse renders for a prehistoric museum - 3 underwater scenes and 3 land scenes, all leveraging advanced unreal engine features such as niagara fluids, 3rd party programs like embergen, speedtree, world creator, and fluid ninja live - of which I am listed as a community helper on their discord, since I helped the creator Andras Ketzer with a youtube tutorial I felt compelled to make covering how to transfer custom niagara particle systems into the fluid ninja live simulation.
Here is my artstation, and my youtube channel
https://www.artstation.com/photonmammoth
https://www.youtube.com/channel/UCsG8sp1maFm0tLnaz7M0D5Q
In my personal work, I love to photoscan with apps like polycam, reality capture, agisoft metashape- I'm also constantly messing with Unreal Engine 5 and love making materials that solve niche and complex problems. If there's a blueprint you're having trouble with, maybe your lighting isn't hitting right, or you're unsure as to what would be a clean way to achieve a certain material, I'm definitely you're guy!
I have a lot of experience modeling environments that have both an exterior and an interior to them- and with that can come a lot of technical complications - light leaking, blending textures across multiple assets, and adding life or motion to a scene in the form of shaders or simulated VFX.
I've always been passionate about teaching my peers, in university I was already familiar with the programs that were being introduced and happily showed them workflows in zbrush, or substance painter for bakes and smart materials that allowed them to tap in to quality without risking a slow down in quantity, getting stuck on bad edge bakes and struggling with bad resolution or UV maps.