It is evident from your rÃ©sumÃ© that you studied graphics and illustration before specializing in 3D after leaving school, but what was it that prompted you to pursue this particular branch of computer graphics?
After graduating from a drawing school (Ecole Pivaut in Nantes), I worked at a graphic design company for four years. One of our clients was a local radio station and every week I had to make some flyers and posters for them. It was really enjoyable because they let me do pretty much whatever I wanted.
Then a friend showed me some software called Bryce 3D. He created a sphere and placed a chrome shader above it. I was very impressed. I later asked my company to buy Bryce, Poser and Amapi, and I started testing my new toys on the flyers and posters for that same radio station that still gave me a lot of freedom.
One year later, I finally decided to specialize in 3D and I studied 3ds Max at a school in Lyon (Ecole Emile Cohl) for one year. There, I made a short movie with a colleague in four and a half months, which allowed me to get a job at BUF Compagnie nine years ago, before moving on to the Moving Picture Company and Rhythm and Hues.
As an environment artist you cover a number of disciplines, but from your list of tasks what do you spend most time doing and which do you enjoy the most?
There are two things I really enjoy. The first one is matte painting in Photoshop. That's the most time-consuming task and involves the greatest amount of amendments.
The second one is camera mapping. I'll never get tired of seeing a matte painting come to life through an animated camera.
That being said, as I started my career as a generalist at BUF Compagnie, I still love to be given the opportunity to work on as many aspects as