Hello, I'm Noah Mesh. I'm a 26 year old 3D Artist based in Los Angeles. I was always fascinated by behind-the-scenes features on the DVDs we had at home, seeing the underlying artistry and scaffolding really cemented the idea that film-making is magic crafted by real people and technology. This fascination led me to learn as much as I could about 3D art and technology.

I started learning 3D modeling when I was 10 years old with Google Sketchup, and quickly moved to using Blender in High School. For the better half of my life I have lived and breathed 3D and I consider it to be my calling in life. I earned my BFA in 3D Digital Design at RIT in 2021 where I excelled creatively, enforcing my generalist skill set by turning pretty much every project into an animation of some kind. After graduating in 2021, I worked at The Third Floor, a world-renowned previs/postvis studio in Los Angeles. Over the four years I was there, I worked on Guardians of the Galaxy Vol. 3, and Avatar the Way of Water among other projects. These experiences have tempered me into an industry-tested, extremely capable 3D generalist able to find a synergy between 3D Art, Cinematography and Technical problem solving.

​

Outside of Hollywood, I do freelance animation work for several clients in manufacturing and music. For over four years I've worked as a freelance 3D Product Animator for Momentive, an American chemical company whose products include silicones and quartz for manufacturing. My work with them enabled their marketing and sales departments to reach new audiences and land high-profile clients with my work being used in trade shows and B2B proposals.

Additionally, I recently served as the VFX Supervisor on a BIONICLE stop motion fan-film, Ignition: Battle for Power.
Here, I led by example, creating a brand new VFX workflow and producing more than 10 minutes of content and over 155 shots. This kind of work was wholly unique to any stop motion project I've seen before. Incorporating stop motion footage into 3D scenes using AI relighting tools to ground characters into their environment realistically. I led teams of modelers, animators, riggers, and rotoscope artists to produce consistent work compatible with the new workflow I helped introduce.