Portfolio · 2026
I turn visions into experiences people remember.
01 · About
A craftsman
of digital
worlds.
Hey! I'm Reese Nelson — a UVU grad with a passion for building immersive digital worlds. I specialize in scene environments, VR simulations, and interactive experiences that blend technical precision with creative storytelling.
The work here is a mix of freelance projects and industry collabs — each built around thoughtful design, clean workflows, and experiences people actually remember. My main toolkit is Unreal Engine, Blender, Substance Painter, and DaVinci Resolve.
Whether I'm crafting a detailed environment, designing a VR experience, or untangling a gnarly technical problem — I love bringing ideas to life in ways that feel immersive, intuitive, and visually compelling.
🎮
Origin story
Started taking classes in high school about computers
🌊
Weirdest project
Simulated a storm with pure math
⏱️
Hours logged
UVU Engineering Building has over 1991 hours of team effort.
✈️
Remote ready
Works with teams worldwide
🏛️
Proudest work
Digitally preserved a Greek church
Freelance Environment Artist
2024 -- NowIndependent · Provo, Utah · Remote
UVU Walk-through Project
2025UVU Innovation Lab · Lead Artist
3D Generalist · Personal
2022 -- 2024UVU Digital Media · Provo, Utah
B.S. Digital Game & Animation
2021 -- 2026Utah Valley University · Orem, Utah
A.S. Web Design & Development
2021 -- 2026Utah Valley University · Orem, Utah
Software
- Unreal Engine 5Game Engine
- Blender3D Modeling
- Substance PainterTexturing
- FigmaUX Design
- DaVinci ResolveColor
- Photoshop2D
- After EffectsMotion
Disciplines
- Environment ArtCore
- VR DevelopmentXR
- Real-time LightingLumen
- PBR MaterialsShading
- ArchvizVisualization
- Hard SurfaceModeling
- CompositionStorytelling
02 · The Pinboard
Drag, arrange,
make it yours.
A live pinboard of projects, memos, sketches & more. Grab anything -- move it anywhere.
Note to self
Every model has a place
Hire me for
VR sims · Archviz · 3D scanning
Currently
Building another enviroment using the new Blender 5.0 verison
Project Brief · 001
UVU Engineering
Built in Unreal Engine 5. Stereoscopic VR tour with Lumen GI. Meta Quest. 11,713 objects.
Project Brief · 002
J.E.F.F.
3 military aircraft · 5 missile systems · Educational VR experience
Fun fact
J.E.F.F is controlled through Hand-Tracking
Currently
I am learning more about Claude and how to implent it.
Collab
I have collabed with UNESCO and UVU Engineering Department
Hobbies
I love to bake, qulit and draw outside of 3D developing
Project Brief · 003
G.A.P. · UNESCO
LiDAR + Gaussian Splatting · Agios Achilios, Greece · Cultural preservation for UNESCO
Business Card
Reese Nelson
3D Artist · XR Developer
reesenelson125@gmail.com
reese-nelson.com
Provo · Utah · USA
Drag any note -- pin it wherever you like.
03 · The Archive
Selected
work, 2024-26.
Click any project to open the full case study.
More projects
coming soon
04 · Now playing
Demo Reel '26.
A tightly-cut 90-second showreel spanning 2024-26 -- real-time captures and offline renders from every project above, color-graded in DaVinci Resolve.
Demo Reel '26 — a 90-second, music-only showreel of real-time captures and offline renders. No dialogue or narration.
05 · Methodology
From concept
to final pixel.
Every project runs the same four phases. Here's the Ocean Storm simulation — from a blank viewport to a real-time storm at 60fps.
Phase 01
Reference
& Discovery
Before opening a single tool, I build a visual language — mood boards, reference pulls, material studies. The goal is a shared direction so there are no surprises at the end.
Phase 02
Block-out
& Mesh
Rough geometry first — no textures, no lighting. I lock in scale, flow, and camera composition with clean topology before committing to detail. Measure twice, model once.
Phase 03
Lighting
& Materials
PBR materials and Lumen GI are dialled in simultaneously. Every material decision is tested under the final lighting so nothing looks good in isolation but wrong in context. The evening pass is the hardest to get right. The image shown is from the project.
Phase 04
Beauty Render
& Delivery
Final path-traced beauty render, colour-graded in post. All render passes exported and ready to finilize.
06 · Final chapter
Let's make
something real.
Case Study · 01 · VR Simulation · Project B.R.E.A.D.
Smith Engineering & Technology Building.
01 · Overview
A building before it exists.
This virtual reality tour provides an immersive experience of the upcoming Utah Valley University Smith Engineering and Technology Building. Students and faculty gain insights into the building's size and the comprehensive amenities it will offer -- from the Forum and Drone Lab to the Machine Shop and Lecture Hall.
Dean Kelly Flanagan contributed financial support to the engineering building virtual experience, along with the necessary equipment. in collaboration with the Digital Media Department. This space serves as the students' workspace, enabling the realization of the project.
Dec 2023 -- Mar, 2026. 28 days, 39 sprints.
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Documentation that earned the $50K funding.
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Each room named after a donor to the real building.
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The virtual walkthrough directly inspired $4 million in donor contributions to the real building.
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02 · Gallery
Wide Shot
Forum (Nu Skin)
Lab
ECE Drone Lab
Workshop
Machine Shop
Interior
Lecture Hall (Spid3rThink)
Lab
Smart Grid Lab
03 · The Team
Meet the team.
04 · Trailer
Watch the walk-through.
Trailer for the UVU Smith Engineering Building walk-through — real-time render footage, no dialogue or narration.
05 · Details
By the numbers.
The original product file contained 21,152 3D objects, optimized down to 11,713 in the final build. The team completed 39 production sprints across 61 builds, with 12 faulty builds caught during QA and 19 students who play-tested the experience.
This was the first-ever virtual tour of this kind at UVU -- a pioneering project that set the standard for immersive campus experiences. Donors contributed $4 million to the building, with 46 donor rooms featured in the virtual experience.
Want something similar?
Let's build your world.
VR walkthroughs · Architectural visualization · Real-time environments
Case Study · 02 · Real-time Archviz
Luxury ApartmentSuite.
01 · Overview
A penthouse brought to life.
A luxury penthouse interior built in Unreal Engine 5 with Lumen global illumination. Features marble columns, custom hi-fi speaker systems, floor-to-ceiling windows, designer furniture, and accent LED ceiling lighting -- all rendered in real-time at interactive framerates.
02 · Gallery
Scroll to explore · Click to expand
Hero
Living room · daylight
Evening
Living room · warm lighting
Angle
Alternate view
Wireframe
Mesh topology
03 · Flythrough
Walk through the space.
Flythrough of the apartment interior — real-time render footage, no dialogue or narration.
Quick facts
Let's build your space.
Case Study · 03 · Real-time Simulation
Ocean StormSimulation.
01 · Overview
Procedural chaos.
A real-time ocean storm environment featuring lighthouses, buoyancy physics, volumetric rain, and dynamic wave displacement. Built in Blender with foam generation, underwater caustics, and storm lighting.
02 · Gallery
Night
Storm · lighthouse beams
Wireframe
Wave mesh topology
03 · In Action
Watch the storm.
Ocean storm simulation in motion — no dialogue or narration.
Wireframe Pass
Wireframe pass of the same ocean simulation — no dialogue or narration.
Quick facts
Let's simulate.
Case Study · 04 · Cultural Heritage · G.A.P.
Agios AchiliosPreservation.
01 · Overview
Preserving history.
The Gaussian Acquisition & Preservation project digitally captures and preserves a Greek Orthodox church on the island of Agios Achilios in Greece. Using LiDAR scanning and Gaussian splatting technology, the church's centuries-old frescoes, ornate woodwork, and architectural detail were captured as high-fidelity 3D point clouds and rendered in Unreal Engine 5.
02 · Process & Results
Comparison
Gaussian Splat vs Point Cloud
Scanning
Mobile scan preview
Reference
Church interior
On-site
Mobile LiDAR capture
Equipment
Tripod scanner setup
03 · Video
See the capture.
3D scan capture of the G.A.P. Agios Achilios site — no dialogue or narration.
Quick facts
04 · UNESCO Report
Read the newsletter.
The February UNESCO newsletter documenting the Agios Achilios G.A.P. project — from on-site scanning to the final Gaussian splat deliverable.
UNESCO · February 2026
G.A.P. Project Newsletter
Official newsletter covering the Agios Achilios digital preservation project — scanning methodology, Gaussian splatting results, and cultural heritage impact delivered to UNESCO.
Click to view inline ↗
Let's preserve.
Case Study · 05 · VR Simulation · J.E.F.F.
J.E.F.F.VR Simulation.
01 · Overview
Learn about military aircraft.
An educational VR experience that lets users explore 3 military aircraft and 5 advanced missile systems in a realistic hangar environment. Built by Reese Nelson and Vryan Arias over approximately 5000 development hours. The experience is interactive, immersive, and designed to teach users about military aviation technology through hands-on VR exploration.
Built entirely in Unreal Engine 5, hand-tracking driven.
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Modelled from reference, not scan -- original 3D.
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Each system is fully interactive in VR.
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Hand-tracking on Meta Quest 3 — no controllers, fully gesture driven.
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02 · In Action
Watch J.E.F.F. in action.
J.E.F.F. VR training sim in action — no dialogue or narration.
J.E.F.F. · In Action
A further in-action clip of the J.E.F.F. VR training sim — no dialogue or narration.
Let's build your sim.
Case Study · 06 · UX Research
UVU Admissions Untangled.
01 · Overview
A site with too many doors.
UVU's Admissions pages had grown into a maze -- content spread thin across dozens of interlinked pages that sent new, current, and transfer students in circles instead of toward what they actually needed. As part of a six-person research team, I helped run a semester-long usability study to find out exactly where people got lost, and why.
The brief was research only -- no redesigns, no wireframes. Just enough evidence, gathered through surveys, think-aloud sessions, eye-tracking, and card sorting, to hand UVU's development team a clear, defensible path forward within the university's existing design system.
A six-person team split across three research tracks.
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The final findings report, handed to UVU's development team.
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Survey, think-aloud testing, eye-tracking, and card sorting.
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Over 200 site sections, split into three 50-card sorts.
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02 · What we ran
03 · Findings
What we learned.
Across every method, the same story repeated: the information was technically on the site, but never where people expected it. Think-aloud participants struggled to navigate the homepage and would drop into Google before trying UVU's own search. Text that was too small or unstyled got skipped entirely -- and once someone lost the first two sections of a page, everything below it went unread.
Eye-tracking told the same story from a different angle. Students expected tuition deadlines to live on the tuition page and financial-aid contacts to live under "financial aid," not scattered across the Student Life Center and Alumni pages -- a gap that cost one prospective high-schooler the most time of any participant, since she wasn't yet familiar with UVU terms like alumni.
04 · Survey Snapshot
Before we watched anyone click.
"What matters most on a website?" -- finding content easily beat visual appeal by a wide margin.
"How often do you use the UVU website?" -- the single largest group of respondents said never.
05 · Recommendations
Handed to the dev team.
06 · The Team
Six researchers, one report.
07 · Conclusion
Handed off, not shipped.
The scope was research, not redesign -- so the deliverable was a 70-page findings report, not a new website. It gives UVU's development team an evidence-backed map of exactly where students get lost and why: simplify the navigation, cut the number of tabs, rename what's unclear, and put the registration page where people actually look for it.
08 · From the research
Survey
Baseline attitudes, charted before a single usability session
Think-Aloud
Six participants, moderated -- captured task by task
Eye-Tracking
Gaze maps against the live tuition and financial-aid pages
Pages pulled straight from the 70-page findings report -- the survey chart, a think-aloud write-up, and an eye-tracking heatmap. Click to expand.
09 · Research Documents
Read the full report.
01 · Fall 2024
Project Brief
Team, problem statement, objectives, scope, and budget for the semester-long study.
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02 · Baseline attitudes
Survey Results
What students said mattered most on a website, gathered before any usability testing began.
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03 · Moderated sessions
Think-Aloud Testing
Where participants got lost navigating the site, in their own words.
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04 · 5 participants, 5 tasks
Eye-Tracking
Gaze-mapped task attempts, including the tuition-due-date task nobody could finish.
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05 · 200+ cards, 3 groups
Card Sorting
How students naturally grouped over 200 site sections, split across three research tracks.
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06 · Handed to the dev team
Recommendations
Rename the links, merge near-duplicates, surface top tasks, and expose registration.
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07 · Wrap-up
Conclusion
The 70-page findings report in summary, and the evidence-backed map handed off to UVU.
Click to view inline ↗
Want research like this?
Let's find what's actually broken.
UX research · Usability testing · Information architecture
Case Study · 07 · UI/UX Design
reese-nelson.com Designed in the open.
01 · Overview
A portfolio that works like the work.
Most 3D and XR portfolios show polished renders inside a template that feels nothing like the work itself. I wanted the opposite -- a site with the same layered, tactile, slightly theatrical feel as a walkthrough or an environment build, built entirely by hand rather than dropped into a page builder.
Everything you're looking at right now -- the corkboard of dragging sticky notes, the tilt-on-hover project cards, the swipe-between-case-studies navigation, the inline PDF viewer for research documents -- lives in a single self-contained HTML file, styled and scripted from scratch.
02 · Process
From messy desk
to working system.
The starting point wasn't a wireframe -- it was the corkboard. I kept coming back to the image of a designer's actual pinboard: reference pulls, a couple of polaroids, sticky notes at slightly wrong angles. That messiness felt more honest than a clean grid of thumbnails, so I built the About section around it first and let the rest of the site's tone follow from there.
From there it was one project page at a time. The Smith Engineering case study came first, built as a one-off. As soon as a second case study needed the same hero-plus-gallery-plus-CTA shape, I pulled that structure out into a reusable pattern instead of copy-pasting and drifting -- so every project after that (the apartment, the ocean sim, the UX research write-up, this page) slots into a system that already knows how to hold it.
Mobile wasn't an afterthought pass at the end. The pill-style nav collapses into a numbered slide-out menu, project pages support left/right swipe the way a native app would, and the corkboard's drag interactions were rebuilt to work with touch from the start rather than patched in later.
03 · A look at the real thing
About
The pinboard -- reference pulls, polaroids, sticky notes at slightly wrong angles
Work
Filter pills, tilt-on-hover tiles
Two screens off the live site: the corkboard that set the tone in the Process section above, and the Work grid every case study -- including this one -- lives inside of. Click to expand.
No framework, no build step -- every page, style, and interaction lives in one file.
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From VR walkthroughs to UX research to this page you're reading right now.
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A tight palette -- void black, two purples, and one hot accent -- used everywhere.
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Every section, from the corkboard to the lightbox, was built from scratch.
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04 · How it's built
05 · Design principles
Structure with personality.
Type does two jobs on purpose: an italic serif display face carries the emotional beats -- names, hero titles, pull quotes -- while an uppercase monospace handles labels, eyebrows, and anything structural. Body copy stays in a plain sans so long-form case-study writing never fights for attention.
Every project opens into its own full case-study page -- a hero, a two-column overview, flip-to-read stat blocks, and a documents or gallery section -- reused across all nine pages so new work slots into a pattern that already exists, rather than a one-off layout every time.
06 · The Palette
Five colors, everywhere.
One CSS variable per color, referenced everywhere from buttons to chart bars -- change the five values here and the whole site restyles.
07 · Decisions & trade-offs
Why it's built this way.
Why one file?
A page builder or CMS theme would've fought me on every custom interaction. One HTML file means the corkboard, the tilt cards, and the swipe nav can all touch the same state without wrestling a framework -- the trade-off is I keep the file organized by hand instead of letting a bundler do it.
Why hand-roll every interaction?
Off-the-shelf sliders and lightboxes all move the same way, so nothing feels specific to this work. Writing the tilt, the drag-physics on the notes, and the case-study lightbox myself is slower, but it means the site moves the way I want it to, not the way a plugin decided it should.
Why swipe between case studies?
On desktop the nav and "next project" button are enough. On a phone, swiping between projects reads more like flipping through a lookbook than clicking through a website -- so the same case-study pattern got a second, touch-first way to move through it.
Why a corkboard, specifically?
Most "About" sections are a headshot and three sentences. I wanted the entry point to feel like walking into a workspace instead -- so it's pinned notes and polaroids you can drag around, not a static bio block.
08 · Conclusion
Never really finished.
This site is a living project -- the case study you're reading was added the same way every other project gets added: a new page in the pattern, a new tile in the grid. It grows every time there's new work worth showing.
Want a site like this?
Let's design something that feels like you.
UI/UX design · Front-end build · Design systems
Case Study · 09 · UI/UX Design · VR Onboarding
Game UI Design.
01 · Overview
Teaching people to move in VR.
Building the environment is only half the job on a VR project -- the other half is the handful of screens standing between someone putting on a headset for the first time and actually being able to walk around. This case study covers the UI/UX work I've done for movement, onboarding, and in-headset settings across the VR projects I've worked on, starting with the system built for the Smith Engineering & Technology Building walkthrough.
A lot of the people testing that walkthrough -- donors, faculty, prospective students -- had never used a headset before. So the design problem wasn't "make a menu," it was "get a first-time user from putting the headset on to comfortably exploring the building in under a minute, without a live demo standing over their shoulder."
02 · The onboarding flow
Scroll to explore · Click to expand
Full board
The whole flow, laid out
Intro & Choose
Welcome screen + nav dial, then pick a mode
Tutorial cards
One icon-led card per control, for both modes
Settings & Conclusion
Switch modes mid-tour, then head into the building
Movement Type
Radio-button select screen, iterated three times
The full onboarding board: an intro screen with a circular map dial, a choose-your-navigation-mode screen, teleportation and locomotion tutorial cards, an in-headset settings panel laid over a top-down map, a conclusion screen, and the Movement Type selection screen taken through a few iterations. Click any card to expand.
03 · How it works
04 · Two ways to move
Comfort is a choice, not a default.
Right after the intro screen, users choose between teleportation (point, click, blink to the next spot -- near-zero motion sickness) and locomotion (smooth movement with snap-turn, sprint, and jump -- more natural, but not comfortable for everyone). Each mode gets its own short, icon-led tutorial card sequence showing the exact controller buttons involved, rather than a wall of instructional text no one reads in a headset.
The choice doesn't lock anyone in. A settings panel, laid over a top-down map of the building, lets a user switch movement modes mid-tour if teleporting feels too disorienting or locomotion is making them queasy -- so the first decision someone makes thirty seconds into the experience isn't a permanent one.
05 · Screen by screen
Every card teaches one thing.
The welcome screen pairs a photo of the actual building with a small circular map dial -- a first, low-stakes look at the space and how it's oriented, before anyone's asked to move through it. From there it's straight to the fork: teleportation or locomotion.
Locomotion gets six tutorial cards -- Movement, Snapping (snap-turn instead of smooth rotation, for comfort), Menu, Selecting, Sprint, and Jumping. Teleportation gets five, dropping Sprint since it's a point-and-blink mode with no run button to teach: Movement, Snapping, Menu, Selecting, and Jumping. Every card follows the same shape -- a controller-hand icon showing the exact button, plus one short instruction bubble, never more than that.
The Movement Type screen -- the radio-button choice between the two modes -- went through three passes before it shipped, tightening the copy and the visual weighting each time so the trade-off (comfort vs. naturalism) reads at a glance instead of needing a tooltip.
06 · Design principles
Designed for first-timers.
Every screen in this flow was built around one constraint: most people using it had never worn a headset before, and no one was going to explain the controls to them in person. That meant leaning on icons and controller diagrams over paragraphs of text, keeping each tutorial card to a single idea, and defaulting new users toward teleportation -- the lower-risk option -- while still making locomotion easy to reach for anyone who wanted it.
It also meant designing for the moment things go wrong: if someone picks the wrong comfort mode, the fix has to be one glance at a map and one button, not a restart of the whole tour.
Have a UI project?
Let's design the interface.
UI/UX design · Interaction design · Design systems
Reference · 08 · Format Research
Choosing the right format, every time.
01 · Why this exists
The part of the process nobody sees.
Knowing which codec, container, or export setting actually fits the deliverable rarely makes it into a portfolio -- but it's the difference between a render that looks right in review and one that breaks on the client's platform. These are four condensed references, synthesized from roughly 42 papers, specs, and comparison tests, covering audio, image, video, and 3D/XR file formats.
Audio, image, video, and 3D/XR -- every surface a deliverable eventually has to cross.
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Condensed into four references, so the takeaways fit on a single read each.
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Part of the audio blind listening test -- codecs compared across devices and services.
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Netflix, Disney+, and Hulu -- checked against the video format recommendations.
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02 · Quick reference
The short version, if you're in a hurry.
The full references go deep -- this is the cheat sheet. General-purpose starting points for each category; the linked PDFs below cover the exceptions and the testing behind them.
Audio
Image
Video
3D / XR
03 · How the testing worked
Real tests, not just spec sheets.
The audio comparison was a blind listening test across three playback setups -- studio monitors, a pair of AirPods, and a phone speaker -- run against the same master encoded at matched bitrates on five streaming platforms. The gap between AAC and MP3 was audible on monitors and nearly gone on a phone speaker, which is exactly the kind of thing a spec sheet won't tell you.
Video went through the opposite test: the same source master, delivered through Netflix-, Disney+-, and Hulu-style transcode pipelines, then compared frame-by-frame at matched bitrates for banding, macroblocking, and motion artifacts. Image and 3D/XR formats were tested more directly -- repeated compression passes for fidelity loss, and round-trip exports between DCC tools (Blender, Substance Painter, Unreal Engine 5) to check what geometry, material, and animation data actually survives a format change.
04 · At a glance
If it's this, use that.
A lookup table for the deliverables that come up most in 3D, XR, and UI/UX work -- built from the same testing above, not guesswork.
Client walkthrough video
H.264 / MP4
Real-time VR / XR asset
glTF
Archival 3D scan
USD or FBX
Print-ready render
TIFF
Website hero image
WebP
Portfolio narration audio
AAC (stream) / FLAC (archive)
UI icon set / interface art
SVG, or WebP for raster
Handoff to another DCC tool
FBX or USD
05 · Myths worth retiring
Things everyone assumes.
A few beliefs that come up constantly and don't hold up once you actually test them.
Myth
A bigger file always means better quality.
Fact
Bitrate and encoder quality matter more than size -- a poorly encoded large file can look worse than a well-encoded smaller one.
Myth
PNG is always the safest, lossless choice.
Fact
PNG is lossless, but it balloons in size for photographic detail -- WebP or a careful JPEG often preserves what the eye sees at a fraction of the weight.
Myth
Upscaling a compressed file fixes the compression.
Fact
Resolution and compression are separate problems -- upscaling a low-bitrate source just makes the existing artifacts bigger, not sharper.
Myth
If the file opens, the format choice didn't matter.
Fact
Opening isn't the same as surviving intact -- OBJ silently drops animation data, MP3 silently discards frequencies, and neither one warns you when it happens.
06 · Glossary
The vocabulary, briefly.
The handful of terms that make the rest of this page make sense.
Codec
The algorithm that compresses and decompresses the actual data -- H.264, AAC, FLAC. Different from the container that holds it.
Container
The file wrapper holding codec data plus metadata -- MP4, MOV, WAV. One container can hold several possible codecs inside.
Lossy
Compression that discards some data permanently to save space -- JPEG, MP3, H.264. Usually fine in moderation, compounds badly with re-encoding.
Lossless
Compression that preserves every bit exactly, reversible with no quality loss -- PNG, FLAC, TIFF. Costs file size in exchange.
Bitrate
How much data is spent per second of audio or video -- the single biggest lever on the trade-off between quality and file size.
Interchange format
A format built specifically for moving assets between different tools without losing data along the way -- FBX, USD, glTF.
07 · The full references
Four formats, condensed.
01 · Codecs & streaming
Audio Formats
MP3, AAC, FLAC, ALAC & Dolby Atmos compared, plus a blind listening test across three devices and five streaming platforms.
Click to view inline ↗
02 · Raster, vector & export
Image Formats
JPEG, PNG, GIF, WebP & JPEG 2000 evaluated for compression and fidelity, with Photoshop export methods compared.
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03 · Codecs & platforms
Video & Streaming
MOV, MP4, H.264, HEVC, VP9 & AV1 explained, with a Netflix, Disney+, and Hulu delivery comparison.
Click to view inline ↗
04 · Interchange & delivery
3D / XR Formats
FBX, OBJ, glTF, USD & STL compared for geometry, materials, animation, and real-time/XR readiness.
Click to view inline ↗
Want something similar?
Let's build your world.
Research · Documentation · Format strategy