Ford Mercury – Attraction – Hydraulx – 3D supervisor
Happy Feet – Animal Logic – Lighting TD/Compositor
Lighting Technical Director and Compositor
Animal Logic, Sydney Australia, July 2006 to Oct.
Academy award nominated Happy Feet was in production for Warner Brothers here for years and near the end of production I was hired as a lighter to push shots through the already built pipeline using Maya, Mayaman, Renderman, and Fusion to composite. Here I finalled many shots for the film, approved daily by director George Miller in a high intensity environment of productivity and successfully achieved deadlines.
Beowulf – Sony Imageworks – Look Development
For this film I worked only during the beginning stages of the project as Character Look Development focused on creating shaders for the Beowulf characters clothing, armor, and weapons.
Monster House – SPI – LookDev/Senior Lighting TD
Senior Lighting Technical Director, 2D compositing, Shader Look Development
Sony Imageworks, Los Angeles CA, March 2003 to June 2006
Polar Express, Monster House, and Beowulf are the movies I worked on here as a Lighter and Look Development artist. At the beginning of these productions I work with a team creating standards for the style, look and feel of all 3D objects by creating and tuning materials and shaders. After this initial design phase the work changes to lighting and compositing shots that get approved by the director and appear in the finished film. On the Steven Spielberg produced Monster House I was a Sequence Lighting Lead who decides the initial light setup and look for other artists to take and final light shots.
Polar Express – SPI – LookDev/Lighting TD
Below the Belt – Duart NYC – LookDev, Lighting, Compositing
General Maya job making backgrounds, environmental, underwater, atmospheric effects and compositing filmed human actors on top for a feature length film called Below the Belt opening at Sundance 2004.
Generalist Maya TD job making backgrounds, environmental, underwater, atmospheric effects and compositing filmed human actors on top for a feature length film called Below the Belt opening at Sundance 2004.
Sudeki Animatic – Traenor Bros. Studio – Maya Generalist TD
Animation, texturing, lighting, and effects in a cinematic movie for a Microsoft fighting game titled Sudeki.
Commercials – Estudios Mega Rio – 3D Supervisor
Working and training people at a large post house doing 2d/3d commercials, films, and music videos. Here I was managing a team of 6 graphics artists using both SGI and PC platforms in the full range of post house work from meeting with clients, bidding for jobs, supervising FX film shoots, creating all manner of graphics, and delivering product on time. We used Maya, Composer, Flame, and general Adobe software.
Willie Wonka Commercial – Wildbrain – PowerAnimator Generalist TD
Working with SGI Octane workstations at home I built, animated, and toon rendered environments, characters, and foreground machines to be combined with cell animated Willie Wonka in this national candy commercial from San Francisco based Wildbrain Productions. All work was done with PowerAnimator and Wavefront Composer.
Let’s Get Medical – JTanimation – Director, all CG
Let’s Get Medical is a short film I created in 1999 while working at SGI. We rented a Panavision pin registered 35mm camera and light kit for a weekend and shot at two locations including a hospital and apartment scene. With a small cast, and wordless plot, we filmed the tragic story of Dr. Scott a failing surgeon who is slowly going insane. After shooting we scanned the film onto computer at Tippet Studios, then added 2D/3D VFX for the next 6 months before sending it out to the short film festival circuit where it played over 100 places, and won awards at Vancouver and Atlanta festivals.
