Role: Lighting Lead, TD, Compositor, Technical Director Studio: Psyop Software: Maya, Arnold, Nuke Description: On Chevy Sonic, I was responsible for developing the lighting pipeline as we integrated the new renderer Arnold into the pipeline. Along with leading the lighting team, I textured and shaded the car and several of the characters. During shot production I moved onto lighting and compositing and took the shots that are in the reel to final.
Role: CG Lead Studio: Brand New School Software: Maya, VRay Description: On Google Pixel, I was the the CG Supervisor. Alongside leading the 3D team, I built the animation and lighting pipeline and streamlined workflows. During shot production, I worked in tandem with the lighting team and lit the shots in my reel.
Role: CG Lead Studio: Psyop Software: Maya, VRay, Nuke Description: On Toyota Auris, I was the CG Supervisor. I built pipeline tools and established workflows as well as leading the 3D team. During asset production, I textured and shaded assets, and during shot production I lit and composited the shots that are in my reel.
Role: CG Lead Software: Maya, VRay, Houdini, Nuke Studio: Wolf & Crow Description: On Qatar Foundation, I was the CG Supervisor. I built the pipeline from the ground up and established streamlined workflows from modeling to final composition. This included building an asset manager, publishing tools, animation caching, and creating a large collection of multi pass rendering and compositing tools. I worked with the asset team to texture and shade, and during shot production I lit and composited.
Role: Fx TD, Pipeline Development, Look Development Studio: Psyop Software: Houdini, Maya, Arnold, Nuke Description: On Clash of Clans, I developed a Houdini procedural scatter and vegetation system for the environment. This included a digital asset in Houdini and Python tools to streamline the process of getting data inside Houdini and back into Maya with proxy formats and shader assignments.
I developed a lighting transfer tool that allowed Maya lighters to send over lighting data to the Fx team inside Houdini to light the volumetric data. I built a large portion of the lighting pipeline that would streamline the process and created render layers, AOVs, and quality control tools.
Outside of development, I textured and shaded a large portion of the set and environment assets. During shot production, I worked alongside the Houdini Fx team to build the effects explosions that are in the reel.
Role: Hair Look Development and Technical Development, Lighting Development, Pipeline Development Studio: Psyop Software: Houdini, Maya, Arnold, Nuke Description: On Microsoft Recore, I developed the hair system in Houdini. The workflow was built to allow curves sculpted from other packages like Maya or ZBrush to be plugged in as guide curves. The digital asset contained controls to define the look of the hair system, along with tools to export over to Maya using proxy formats. I also developed a large portion of the lighting pipeline. I developed a procedural sand and rock clumping system to give the ground plain a natural “sculpted” look.
I did look development for hair, and the lighting look development for the cave.
Role: Lighting Lead Studio: Psyop Software: Maya, VRay, Nuke Description: On Sunset Overdrive, I developed the pipeline from the ground up, establishing animation caching tools to streamline the process of getting animation from the animators into lighting. I developed project setup tools that the 3D team used. Quality control tools were put into place to prevent errors as the team passed off assets to one another. A set of multi pass rendering tools were developed to create a consistent rendering workflow.
During shot production, I lit and composited shots.
Role: Lighting Lead, Compositor, Pipeline Development Studio: Psyop Software: Maya, Arnold, Nuke Description: On Planters Peanuts, I developed multi pass rendering and compositing tools to streamline the AOV process into compositing. I established workflows that involved caching animation data into lighting. I built quality control tools that were used in asset production and a collection of AOV tools to automatically set up RGB mattes on a per asset basis.
Role: Lighting Lead, Compositor, Pipeline Development Studio: Psyop Software: Maya, Arnold, Nuke Description: On Samsung Galaxy, I developed the lighting pipeline that involved an extensive AOV set, alongside creating a render settings rig that globalized render settings across the team. The pipeline was designed to control as much as possible outside of the lighting files.
I led the lighting and look development team through the 12 minute animated short. I textured and shaded assets including the hero characters and aliens, created hair systems, and lit shots.
Role: Lighter Studio: Psyop Software: Maya, Mental Ray, Nuke Description: On Nissan Dread, I worked alongside the lighting team to light three animation shorts.
Role: Environment Artist Studio: Psyop Software: Speedtree, Houdini, Maya, Nuke Description: On Crocs, I created the island environment using Speedtree, Houdini, and rendered inside Maya with Arnold. I developed tools to get the layout data over to Maya from Houdini.
Role: Lighting Lead, TD, Compositor, Technical Director
Studio: Psyop
Software: Maya, Arnold, Nuke
Description:
On Chevy Sonic, I was responsible for developing the lighting pipeline as we integrated the new renderer Arnold into the pipeline. Along with leading the lighting team, I textured and shaded the car and several of the characters. During shot production I moved onto lighting and compositing and took the shots that are in the reel to final.
Role: CG Lead
Studio: Brand New School
Software: Maya, VRay
Description:
On Google Pixel, I was the the CG Supervisor. Alongside leading the 3D team, I built the animation and lighting pipeline and streamlined workflows. During shot production, I worked in tandem with the lighting team and lit the shots in my reel.
Role: CG Lead
Studio: Psyop
Software: Maya, VRay, Nuke
Description:
On Toyota Auris, I was the CG Supervisor. I built pipeline tools and established workflows as well as leading the 3D team. During asset production, I textured and shaded assets, and during shot production I lit and composited the shots that are in my reel.
Role: Lighter/Compositor
Role: CG Lead
Software: Maya, VRay, Houdini, Nuke
Studio: Wolf & Crow
Description:
On Qatar Foundation, I was the CG Supervisor. I built the pipeline from the ground up and established streamlined workflows from modeling to final composition. This included building an asset manager, publishing tools, animation caching, and creating a large collection of multi pass rendering and compositing tools. I worked with the asset team to texture and shade, and during shot production I lit and composited.
Role: Fx TD, Pipeline Development, Look Development
Studio: Psyop
Software: Houdini, Maya, Arnold, Nuke
Description:
On Clash of Clans, I developed a Houdini procedural scatter and vegetation system for the environment. This included a digital asset in Houdini and Python tools to streamline the process of getting data inside Houdini and back into Maya with proxy formats and shader assignments.
I developed a lighting transfer tool that allowed Maya lighters to send over lighting data to the Fx team inside Houdini to light the volumetric data. I built a large portion of the lighting pipeline that would streamline the process and created render layers, AOVs, and quality control tools.
Outside of development, I textured and shaded a large portion of the set and environment assets. During shot production, I worked alongside the Houdini Fx team to build the effects explosions that are in the reel.
Role: Hair Look Development and Technical Development, Lighting Development, Pipeline Development
Studio: Psyop
Software: Houdini, Maya, Arnold, Nuke
Description:
On Microsoft Recore, I developed the hair system in Houdini. The workflow was built to allow curves sculpted from other packages like Maya or ZBrush to be plugged in as guide curves. The digital asset contained controls to define the look of the hair system, along with tools to export over to Maya using proxy formats. I also developed a large portion of the lighting pipeline. I developed a procedural sand and rock clumping system to give the ground plain a natural “sculpted” look.
I did look development for hair, and the lighting look development for the cave.
Role: Lighting Lead
Studio: Psyop
Software: Maya, VRay, Nuke
Description:
On Sunset Overdrive, I developed the pipeline from the ground up, establishing animation caching tools to streamline the process of getting animation from the animators into lighting. I developed project setup tools that the 3D team used. Quality control tools were put into place to prevent errors as the team passed off assets to one another. A set of multi pass rendering tools were developed to create a consistent rendering workflow.
During shot production, I lit and composited shots.
Role: Lighting Lead, Compositor, Pipeline Development
Studio: Psyop
Software: Maya, Arnold, Nuke
Description:
On Planters Peanuts, I developed multi pass rendering and compositing tools to streamline the AOV process into compositing. I established workflows that involved caching animation data into lighting. I built quality control tools that were used in asset production and a collection of AOV tools to automatically set up RGB mattes on a per asset basis.
During shot production, I lit and composited.
Role: Lighting Lead, Compositor, Pipeline Development
Studio: Psyop
Software: Maya, Arnold, Nuke
Description:
On Samsung Galaxy, I developed the lighting pipeline that involved an extensive AOV set, alongside creating a render settings rig that globalized render settings across the team. The pipeline was designed to control as much as possible outside of the lighting files.
I led the lighting and look development team through the 12 minute animated short. I textured and shaded assets including the hero characters and aliens, created hair systems, and lit shots.
Role: Lighter
Studio: Psyop
Software: Maya, Mental Ray, Nuke
Description:
On Nissan Dread, I worked alongside the lighting team to light three animation shorts.
Role: Environment Artist
Studio: Psyop
Software: Speedtree, Houdini, Maya, Nuke
Description:
On Crocs, I created the island environment using Speedtree, Houdini, and rendered inside Maya with Arnold. I developed tools to get the layout data over to Maya from Houdini.
Role: Lighter
Studio: Pixomondo
Software: 3ds Max, VRay, Nuke
Role: FX Animation
Studio: Psyop
Software: Houdini, Maya, VRay, Nuke
Role: Lighter
Studio: Psyop
Software: Maya, Mental Ray