C.G. Supervisor

I worked as the C.G. Supervisor on a Paramount film called "The Barnyard". I worked extensively in the pre-production phase setting up the rendering and lighting pipeline, and creating a workflow where we could be fast and also create great art for the resources we had.

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Art Director

I worked as the Art Director and Lead Car Modeler for "San Francisco Rush" while at Atari Games. The job required the design of select screens, cabinet graphics, logo identity, as well as modeling and look development for all the cars in the game.

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Look Development Artist

I have had several projects where I was tasked to create the look of a character, like for commercial work as was the case with the Jackalope, or for a feature motion picture, like the Eleanor lookdev for Alvin. Before there was a Look development department, the lighters who were given shots on a film would create the textures and material assignments for the props and other C.G. elements in that particular shot. Sometimes this was an insignificant small things that the character interacted with, sometimes it was a large part of the environment that nobody remembered had to be "look-dev'ed". In the case of Scooby, the flying disc and the fire extinguisher were lookdev'ed by me, in Marmaduke, a huge ground element needed to be rendered in 3D, and in the case of Daredevil, the buildings were only partially ready to render, and extensive work to create interiors and additional details for production were required.

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3D Lead Artist

As the 3D Lead Artist, I was given tasks of making sure that certain problematic issues in the production would get ironed out before the shots went into production. Examples of these issues included the refraction of Simon's face and fur in his glasses in an animated shot, the reflection of Alvin and his fur on shiny props, and the correct color and model of the dragon in Mummy3.

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Generalist

On some shows, especially ones with tight deadlines and budgets, it becomes necessary to have just one person doing several tasks that would normally go to several people. These shows are fun, but a lot of work.

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Lighter

As a Lighter or Lead Lighter, the primary focus was making sure the lighting on the character matched the lighting in the photographic background. As a Lead Lighter, I was responsible for setting up the light rig so the photographic background lighting was replicated for rendering the CG elements in the scene, and making sure the scene would have a straightforward set of assets that would be able to be used by any lighter on the team in case shots changed hands or shots were added during the production of the film.

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Modeler

As a Modeler and Lead Modeler, I was expected to make high resolution film resolution objects including hard surface vehicles and buildings, as well as organic plants and characters.

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