Experience

Robot Programmer at Robotic Arts

Aug 2014 - Present
Job Duties: Renderman - Expert, 3D Content Creation - Expert, Look Development - Advanced, 3D Modeling - Advanced, Texturing / 2D / Painting - Intermediate, Compositing - Junior, Photograhy - , photogrammetry - , Reality Capture or Photoscan - , Nuke or equivalent Compositing Tool - , MAYA (A bonus) - , Unreal or Unity Engine Environment Creation (a plu - , Unity & Unreal Engine (a plus) - , SketchFab posting of 3D solves - Software: Renderman - Expert, MAYA - Expert, Nuke - Junior Summary:Using Maya animation tools and proprietary software Robot Animator I am designing robot choreography for complex robot movements. The first project I have worked on is for Royal Caribbean, animating a team of 6 huge ABB robot arms with massive Daktronics LED mounted screens. Additional projects include programming moves for the live Asian Music Awards show, Vegas signage trade show, and music videos. The types of robots we program can be anything, but most commonly are ABB, Kuka, and Yaskawa.

CG Supervisor at Fullframe Filmes

Dec 2012 - Aug 2014
Job Duties: Renderman - Expert, 3D Content Creation - Expert, Look Development - Advanced, 3D Modeling - Advanced, Texturing / 2D / Painting - Intermediate, Compositing - Junior, Photograhy - , photogrammetry - , Reality Capture or Photoscan - , Nuke or equivalent Compositing Tool - , MAYA (A bonus) - , Unreal or Unity Engine Environment Creation (a plu - , Nuke (or equiv) to create masks using Roto-Shapes - , Unity & Unreal Engine (a plus) - , SketchFab posting of 3D solves - Software: Renderman - Expert, MAYA - Expert, Nuke - Junior Summary:Working as a CG Supervisor and 3D Generalist I helped the staff at this young and growing studio to improve Lighting and Rendering workflow. We did a number of high end commercials for Gillette, Nike, and Tim, where I would Supervise and work on set shooting VFX reference, and HDR panoramics for lighting. On set Data Wrangler for the 2016 film Pele, Birth of a legend.

Lighting TD at Weta Digital

Sep 2012 - Nov 2012
Job Duties: Renderman - Expert, 3D Content Creation - Expert, 3D Modeling - Advanced, Look Development - Advanced, Texturing / 2D / Painting - Intermediate, Compositing - Junior, Nuke or equivalent Compositing Tool - , MAYA (A bonus) - , Nuke (or equiv) to create masks using Roto-Shapes - Software: Renderman - Expert, MAYA - Expert, Nuke - Junior Projects: The Hobbit (Released) Summary:During the last couple months of production on The Hobbit, Weta called in Lighters and Compositors from all over the world to help the huge team of artists already there in New Zealand finishing this monster of an effects film. Using Maya, Nuke, Renderman, and a collection of proprietary tools created at Weta, I learned the pipeline as much as possible in a short time, and finalled shots with the help of some great supervisors and senior artists who have been working there for years.

Lighting Technical Director at Lucasfilm Ltd.

Jan 2011 - Apr 2011
Job Duties: Lighting - Expert, Renderman - Expert, 3D Content Creation - Expert, 3D Modeling - Advanced, Look Development - Advanced, Texturing / 2D / Painting - Intermediate, Compositing - Junior, Nuke or equivalent Compositing Tool - , MAYA (A bonus) - Software: MAYA - Expert, Renderman - Expert, Nuke - Junior Summary:On the film Super 8 I worked in the LA pod of Industrial Light and Magic. It was a remote office with about 80 of us VFX workers linked up to the San Francisco ILM headquarters, and finishing shots as fast as possible. We would speak with supervisors two times every day over Skype, and review shots together in real time over the network. This was a great learning experience for me as Dennis Muren was our direct contact, and every day he gave comments that were very perceptive and helpful which made me understand more about what it means to have a great eye and give effective comments. Here I did lighting in the ILM proprietary software Lux with Renderman, and slap comps in Nuke finaling about 20 shots of the monster in the cave and the construction of the spaceship by flying debris.

CG Supervisor at Hydraulx

Aug 2010 - Sep 2010
Job Duties: Modeling (Objects / Worlds / Environments) - Expert, Look Development - Expert, Renderman - Expert, Lighting - Expert, 3D Content Creation - Expert, Camera Placement / Tracking - Advanced, 3D Modeling - Advanced, Pipeline / Scheduling / Asset Mgmt - Advanced, Director of Animation - Advanced, Learn new softwares - , Cleanup Photogrammetry results - , Nuke or equivalent Compositing Tool - , MAYA (A bonus) - Software: MAYA - Expert, Mental Ray - Expert Summary:For this series of four distinct commercials I was hired to manage a team of new lighters learning the Hydraulx pipeline. These spots directed by GoodFear followed 5 filmed football stars as they drive past all the different famous NFL stadiums and cities that we built in 3D. Our team of 8 CG artists modeled, made shaders, animated, and lit the large scenes with Mental Ray and Maya.

Maya 3D Generalist at Brewster Parsons

Jan 2010 - Feb 2010
Job Duties: Look Development - Expert, Lighting - Expert, 3D Content Creation - Expert, Compositing - Advanced, 3D Modeling - Advanced, Animation (Object) - Advanced, Adobe Photoshop - , Nuke or equivalent Compositing Tool - , MAYA (A bonus) - Software: MAYA - Expert Summary:Working as a Maya TD I came in late to this job to animate, look develop shaders, and light this long running, beautiful Lexus car commercial for the Superbowl called Milestone.

Senior Lighting TD / Effects animator at Hydraulx

Apr 2009 - Aug 2009
Job Duties: Lighting - Expert, 3D Content Creation - Expert, 3D Modeling - Advanced, Shader Writer / Creation - Advanced, Special FX / Particle Systems - Intermediate, Nuke or equivalent Compositing Tool - , MAYA (A bonus) - , Nuke (or equiv) to create masks using Roto-Shapes - Software: MAYA - Expert Summary:For the destruction of Hawaii sequence I used Maya for Look development of the Waikiki skyline, then fluids for adding smoke, lava, and splashes to destroy the city.

3D Lead/Compositor at Hydraulx

Jul 2008 - Dec 2008
Job Duties: Lighting - Expert, 3D Content Creation - Expert, 3D Modeling - Advanced, Pipeline / Scheduling / Asset Mgmt - Advanced, Shader Writer / Creation - Advanced, Special FX / Particle Systems - Intermediate, Nuke or equivalent Compositing Tool - , MAYA (A bonus) - , Nuke (or equiv) to create masks using Roto-Shapes - Software: Shake - Advanced, Flame / Inferno - Intermediate, MAYA, , Mental Ray Summary:On this sequence I did water simulations with Maya fluids. After all animations were approved, my work moved to Look Development of shaders for crocs, water, paint effects plants, followed by lighting and final renders.

3D Lead at Psyop

May 2008 - Jul 2008
Job Duties: 3D Content Creation - Expert, 3D Modeling - Advanced, Nuke or equivalent Compositing Tool - , MAYA (A bonus) - , Animation (Character) Shader Writer / Creation Compositing Lighting Manage / Train Staff Manage / Train Staff Software: , MAYA, Mental Ray Summary:Lead 3D Generalist Psyop, Los Angeles CA, May to July 2008 For a period of two months I led a team of 3D trackers, lighters, and compositors, through all stages of an internationally shown high end BMW commercial. The plates were shot in a solid white dome PhotoBubble and perfectly tracked so we could add our reflections to taste and make the car appear to be driving through the sky on a vibrating glass highway.

Lighting TD and Compositor at Animal Logic

Jul 2006 - Oct 2006
Job Duties: 3D Content Creation - Expert, 3D Modeling - Advanced, MAYA (A bonus) - , Lighting Renderman Software: , Renderman, MAYA Summary: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.

Senoior Lighting TD / Compositor / Look Development at Sony Pictures Imageworks

Mar 2003 - Jun 2006
Job Duties: 3D Content Creation - Expert, 3D Modeling - Advanced, Nuke or equivalent Compositing Tool - , MAYA (A bonus) - , Nuke (or equiv) to create masks using Roto-Shapes - , Lighting Texturing / 2D / Painting Animation (FX) Shader Writer / Creation Renderman Software: Shake - Advanced, , Renderman, MAYA, Mental Ray, Alfred Summary: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.

Visual Effects Supervisor at Estudios Mega

Oct 1999 - Jun 2002
Job Duties: 3D Content Creation - Expert, 3D Modeling - Advanced, MAYA (A bonus) - , Running / Tuning Photogrametric Solves - , Lighting Modeling (Character) Compositing Rigging (Character) Cinematography 2D Art / Graphic Design Software: Linux - Advanced, Flame / Inferno - Intermediate, , MAYA Summary:Visual Effects Supervisor Estudios Mega, Rio de Janeiro Brazil, Oct 1999 to June 2002 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.

Product Specialist Maya, Film and Video at SGI

Job Duties: 3D Content Creation - Expert, 3D Modeling - Advanced, MAYA (A bonus) - , Pro/Engineer Software: Alias - Expert, Digital Fusion - Advanced, Studio Paint - Advanced, PowerAnimator - Advanced, Dynamation - Intermediate, , Matador, MAYA Summary:Product Specialist Maya, Film and Video department Silicon Graphics (Alias/Wavefront), San Francisco CA, Oct 1997 to Sept 1999 This job allowed me to work with Maya software long before public release and involved extensive bug testing, interface/usability suggestions, and in-depth use of all software features. Working primarily on the West Coast I did large audience presentations, made demo animations, and trained new Maya users at all the large studios including ILM, PDI, Pixar, Manex and others. During these two years I was also able to learn with professionals everywhere creating character animations and film effects allowing me to complete a 35mm short film "Let's Get Medical" which won effects awards and played in film festivals worldwide.

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