--Animation and VFX DemoReel--

Reel Breakdown:

ImageMovers Digital: A Christmas Carol and Mars Needs Moms.

As a lighting lead I was responsible for managing sequences, including key shot selection and team shot assignments. I would light key shots to determine the look of a sequence, sometimes from scratch, and sometimes based on concept art. I would Propagate my master light rigs and master comp setups. The tools used were: Maya, Renderman, Nuke, as well as proprietary tools.

The Orphanage: Pirates of the Caribbean. At worlds End.

I was part of the team responsible for lighting and rendering the CG sails and rigging using Maya and Mental Ray.

Walt Disney Feature Animation: Chicken Little and Meet the Robinsons.

As a senior lighting TD and key shot lighter I was responsible for creating light rigs and composting key shots to help determine the look of sequences. The tools used were: Maya, Renderman, Shake, as well as proprietary tools.

Digital Domain: The Day After Tomorrow.

As a senior lighting TD I helped test pipeline tools and train newer hires on their use. I also lit and pre-comped shots using Maya, Houdini, Mantra, and Nuke.

Dreamworks Animation: Shark Tale.

As a senior lighting TD on Shark Tale I was responsible for lighting and compositing challenging production shots using Maya, Renderman, Shake, as well as proprietary tools.

Spin VFX: Abraham Lincoln: Vampire Hunter, The Borgias, Resident Evil: Retribution, Nikita.

As a senior lighting TD I was responsible for the lighting and rendering of CG characters and set extensions. This included developing the lighting setup for shots, calibrating the look of shaders for the assets, managing my render passes, and pre-comping elements over the live action plate. Sometimes I was the only TD on shots, and other times I worked as part of a team. The tools used were: Maya, Renderman, Vray, Katana, Nuke, as well as other proprietary tools.

Vanguard Animation: Space Chimps.

As a lighting lead I was responsible for master shot lighting and setting up master lighting rigs, as well coaching artists through shot production. The tools used were: Maya, Renderman, Shake, as well as proprietary tools.

Sony Pictures Imageworks: What Lies Beneath, Castaway, Harry Potter and the Sorcerer's Stone, The Tuxedo, Men in Black 2.

As a lighting TD, and eventually a senior lighting and compositing TD, I was responsible for lighting and compositing shots and dialing the asset shader settings. The tools used were Maya, Houdini, Renderman, Bonsai, as well as other proprietary tools.

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What Lies Beneath:

I lit and rendered passes for the CG Volvo buck replacement using Maya and Renderman.

I lit and rendered the CG truck undercarriage, boat trailer, boat, and shoe, using Maya and Renderman.

I lit and rendered passes for a a set replacement of the screen-left half of the bathroom, starting at about the middle of the bath tub, using Maya and Renderman.

Castaway:

I lit and rendered passes for the CG ocean. The water was composed of approximately fifteen passes, including reflection passes, translucency passes, direct lighting passes, and lightening strike passes to match animating practical lighting strikes present in the plate. Software used was Houdini.

Harry Potter and the Sorcerer's Stone:

I lit, rendered, and composited the pan and tile backgrounds, CG characters, and environments using Maya, Renderman, and Bonsai.

The Tuxedo:

I lit, rendered, and composited swarming CG bugs, and the hero bugs flying inside the pods, using Maya, Renderman, and Bonsai.

Men in Black 2:

I composited green screen shots of Will Smith and Tommy Lee Jones for the locker town sequence. I also composited the full size "Moses" actor into the miniature set and created his animated 2D cast shadows. For the billboard shot I created the animated the blinking marquee using a 2D photographic scan of a Video store membership card. I composited the end result into the plate of a miniature set, and then animated the lights around the marque in comp. The software used was Bonsai.