I contributed to the keyframe and procedural 3D animation for the following projects. And sometimes the post also.
STUDIO: PICTUREMILL (LA)
ROLE: MAYA rigging, CFX, and animation of book and pages, Camera, scene layout, blocking, character animation. 3d previz. Animated shots with continuity.
NOTE: Remote work.
STUDIO: BAKED STUDIOS (LA)
ROLE: 3D Lead. MAYA Book 3d modeling, rigging, animation, BG modeling, 3D previz; PHOTOSHOP textures, REDSHIFT look dev.
NOTE: Aired on ABC and Disney+ This was the #1 TV show in the television ratings on it’s debut. Remote work.
STUDIO: THINKWELL (LA)
ROLE: I performed character rigging, CFX, and animation on this project, using MAYA
NOTE: Since 2022 this experience has been recreated in multiple locations in the USA and internationally. Remote work.
STUDIO: DIRT EMPIRE (NYC)
ROLE: MAYA for all polygonal modelling, keyframe animation, look dev, CFX. I contributed to 3D VFX, 3D motion graphics. Compositing with AFTER EFFECTS.
NOTES: This song acheived 5x Platinum sales! The first 2:30 shows the video that was projected during the performance. In the live broadcast they mostly showed close ups on Beyonce and had lots of cuts, so I made this edit to allow you to see the whole video that the live audience watched. The video of Beyoncé in that part is the scratch track that was used to choreograph the 3-D animation.
STUDIO: ROUGH DRAFT STUDIO (LA)
ROLE: MAYA 3d generalist. I contributed to MAYA 3D Modeling, rigging, and animation, PHOTOSHOP and VRAY look dev, of 3d elements integrated into 2d shots, in multiple eps. Compositing with TOONZ.
NOTE: Onsite work in the LA region.
STUDIO: ROUGH DRAFT STUDIO (LA)
ROLE: MAYA 3d generalist. I contributed to multiple eps Modeling, look dev, rigging, animation, and compositing 3d elements into 2d shots. Textures with PHOTOSHOP. Camera and render setup of castle scene. Compositing with TOONZ.
NOTE: Made by Matt Groenig, the creator of Futurama and The Simpsons. Onsite work in the LA region.
STUDIO: TECHNICOLOR (LA)
ROLE: Post Visualisation 3d/VFX generalist. Using a combination of AFTER EFFECTS, MAYA, PHOTOSHOP, and camera tracking and roto programs PFTRACK and MOCHA, I keyed out green screens, rotoscoped, animated and tracked in 3D elements including full body stunt doubles, created matte paintings and set extentions, combined multiple elements shot with motion controlled cameras, removed wires, tracking markers and animal handlers, and overlayed additional effects the Director envisioned.
NOTE: Many shots I postvisualized are in the trailer 1:35 to 2:10 including the poster frame. Work was performed remotely.
STUDIO: BAKED STUDIOS (LA)
ROLE: 3D Lead. MAYA 3D modeling, lighting. AFTER EFFECTS tracking, roto, particle VFX, compositing.
NOTE: Aired on ABC and Disney+ This was the #1 TV show in the television ratings on it’s debut. Work was performed remotely.
STUDIO: MPC (Later merged with The Mill) (NYC)
ROLE: MAYA Generalist. Contributed to previs animation, scene layout, camera, character and vehicle rigging and animation. CFX of light string.
STUDIO: SPARK + ASTER (Baltimore)
ROLE: 3D Lead. I did look development, lighting, 3d animation with MAYA, and 2d post with AFTER EFFECTS.
NOTES: In 2021 this team became the first women owned team to compete in the Indy 500, with a woman driver for bonus points.
CLIENT: EMI RECORDS (NYC)
ROLE: 3D Lead, I was also on-set VFX supervisor. I Rotoscoped and composited most of the outer space shots using AFTER EFFECTS, and created the 3D wireframe motion graphics with MAYA.
STUDIO: OFFICE OF DEVELOPMENT AND DESIGN (NYC)
ROLE: 3D Lead. MAYA for all 3d modeling, lighting, rigging, animation, VFX; PHOTOSHOP look dev; contributed to NUKE post
NOTE: In-house film made to promote the studio
STUDIO: PSYOP (NYC)
ROLE: MAYA generalist. Contributed to scene layout and modeling of the cyber-world, configured 50 plus render passes as requested by the post artists.
NOTE: Despite being for the German market, work was performed onsite in NYC.
STUDIO: ASCEND STUDIO (Orlando)
ROLE: Lead 3d and post artist. I performed look dev and lighting using REDSHIFT in CINEMA 4D, 3d modeling rigging layout and animation with CINEMA 4D, post with AFTER EFFECTS.
NOTE: This is a test render for a 360° panorama made for display in a video cave at the headquarters of a multi-billion dollar company with 13,000+ employees. Remote work.
STUDIO: HORNET (NYC)
ROLE: MAYA previs, camera animation, and integrated MAYA camera data with AFTER EFFECTS scenes
NOTE: Despite being made for the UK market, the animation was produced onsite in NYC
PRODUCTION COMPANY: PARTIZAN (NYC)
ROLE: 3D Lead. MAYA VFX and 3d modeling, PFTRACK tracking. AFTER EFFECTS roto, compositing. PHOTOSHOP textures, matte painting. I did invisible VFX to fix issues on 20 live action shots. EG In the poster frame there is a partial 3d set replacement to create the appearance of a closed set and remove unwanted signage.
NOTES: This song became a certified Platinum hit, the video went viral and has over 200 million views on Youtube!
CLIENT: NETFLIX (Los Gatos CA)
ROLE: MAYA previs, CFX, contributed to VFX, rigging, character modeling, and animation; NUKE color grading, compositing
NOTE: The project is a teaser for a 3d feature adaptation of the 2d animated Netflix series.
STUDIO: IMAGINARY FORCES (NYC)
ROLE: 3D Generalist. I did postvis and final shot layout, look development, 3d animation, 3d object and camera tracking, compositing. Work was performed using MAYA, PFTRACK, NUKE, and AFTER EFFECTS
STUDIO: MK12 (Kansas City MO)
ROLE: I did 3d modelling, scene layout, vegetation FX, and integrated the cached mountain re-peeling effect created by Bobo Do, using MAYA. Work was performed remotely
NOTE: This was directed by and stars Hollywood A-list director Marc Forster (James Bond).
CLIENT: JONATHAN WATTS (Spiderman director) (NYC)
ROLE: Lead 3D. I performed all 3D tasks on this project using MAYA and ZBRUSH. Camera tracking with PFTRACK. Compositing with AFTER EFFECTS. Textures and Matte painting with PHOTOSHOP. Remote work.
NOTE: This clip was made to support a pitch for a feature film, updating “The Wind in the Willows” classic animation using CGI but retaining a stop motion feel.
PRODUCTION COMPANY: GREENCARD PICTURES (NYC)
ROLE: 3D Lead. I performed all 3D modeling, rigging, and character animation, using MAYA; MENTAL RAY lighting, PFTRACK tracking PHOTOSHOP look dev. I contributed to AFTER EFFECTS tracking, roto, and compositing. Work was performed remotely.
NOTES: Directed by JON WATTS (SPIDERMAN) this project was shot on 8mm B&W film. Starring Cat Stevens’ son, who is also a musician.
PRODUCTION COMPANY: LOOSEWORLD (NYC)
ROLE: 3D Lead. I modelled, rigged, and animated all of the 2D and 3D characters using MAYA and PHOTOSHOP. Compositing with AFTER EFFECTS.
CLIENT: MODULAR RECORDS (Sydney AUS)
ROLE: 3D Lead. MAYA 3d. I did all of the 3d modeling, character rigging, keyframe animation, Look dev/lighting, scene layout, camera. I implemented cached dynamics of the falling blocks created by VFX TD Bobo Do. PHOTOSHOP textures. Work was performed remote/onsite hybrid.
NOTES: This video became the basis of a hugely popular meme, and the official Youtube upload has hit over 150 million views.
PRODUCTION COMPANY: GREENCARD PICTURES (NYC)
ROLE: 3d Lead. All 3d production and Previs tasks aside from animating the forest at the end, using MAYA; creating texture maps from handmade illustrations using PHOTOSHOP. I contributed to post with AFTER EFFECTS. Work was performed remotely.
NOTES: Directed by JON WATTS (SPIDERMAN) Illustrations by Katy Horan were adapted for use as textures.
STUDIO: PERSONAL PROJECT
ROLE: I performed all tasks in this project, including writing and design. I did 3d Modeling, rigging, animation, look dev, lighting and VFX using MAYA. 2D with PHOTOSHOP. Post with AFTER EFFECTS. AI with KLING.
NOTE: The story is about psychology
