Films

 

Sonic the Hedgehog

Technical Animator - Key Artist

Received On Screen Credit
Technical Animation

My work on this film included building simulation rigs, running shots, and the development of many tools to aid in those processes. The work spanned the domains of cloth dynamics, fur dynamics, and environment dynamics.

In particular, I was in charge of Sonic's quill simulation rig, and I helped maintain Sonic's various cloth rigs throughout the pipeline. I ran several Sonic shots through the stages of shot sculpting, cloth dynamics, and fur dynamics. I also developed the simulation rig for the banner flags in the bar scene, and I ran all of the banner flag shots. For environment dynamics, I created most of the simulation rigs used during the opening chase sequence with Baby Sonic, and I worked on the explosion shot at the end of the baseball sequence.

Software and Tools Development

In response to Sonic's rapid redesign, I created software to help rebuild Sonic's simulation rigs with each new design iteration. The simulation rigs could be produced independently by individual artists, and then they would be procedurally combined based on the needs of Sonic's various costumes. A small GUI could kick off a complete rebuild at the click of a button.

I produced a variety of C++ maya plugins to meet the needs of the production, including a parameter variation node, an efficient mesh connect and transform node, and I updated an in house dynamic curve node to accept maya fields during its dynamics calculations.

I redesigned our techanim scene setup to work more seamlessly with transform cache workflows. I also fixed a variety of pipeline bugs, and create several pipeline tools to help during the transition from the original Sonic to the new Sonic.

Team Management

I helped train and manage a shot team . I taught them how to run our new pipeline, offered technical help, and under the guidance of my leads, provided artistic feedback.

 
 

Pokemon: Detective Pikachu

Technical Animator - Key Artist

Received On Screen Credit
Technical Animation

Environment Dynamics and Fur Dynamics. I did extensive R&D work during our trailer delivery and produced several of our first key shots. Click here to view one of the shots in the trailer.

Software and Tools Development

I completely rebuilt our environment dynamics procedural rigging and simulation setup system to meet the demands of one of the film's most complicated sequences (the torterra garden). The procedural rig proved flexible enough to be used with over 250+ assets, and it provided control which was not previously possible with our department's tool-set. In terms of performance, I discovered several bottlenecks inherent in our previous system's design, and I was able to save over 230 days worth of compute time on a single shot. This amounts to a savings of roughly a decade of compute time over the course of the torterra sequence alone. I was able to expose the power of this system through user friendly tools which could be leveraged by artists with little to no programming experience.

Team Management

I helped train and manage a shot team . I taught them how to run our new pipeline, offered technical help, and under the guidance of my leads, provided artistic feedback.

 
 

Aquaman

Technical Animator - Key Artist

Software and Tools Development

I supported our environment dynamics artists by developing a tool that could generate animation cycles from a large cache. This method greatly reduced the use of farm resources, and improved artist iteration speed.

I helped another technical artist navigate the intricacies and quirks of the maya c++ api. He worked on a tool to modify the mass of individual cvs on an nHair curve. The maya api does not expose this functionality, but I was able suggest a hack that produced the desired result.

During crunch time, I was often called upon to produce one off scripts to support the needs of the show.

Team Management

I supported several new artists while they familiarized themselves with the tools and pipelines used in our department.

 
 

The New Mutants

Technical Animator - Artist

Technical Animation

Cloth Dynamics, Fur Dynamics, and Skin Cleanup. I primarily worked on the final sequence in which I was tasked with adding secondary character effects through cloth simulation, fur simulation, muscle sculpting, and general skin improvements. At times I made modifications to our tech rigs in order to achieve the desired art direction.

Software and Tools Development

I developed a more efficient version of the preview node used to view the results of our fur simulations. I contributed several updates to our fur pipeline to keep it in sync with the latest advancements from our software department.

More information to come upon film's release.

 
 

Alpha

Technical Animation Department Developer

Received On Screen Credit

During the production of this film I served as the global department developer for the Vancouver, Montreal, and London offices. I updated our department's toolset to work with broader updates to MPC's pipeline. I updated all of our GUIs from Qt4 to Qt5. I worked with artists to debug issues with their scenes and remedy various bugs in our tools.

 
 

Justice League

Technical Animation Department Developer

For this film I created a tool to automatically retime our simulation setups based on retime curves from downstream departments. I rewrote our department's leaf simulator from scratch to support the retime pipeline. I added several new features to our leaf simulator and wind field nodes. For example, artists can now sculpt the wind shadow on objects that occlude wind flow.

I worked with one of our senior artists to implement a mini-pipeline for a sequence of shots that was ultimately cut from the film after Zach Snyder's family tragedy.

I debugged many pipeline issues, especially during crunch time to help deliver the film on time.

 
 

A Wrinkle In Time

Technical Animation Department Developer

Most of my work during this film was directed towards maintaining our department's toolset. I also spent a significant amount of time training two other department developers. As show specific needs arose, I switched gears to quickly resolve production problems. I worked briefly on a couple of environment dynamics shots in the tornado sequence to address supervisor notes while the show's lead was away.