Breakdown Sheet
Cop Car
This piece was created with Maya, Arnold, Mari, and Nuke. I am responsible for all aspects except for modeling and texturing of the scarecrow. The goal of this piece was to explore nighttime lighting while conveying a mysterious mood, letting the environment and camera tell the story without the use of characters. Some of the challenges were balancing the darkness with the areas of light, as well as creating the wet spots on the ground with a layered shader.
Old Fashioned
This piece was created with Maya, Arnold, Photoshop, and Nuke. I am responsible for all aspects. The goal of this pieces was to take every aspect and execute it as well as I could, including modelling, texturing and shading, lighting, camera and composition, and post-production compositing, using all my skills as a CG generalist. I also created two different lighting scenarios to try and achieve different moods within the same scene, as well as making sure my shaders held up when the lighting was pushed to an extreme color palette.
Ultimate Playroom
This piece was created with Unreal, Maya, Substance Painter, and Photoshop. This was done by a team of four, in collaboration with Hasbro, to create a photorealistic environment to be used for future marketing content. I contributed to the concept and ideation of the scene as well as the layout of the room. I am directly responsible for the lighting. Responsible for modelling of the coffee table, end table, television, cubby shelf and bins, puzzle mat, hanging apron, recessed lights, closet door, couch frame and baseboard. Responsible for texturing of the white wood furniture and trim, cork on the bulletin board, book covers, hanging apron, trampoline, and floor decal.
Vitality
This piece was created with Maya, Arnold, Mari, and Nuke. I am a Technical Director on this five minute animation film, and that includes leading, coordinating, and giving art direction to the VSFX team to light, texture, shade, add FX, render, and composite the film in 20 weeks. We receive the models and animation from the animation team and pass it off to the VSFX team, solving any technical issues and filling gaps along the way when needed. I am also directly responsible for the human character shaders, grass and dirt elements of the outdoor meadow shots, as well as part rendering and compositing.
Tesla Commercial
This piece was created with Maya, Arnold, Houdini, and Nuke. This was a collaboration of a team of three to integrate a CG car and FX into live footage, all in the spirit of a car commercial. We were also mentored by senior artists at The Mill throughout the process. The car model was purchased from TurboSquid. I am responsible for part concept and filming, for car shading, lighting, and rendering. One of the challenges of this process was the communication between myself, the FX artist, and the Compositor to make sure we were all on the same page and we all got what we needed from each other to prevent as many technical issues down the line as we could.
Epoch
This piece was created with Maya, Arnold, Houdini, Mari, ZBrush, and Nuke. This was a collaboration of a team of four to create a photorealistic environment. We were also mentored by senior artists at DreamWorks throughout the process. I am responsible for part concept and layout, for modelling of the stairs, circular wall, and arches, for texturing and shading of the stairs and circular wall, for the water shader, for part lighting, and for the fog layer. The goal of this piece was to create a photorealistic environment that tells a story without the use of characters or dialogue.