F I L M
I began my career just as Visual Effects studios were transitioning away from Optical processes and computer graphics were about to dominate the industry. It was a very exciting time to invent new tools and techniques, as well as reinvent old ones. During that time, I was a software engineer, and I focused on 2d tools: paint systems, real-time playback systems, world layout tools, pre-visualization camera systems, image tracking and stabilization techniques. Below are some examples of my later work from my time in film.
For the Matrix sequels, I led the teams responsible for the giant CG set of Zion. I designed a database and render archival system for efficient LOD control and rendering of each shot in the film, as well as, a pre-visualization camera system to dynamically drive the LODs of each set piece on a shot per shot basis. This was a very efficient modular system that I ended up using on several other feature films.
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I also created pre-rendered architectural lights for the set, which is represented in the image.
No real ship was available for the making of the movie, Poseidon. For this reason, we had to build a CG version of the ship from stem to stern. I was responsible for the construction of the CG ship and all the set pieces to bring it to life. I used an archival system similar to the one I designed on prior movies. Once the ship was built, I worked with the Art Director to create the master lighting rig and all the pre-rendered light kits for the artists to use on their individual shots.
For the movie, Catwoman, the rooftops and immediate building facades were all built with the CG set system I developed. Everything else was reconstructed photography taken by the team at ESC on night shoots in the city of Oakland, California. For the building facades, I designed a system that could record actions for construction, so that one could rapidly repeat the construction of floors of a building.