Halo 5: Guardians (2015):

Lighting (Cinematics) 

  • Character and Environment lighting for ~10 minutes of realtime, in-engine cinematics for Halo 5’s single-player campaign.

Hunger Games: Catching Fire (2013):

Look Development Lead 

  • Look Development for hero furred character.

  • Crafted unique striped-fur look.

  • Using new internal software, heavy R&D work to shape new look development pipeline and procedures.

R.I.P.D. (2013):

Houdini/Mantra Lighting Supervisor 

  • Directed Houdini Lighting pipeline, reinforced aesthetic across all shots.

  • Guided development of hybrid HDR and 2.5D matte-painting lighting rigs.

  • Established standards for volume rendering to maximize look vs. render time.

  • Worked with Wren Lighting Sup to simplify hybrid shots.

  • Worked with Look Development team to ensure shader standardization across all shots.

Chronicle (2012):

Look Development Supervisor & Lighting Supervisor

  • 911 show (extremely short schedule).

  • Airbus A320 look development.

  • Supervised digi-double look development team for aesthetic and technical realism.

  • Set extension and volume lighting, digital double lighting.

Alvin and the Chipmunks: Chipwrecked (2011):

Look Development Artist/TD

  • Created ‘wet fur’ groom for Alvin, Simon, and Theodore.

  • Created ‘scared’ groom for Theodore.

X-Men: First Class (2011):

Lighting Supervisor & Look Development Lead

  • Look Development Lead for Emma Frost.

  • Developed creative HDR lighting pipeline specific to Emma character.

  • Emma Frost: raytracing optimization, crafted directable and realistic diamond look.

  • Emma Frost: integrated animated surface cracking without altering geometry streams.

  • Angel’s wings: true 3d motion blur solutions for semi-transparent and iridescent material

  • Mystique: created sticky-camera projection texturing pipeline for transformation shots.

  • Lincoln memorial: physically-based reconstruction with HDR / indirect illumination.

  • X-Jet: created physically-modeled indoor/outdoor lighting solution.

  • Led team of lighters and established lighting standards for each character.

Hop (2011):

Look Development Artist/TD

  • Created feathered look with fur for Phil

  • Ensured fur works well with rigging/animation.

  • Ensured look development was stylized and  standardized across characters (Carlos, other chicks).

Marmaduke (2010):

Lighting Supervisor 

  • Led large team of lighters and establish lighting pipeline and rendering standards.

  • Worked with Mantra Lighting Sup to simplify hybrid shots.

  • R&D one-off shots with complex requirements.

Land of the Lost (2009):

Lighting Supervisor

  • Led large team of lighters and establish lighting pipeline and rendering standards.

  • Worked with Look Development and Environment Team to ensure rendering requirements stayed within reason.

  • Environment CG tree replacements: R&D a lighting pipeline for simultaneous rendering and lighting of 140+ shots. Set up and laid out a ‘Master’ forest in separate lighting environments, wrote code to distribute layout to over 140 shots, which could be rendered and managed by one person instead of a large team.

  • Setup and layout of (another) CG forest containing hundreds of trees. Developed system to break forest down into renderable tree groups that light and render correctly with each other.

The Incredible Hulk (2008): 

Look Development Lead

  • Look Development Lead, Hulk and Abomination.

  • Point-attribute driven textures for shot damage to appear mid-scene.

  • Created customizable animated blood vessel pumping.

  • Researched, developed, and crafted 2D rain effect that allowed for much faster render times.

  • R&D and implementation of animation-driven subsurface, diffuse, other groups for joints and muscles (whitening knuckles, etc).

  • Developed directable texture blending (independent diffuse, specular, subsurface, etc.) for Banner/Hulk transformation sequence.

  • R&D, distributed, and tested a tool to backup, compress, restore, and unpack displacement maps at render time, instead of generating them at each render. 

The Golden Compass (2007):

Look Development Artist/TD

  • Developed look of Svalbard wolves in line with client reference.


Evan Almighty (2007):

Look Development Artist/TD

  • Look Development for 200+ Massive animals (fabric shader).

  • R&D tools to update and render latest turntables.

Night at the Museum (2006):

Look Development Artist/TD

  • Look development for hero characters: Oryx, zebras, rhino.

Charlotte's Web (2006):

Lead Lighting TD

  • Assisted sequence sup in managing lighting team.

  • Worked with compositing lead to standardize look across shots.

  • Helped team members to light as efficiently as possible, helped other lighters with problem shots.

  • Took on complex shots.

The Fast and the Furious: Tokyo Drift (2006):

Look Development Artist/TD

  • Created look for hero car: Mitsubishi EVO 9.

  • Created look for Mazda RX-7.

  • Worked with texture painters to ensure texture qualities were standard across both vehicles.

The Lion, the Witch and the Wardrobe (2005):

Look Development Artist/TD

  • Created look for hero Harpy character.

  • Established aesthetic for thin subsurface wings.

  • Created look for Dwarf digital doubles.

  • Combed complex woven beard hair for multiple dwarves.

  • For both characters, adhered closely to  client concept art with consideration of technical limitations.

Flight of the Phoenix (2004):

Lighting Artist/TD

  • On a medium sized team, lit hero airplane and helped establish lighting standardization across sequence.

  • Rendered as efficiently as possible with high poly-count and heavily textured model.

Garfield (2004):

Lighting Artist/TD

  • Worked on a team to light Garfield in both day and night-time shots

  • Established lighting quickly with low-poly ‘fur shell’ and refined final lighting with fur renders.

Scooby Doo 2: (2004):

Lighting Artist/TD

  • Worked on a lighting team to light Scooby in a variety of environments.

  • Lit as efficiently and quickly as possible, ensured assets that go to compositing were well organized.