HellBoy 2 – Golden Army sequence (Double Negative, 2008) As a TD on this show, I built several shots using Dneg’s asset publishing system, and was responsible for lighting, rendering and delivering Golden Robots elements. Along with baked particle-based and dynamic cogs and geometry deformation, there was some modelling of impact and scraping damage, which required consistent continuity between different setups. Some of Hellboy’s gunshots severe robot limbs, which required a combination of dynamic simulation and manual animation, along with shader manipulation to create cooling metal and burn-marks. Lighting was primarily an HDRI-based method, with point-cloud based methods to compute heat, occlusion and reflection. Maya, Renderman, Rex (Dneg’s proprietary render mechanisms), DnB (a particle/fluid renderer), Photoshop, Shake Hellboy 2 – Zombie Tooth Fairy sequence (Double Negative, 2008) I lit and rendered these shots with a team of two other TDs, taking over look development for the final iterations of the reanimated Tooth Fairy, including involvement in HDRI and texture grading. Although initially bid as a creature shot, with such emotive animation, these shots became more like lighting a character. There are various subtle interactive details such as the charcoal bouncing on the tray. Maya, Renderman, Zbrush, Photoshop, Shake The Magic Flute – Overture shot segment (Double Negative, 2006) In a very small team on an extremely tight budget, we created scores of VFX shots for Kenneth Brannagh’s film of Mozart’s opera, set in a fantastical battle reminiscent of the first world war, including an epic single shot that continues in a seemingly single take for the entire Overture, and introduces the film. I was involved in several roles on this film, as a digital artist and TD. I built a robust and flexible atmosphere and insect simulator to accomodate a virtual camera swooping over a huge landscape. I modelled and textured geometry ranging from butterflies to tanks and cannons, and in this shot, painted the plane’s textures and helped paint the background matte painting. Maya, Renderman, Photoshop, Shake Hellboy 2 – Tooth Fairy Swarm sequence (Double Negative, 2008) I was involved in the earlier and late stages of this sequence. From helping out with Swarm and Crawling behavioural testing and tools for the initial swarm placing and animation, to later rendering and lighting of these dense and render-intensive swarming shots. There was a combination of multiple layers of behavioural-based procedural swarming with animation clips/cycles, and separate custom animation passes which had to lit to be seamless, along with complex interaction and integration with the plates. I helped create, conform, paint and organize the HDRI maps on a per shot and sequence basis, and output custom passes as required outside of the pipeline for interactive elements, such as the light cast by Liz’s explosive aura of fire. Maya, Renderman, Rex, Houdini, Photoshop, Shake Children of Men – Car Ride shot segment (Double Negative, 2006) I built, animated, textured, shaded and shattered the windscreen glass elements in this shot, along with some texturing and modeling for the digital car interior replacement. I did some early concept design for a narratively important structure later in the film, and also cloth simulations, digital double texturing, various assorted general tasks throughout the production. Maya, Renderman, Cloth sim software, Photoshop, Shake Harry Potter and the Order of the Phoenix – Grawp (Double Negative, 2007) I was a lighting and rendering TD on the creature/character team for Grawp. Maya, Renderman, Rex, Zbrush, Photoshop, Shake Hitchhiker’s Guide to the Galaxy – Planet Factory sequence (Cinesite, 2005) I was responsible for lighting, texturing and slim shading network design on several shots in this complex sequence. I was involved in the sequence from the initial planning to the end of the show. I assisted in developing a rapid texturing technique for several thousand pieces of geometry, and was the primary texture artist for the sequence, for which we created a large library of multiple generic and specific tillable maps. I modelled, textured and rigged an infinitely extending telescopic arm attached to the virtual version of the yellow cart the actors are riding around in, which I also textured. I lit several shots with a combination of image-based lighting, baked occlusion and virtual lights in multiple passes. I did a little expression-driven and simple keyframed animation for various minor details in several shots. Additionally, I assisted in some simple modeling and animation on the sequence. Maya, Renderman, Mental Ray, MTOR, Photoshop, Shake 10,000 BC – Gold Pyramid cap (Cinesite, 2004) I textured and built the gold pyramid cap. I built and textured scaffolding, and with another 3d artist used a combination of dynamic and keyframe animation to create the solid gold