RESPONSIBILITIES AND ACCOMPLISHMENTS

HARRY POTTER AND THE HALF-BLOOD PRINCE (2009) VFX SUPERVISOR @ RSP

1. •Reported directly to the Warner Bros. VFX Supervisor Tim Burke and VFX Producer Emma Norton
   

2. •Responsible for bidding, scheduling and resourcing for multiple sequences
   

3. •Supervised all aesthetic targets in concept design, look development, animation, lighting and compositing
   

4. •Directly managed the resourcing of all the lead roles in the team
   

5. •Helped to design an asset management system to support hundreds of CG assets through look-dev, modeling, texturing, shading, rigging, animation and lighting.  This pipeline became the standard across all shows at RSP
   

6. •Aided in the design of a robust turn-over and color grading pipeline with a focus on simplicity and to accommodate ambitious delivery schedules.  This workflow became the standard across all shows at RSP
   

7. •Worked closely with all departments at RSP to work out logistical issues such as artist machines, application licenses, disk space, render capacity, etc.
   

8. •Manged the migration of all fx work to Side Effects’ Houdini in order to solidify the FX solution at RSP
   

TERMINATOR SALVATION (2009) VFX SUPERVISOR @ RSP

1. •Reported directly to the Senior VFX Supervisor John Dietz and to the Warner Bros. VFX Supervisor Charlie Gibson
   

2. •Responsible for planning, scheduling and resourcing for 3 major sequences
   

3. •Worked under a tight deadline to produce some incredibly complex full CG shots
   

4. •Supervised all aesthetic targets in concept design, look development, animation, lighting, fx and compositing
   

5. •Worked closely with the Houdini fx team that carried out the full CG stormy ocean shots from pre-production R&D through to shot completion
   

THE SEEKER: THE DARK IS RISING (2007) VFX SUPERVISOR @ RSP

1. •Reported directly to the Fox Studios VFX Supervisor Jamie Price and VFX Producer Jamie Stevenson
   

2. •Responsible for bidding, scheduling and resourcing for the 60+ shots in the film
   

3. •Designed a look development pipeline for the snakes, icicles and other props around Maya and 3Delight
   

4. •Supervised all aesthetic and technical aspects of shot production from turn-over, look-dev, modeling, texturing, tracking, rigging, animation, lighting, compositing and final delivery
   

5. •Helped to put in place many organizational and functional solutions in order to guarantee adaptability and fast turnarounds
   

HARRY POTTER AND THE ORDER OF THE PHOENIX (2007) SEQUENCE SUPERVISOR @ RSP

1. •Reported directly to the RSP VFX Supervisor Kat Szuminska
   

2. •Managed all artists on the sequence from the R&D and look development stage through the compositing stage
   

3. •Supervised all R&D and look-dev for 3D solution for morphing from Harry’s face to Voldemort’s face
   

SUPERMAN RETURNS (2006) CG SEQUENCE SUPERVISOR @ R&H

1. •Reported directly to the R&H VFX Supervisor Derek Spears and VFX Producer Joel Mendias
   

2. •Provided creative and technical supervision for lighting and look development of the 60+ shot sequence alongside Salar Saleh and Gee Yeung
   

3. •R&D and look development with emphasis on the ocean surface using Houdini and VMantra
   

4. •Lead development of the lighting pipeline around Houdini and VMantra
   

5. •Setup a look development infrastructure for all CG assets including the yacht, crystals, helicopter, seaplane and dozens of props as well as the ocean surface, also in Houdini
   

6. •Prototyped several custom shaders to accommodate new lighting pipeline
   

7. •Developed a normals based relighting plugin for the inhouse compositor coded in C++
   

SERENITY (2005) LIGHTING SUPERVISOR @ R&H

1. •Reported directly to the R&H CG Supervisor Bud Myrick
   

2. •Supervised texturing, modeling and look development of the generators and props
   

3. •Implemented pipeline for new camera projection technique which automatically blended projections from several cameras into a single render
   

GARFIELD (2004) LIGHTING SUPERVISOR @ R&H

1. •Reported directly to the R&H VFX Supervisor Dan Deleeuw and VFX Producer Andrea Miloro
   

2. •Responsible for look development and combing of Garfield
   

3. •Supervised texturing and look development for all CG props
   

4. •Designed and implemented framework for sequence and scene lighting comprised of several tools
   

5. •Created a comprehensive set of web pages as a guide for lighters and compositors
   

6. •Held training courses for all new lighters and weekly workshops to cover improved lighting techniques
   

7. •Acted as the point of contact for sequence supervisors for challenging shots and technical issues
   

8. •Implemented grass and fur interaction techniques used in dozens of shots
   

XMEN-2 (2003) SEQUENCE SUPERVISOR @ R&H

1. •Reported directly to the R&H VFX Supervisor Richard Hollander
   

2. •R&D, look development and lighting of plastic prison, plastic tunnel bridge and metal spheres
   

3. •Developed procedural surface and displacement shaders for Magneto’s forming metal sphere
   

4. •Metal claw and metal fingernail look development
   

5. •Provided aesthetic lighting direction for entire augmentation room sequence.
   

HARRY POTTER AND THE SORCERER’S STONE (2001) LEAD LIGHTER @ R&H

1. •Reported directly to the R&H VFX Supervisor Richard Hollander
   

2. •CG Sorting Hat look development and scene lighting
   

3. •Lighting lead for the entire Sorting Hat sequence
   

4. •Scene lighter for the opening shot of film on Privet Drive of CG owl flying into the mist
   

5. •Scene lighter for the change of seasons shot of CG owl flying toward Hogwart’s
   

CATS AND DOGS (2001) LIGHTER @ R&H

1. •Reported directly to the R&H Art Director Debbie Pashkoff and the VFX Supervisor Bill Westenhofer
   

2. •Scene lighter for the CG ninja cat sequence
   

3. •Look development for the CG ninja cat and a CG phone receiver
   

4. •Scene lighting and R&D for the CG mouse crowd covered in green goop