OUT

Helped explore early look development in non-standard Pixar pipeline, such as exciting research using Motif as the primary renderer for the project. Migrated those ideas to Nuke and developed the complete back-half of the pipeline to deliver a highly stylized non-house look for the show. Working with the Lighting DP; produced all shots on the film in lookdev.

Highlights

• Look Development Supervisor

Lightyear

First major application of Houdini Solaris in sets-shading pipeline. Developed a modular terrain asset system, working closely with art and dressing to create sci-fi looking planetary surface.

Highlights

• Sets Shading Department Lead

Elio

Helped develop some highly technical looks projects for the film, such as animated energy effect seen in architecture and props. Developed modeling tools in Houdini such as automatically cut “perfect” seams.

Highlights

• Experimental animated shader effects.
• New Houdinni Solaris pipeline techniques.

Hextile

Developed a new "groomable" non-tiling texture system for Pixar's internal shading toolset.

Highlights

• New shader technology

Finding Dory

Supervised a team of 30+ technical artists to create the environments for the film. Oversaw lead TDs who ran teams in modeling, dressing, shading & “sets tech”. Helped manage the adoption of a major new production pipeline, including: Katana shading, Renderman RIS & a new proprietary pipeline caching system, USD.

Highlights

• Sets Department Supervisor

Brave

Oversaw the rollout of global materials for characters. Conceived new creative controls for the Lighting department to adjust character shaders. Proposed & nurtured development of the “loom” pipeline: a curve-based cloth system for characters. Oversaw the QA delivery of character assets to Lighting, Simulation, Animation, Layout & Rendering.

Highlights

• Characters Department Supervisor

Up

Helped introduce the transition of texture artists into the shading department (who were previously in art). Worked to ease the adoption of a major new revision to our internal shading toolset. Helped train & mentor technical artists and oversee their work.

Highlights

• Sets Department Shading (Look Development) Lead

Cars

Oversaw all global materials for characters. Developed the car paint shader and “metal flake” looks, as well as others. Shaded Lighting McQueen, Ramone, Sarge and other primary & secondary characters.

Highlights

• Characters Department Shading (Look Development) Lead
• Lead Shading Artist for : Lighting McQueen, Ramone, Chick Hicks, The King, Sarge, Background Racecars, Import Racecars

Finding Nemo

Shaded several secondary & tertiary characters, including Mr. Ray, Lobsters and Crabs. Fixed technical problems with some characters, including Angler Fish, Sea Turtles & Humans.

Highlights

• Character Shading Artist
• Shading Artist for Mr. Ray the schoolteacher. Various secondary & tertiary characters such as crabs/lobsters, turtles and Angler Fish.

Ratatouille

Various asset shading/look development for the sewer areas in act one, as well as several props throughout the film.

Highlights

• Sewer & boat shading
• Vehicle shading, including Colette's motorcycle & country tractor.

The Incredibles

Shaded various sets, including: the Parr family home (exterior) & neighborhood, the “Omnidroid” Delivery Rocket & Hangar. Also shaded misc. props.

Highlights

• Parr family neighborhood shading artist.
• Rocket Hangar shading artist.