Portfolio

A selection of projects across games, animation, and vfx.

Battlefield Mobile

Technical Art Director: Electronic Arts (present)

Architected and deployed distributed artistic platform to support Battlefield Mobile.

More Info

Destiny 2® Forsaken

Senior VFX Artist: High Moon Studios / Activision (2018)

Authored environment FX as well as the death FX for various characters including the Scorn Barons.

More Info

Call of Duty® Modern Warfare Remastered

Senior VFX Artist: Raven Software / Activision (2016)

Authored environment FX for various multi-player maps including Pipeline shown here.

More Info

Call of Duty® Online

Senior VFX Artist: Raven Software / Activision (2016)

Authored a wide variety of FX for areas such as weapons, characters, and environments for Call of Duty® Online.

More Info

How to Train Your Dragon 2

Product Owner – Torch: DreamWorks Animation (2015)

Partnering with Technology and Production to design DWA’s next-generation lighting application, TORCH.

More Info

Puss in Boots

CG Supervisor: DreamWorks Animation (2011)

My team had the opportunity to work on a colorful sequence in particular, the cat cantina, which was featured in the book, The Art of Puss in Boots.

More Info

Megamind

CG Supervisor: DreamWorks Animation (2010)

My team focused on the grand finale dance sequence featuring all the main characters, a city environment, and the largest set of crowds in the film.

More Info

The Last Airbender

VFX Artist: Industrial Light & Magic – Lucasfilm (2010)

I had the opportunity to work on lighting and FX in the proprietary package, Zeno, as well as to aid in the introduction of Side Effects’ Houdini into the studio workflow.

More Info

Terminator Salvation

VFX Supervisor: Rising Sun Pictures (2009)

The sequences awarded to RSP, that our team in Sydney carried out, included full CG stormy ocean shots with the Osprey helicopter which included several different layers of rain, atmospherics, as well as very complex water fx.

More Info

Harry Potter and the Half-Blood Prince

VFX Supervisor: Rising Sun Pictures (2009)

This award had a breathtaking variety of work including shots with hundreds of CG props, fluid simulations, volumetrics, particle effects, character animation, cloth sims, CG environments, CG set extensions, loads of concept artwork, and some of the most challenging compositing work I’ve come across.

More Info

Superman Returns

Lighting Supervisor: Rhythm & Hues Studios (2006)

Our team focused on the Ship Rescue sequence of the movie where crystal structures grow from the sea floor out in the open ocean. Several of the shots in this sequence were full CG encompassing ocean and water effects, crystals and a crystal island, digital doubles of the actors, a yacht, a helicopter, a seaplane, and dozens of props.

More Info

X-Men 2

CG Sequence Supervisor: Rhythm & Hues Studios (2003)

In the Plastic Prison sequence of the film, the leader of the “mutant brotherhood” Magneto is being held captive and we focus on his escape. This demanded the creation of a large part of the CG prison itself and the surrounding CG environment.

More Info
Battlefield Mobile

Architected and deployed distributed artistic platform to support Battlefield Mobile.

COMING SOON

Destiny 2

Authored environment FX as well as the death FX for various characters including the Scorn Barons.

Call of Duty® Modern Warfare Remastered

Authored environment FX for various multi-player maps including Pipeline shown here.

Call of Duty® Online

Authored a wide variety of FX for areas such as weapons, characters, and environments for Call of Duty® Online:

  • Exotic & Legendary Weapon FX
  • Zombie Coliseum: custom environment fx, attack fx, stage fx, impact fx, death fx
  • Zombie Island: custom environment fx, attack fx, stage fx, impact fx, death fx
How to Train Your Dragon 2

Partnering with Technology and Production to design DWA’s next-generation lighting application, TORCH. Scope included setting vision, managing tool’s release lifecycle, formulation/design of production workflows, and collaborating closely with UX design and engineering teams on short/long-term strategy. Reporting to Production Technology Executive, led team of 12 direct/50 indirect reports including Production Testers.

Puss In Boots

Directed by Chris Miller and with the artistic vision of Production Designer, Guillaume Aretos, we travel to a variety of different locations — all incredibly rich in detail and color. My team had the opportunity to work on a colorful sequence in particular, the cat cantina, which was featured in the book “The Art of Puss in Boots”. This video shows a progression of a few hero shots from concept art, through to final lighting.

Megamind

The supervillain Megamind finally defeats his nemesis, the superhero Metro Man. But without a hero, he loses all purpose and must find new meaning to his life. I had the opportunity to collaborate on this new property for DreamWorks Animation, directed by Tom McGrath. My team focused on the grand finale dance sequence featuring all the main characters, a city environment, and the largest set of crowds in the film.

The Last Airbender

The story follows the adventures of Aang, a young successor to a long line of Avatars, who must put his childhood ways aside and stop the Fire Nation from enslaving the Water, Earth and Air nations. In this first collaboration with Industrial Light & Magic, I had the wonderful opportunity to work with ILM VFX Supervisor, Pablo Helman, and Associate VFX Supervisor, Craig Hammack. During my time at ILM, I had the opportunity to work on lighting and FX in the proprietary package, Zeno, as well as to aid in the introduction of Side Effects’ Houdini into the studio workflow.

Terminator Salvation

The sequences awarded to RSP, that our team in Sydney carried out, included full CG stormy ocean shots with the Osprey helicopter which included several different layers of rain, atmospherics as well as very complex water fx all done in Side Effects’ Houdini and rendered in Mantra. We had a sequence with the flying Aerostat chasing our heroes driving a jeep, done with Autodesk’s Maya and rendered in 3Delight. And last but not least, we had to digitally recreate Marcus’ terminator hand, played by Sam Worthington, which is revealed as his flesh is burned away by molten metal, these shots were also done using Side Effects’ Houdini for the lighting and fx.

Harry Potter and the Half-Blood Prince

It’s sometimes a bitter-sweet experience when a long project wraps up, and that is certainly the case with Hp6 @ RSP. 297 shots adding up to approx. 22mins of the film, almost a full year in the making, and a crew of about 90 artists. This award had a breathtaking variety of work including shots with hundreds of CG props, fluid simulations, volumetrics, particle effects, character animation, cloth sims, CG environments, CG set extensions, loads of concept artwork, and some of the most challenging compositing work I’ve come across. We used Maya for modeling and animation, all fx work was done in SideEffects’ Houdini, and the rendering was done in 3Delight. Compositing was done using Shake.

Superman Returns

Our team focused on the Ship Rescue sequence of the movie where crystal structures grow from the sea floor out in the open ocean. Several of the shots in this sequence were full CG encompassing ocean and water effects, crystals and a crystal island, digital doubles of the actors, a yacht, a helicopter, a seaplane and dozens of props. Due to the complexity of the water fx, we made use of Side Effects’ Houdini which we used for animation, lighting, fx, and rendering. The artist team was small which made it easier to adapt to changes in creative direction.

In order to achieve a high level of realism in our shots, we complemented CG water effects and simulations with real footage of splashes and white water captured in Tasmania. While the use of water footage gave the look a nice edge, it demanded extra work for selection, cleanup, modification and final balance. The resulting composites for this sequence where some of the most complex you can encounter in visual effects.

R&H was awarded an Academy Award for Technical Achievement for the development of fluid dynamics tools used in Superman Returns.

X-Men 2

In the Plastic Prison sequence of the film, the leader of the “mutant brotherhood” Magneto is being held captive and we focus on his escape. This demanded the creation of a large part of the CG prison itself and the surrounding CG environment. Our other major sequence, the Augmentation Room, covers a fight between Wolverine armed with his metal claws against Yuriko armed with her metal fingernails. We created the CG claws and CG fingernails as well as supporting effects such as scratches and dust.