Film Productions and Premiere Series Continued:
Kitchen Privileges

Digital Artist at Computer Film Company, Los Angeles (CFCLA): Designed and executed several "vision" sequences where two of the main characters have schizophrenic break downs and start perceiving altered realities.

Alaska

Digital Artist at Computer Film Company, Los Angeles (CFCLA): Built numerous matte paintings for the sequences involving the crashed airplane. Worked on compositing young polar bear with children via split screens and rotoscoping. Built and animated a rope that the children and bear were all holding at once from scratch.

Matilda

Digital Artist at Computer Film Company, Los Angeles (CFCLA): Worked on several blue screens in the flying children sequence. Extensive rig removal for telekinetically floating objects throughout the film. Composited the girl being swung and flown by her pig-tails and replaced her face from one of pain and anguish to a big happy smile.

The Nutty Professor

Digital Artist at Computer Film Company, Los Angeles (CFCLA): Worked on rig removals and plate clean up for the many split screens and green screens that allowed Eddie to play the entire Klump clan as well as plate preparation and rotoscoping for the Godzilla sequence with a giant Klump walking through the city.

Independence Day

Digital Artist at Computer Film Company, Los Angeles (CFCLA): Designed and built on-screen graphics for the military compound when they try tactical nuclear devices against the alien mother ship. Also worked as a production coordinator on set for days in the Area 51 hangar involving the refugees and the captured alien craft.

Eraser

Digital Artist at Computer Film Company, Los Angeles (CFCLA): Painted out company logos and replaced them whenever on screen due to a legal snafu with the villainous corporation. Also did some rig removal and crew clean up.

The Arrival

Digital Artist at Computer Film Company, Los Angeles (CFCLA): Worked on rig removals and rotoscoping for several sequence involving the aliens.

Executive Decision

Digital Artist at Computer Film Company, Los Angeles (CFCLA): Paint and rotoscope artist working on composite shots involving the cockpit on the runway.

Before and After

Digital Artist at Computer Film Company, Los Angeles (CFCLA): Paint and rotoscope artist working on mattes for when looking out the windows of the house. Also handled color time wedging of these sequences and working with the compositing supervisor and production to achieve the right look for these shots.

White Squall

Digital Artist at Computer Film Company, Los Angeles (CFCLA): Conceptual artist of the squall itself getting final approval of digital stills from Ridley himself for what the squall should look like. Also handled some paint and rotoscoping duties on other shots.

Waterworld

Digital Artist at Computer Film Company, Los Angeles (CFCLA): Broke down all video temps supplied by production and distributed to assigned artists. First work as rotoscope and paint artist as well as working closely with the Flint/Flame artist to disperse tracking and camera moves to respective artists once designed.

The Quick and the Dead

Production Coordinator and IO Dept. Head at Computer Film Company, Los Angeles (CFCLA): Was in charge of all film-outs on our in house proprietary film recorder as well as handling all incoming film, densitometry readings, coordinating with the labs for match prints or reprints, all data back up and archiving as well as coordinating with artists to get the appropriate material to our proprietary compositing systems.

Mary Reilly

Production Coordinator and IO Dept. Head at Computer Film Company, Los Angeles (CFCLA): Was in charge of all film-outs on our in house proprietary film recorder as well as handling all incoming film, densitometry readings, coordinating with the labs for match prints or reprints, all data back up and archiving as well as coordinating with artists to get the appropriate material to our proprietary compositing systems.

Braveheart

Production Coordinator and IO Dept. Head at Computer Film Company, Los Angeles (CFCLA): Was in charge of all film-outs on our in house proprietary film recorder as well as handling all incoming film, densitometry readings, coordinating with the labs for match prints or reprints, all data back up and archiving as well as coordinating with artists to get the appropriate material to our proprietary compositing systems.

Commercials, Television, Documentaries and other Projects
Dior

Did beauty work and clean up on a 90 second spot for Dior Makeup featuring Natalie Portman which aired in Europe and was shown as a special presentation at Fashion Week.

Quean

Designed preliminary interfaces, avatars, and aesthetics for a group of hackers centering around a female punk hacker investigator who rides a motorcycle and works with an offbeat police officer to solve crimes for an ill-fated pilot.

Darksiders II

Acted as designer for Gradient FX working on the look of 2D and 3D environments and characters as well as writing a new treatment for the commerical when directions changed with the intent and look of the spot.

Wilde Salome

I have worked directly with Al Pacino on his pet project based on the play "Salome" by Oscar Wilde. Much like his project “Searching for Richard”, Al takes a unique look into a famous work and captures the moments on both sides of the camera and curtain for a truly artistic interpretation. Work included design-intensive treatments to footage shot on a variety of formats to achieve very subjective effects to the various pieces as well as transition effects and colorization to enhance symbolism.

Moral Kombat

Feature length documentary confronting the impact of ultra-violent video games on impressionable youth. I acted as visual effects supervisor (all interviews shot on green screen) as well as Art Director to incorporate the artistic value of video games into a hot button issue documentary. Subjects interviewed included as diverse spokesmen as the game designers themselves to professors studying this impact to politicians such as Joe Lieberman bombastically attacking the medium.

Tai Chi

Worked with a renown Tai Chi master to document his internal vision of his manipulation of Chi. Work included particle effects of the symbolical materialization of Chi as he moves through is kata, as well as split screen composites of him forming the five elements and building Chi in unison with each other.

[Scrubs]

Visual Effects Supervisor, Consultant, and Flame Operator at Digital Filmtree. For several seasons (2004-2006) while the show was with NBC I acted as a consultant for some of the more ambitious gags as well as acting as in house supervisor overseeing the weekly output. I composited a number of the shots myself on Flame for some of the difficult outlandish stunts.

US Army

Visual Effects Supervisor, Consultant and Flame Operator at Digital Filmtree. We worked directly with the US Army to devise "Eyes Only" videos of state of the art technology being deployed overseas. I consulted them on plate shoots and then acted as In-House supervisor coordinating 2D and 3D departments and then acted as finishing compositor in Flame for a special inter-department military presentation.

Saturn Advertising Campaign

Inferno artist and Designer on two hi-end German commercials for television and theatrical release. Spots were titled “Schemata” created entirely in the Inferno and “Rebirth” involving CG backgrounds and objects with live action characters. Commercials were the key part in Saturn’s successful “Geist ist Geil” campaign. (Saturn is a large German chain of stores similar to our Best Buy electronic/media stores).

E*Trade Super Bowl 2000 Spot - “Kung Fu Bank Guard”

On-set supervision of wire work and rigging setups in conjunction with the stunt team from “Charlie’s Angels” and Director of Photography from "Titanic". Spot consisted of an elderly Kung Fu Master employed as a “behind the desk” bank guard who foils a robbery attempt.

The Tempest

I worked as a Compositor at CFC:LA just as the Framestore London bought it out but right before Manex bought it from them. Framestore brought over a Made for TV rendition of Shakespeare's The Tempest staring Peter Fonda.  I worked on matte paintings involving stormy nights, added hand animated lightning, and atmospheric moons.  I also did fire and smoke compositing and did some transitions using both of the above.

Skinny Puppy: Greater Wrong of the Right - Live

I took time off of Film and Television work to design an interactive Stage Presentation for the seminal experiment rock band Skinny Puppy. I designed and controlled the footage live on tour with them as well as built the hardware and mobile setup to be able to present the thematic and political visual commentary on the road across North America and Europe.