This is the short edit of my Demo Reel.
While I worked in one manner or another on almost every one of PDI and DreamWorks Animation’s films from 1997 to 2015, this reel covers the films I was specifically assigned to. My last films, B.O.O., was only half done when it was cancelled when PDI was closed. Material from B.O.O. is not public yet, but I can arrange a private viewing of my B.O.O. demo reel in some circumstances.
Megamind: On this films was “city supervisor”. I lead a cross department team to create Metro City and developed a suite of procedural architecture tools. With only a few exceptions, every building was built by our team. We also built the roads, sidewalks and set dressed them procedurally. The entire city was 8 square miles. The shots in the reel show the city in all it’s glory.
Madagascar: On this film I was a lead FX animator, and I focused on the jungle. I wrote a new pipeline called “tax” which was designed to handle the massive number of (moving) assets in the jungle sets. One of the central features were tool to manage assets by “region”, and this system worked itself into the main pipeline after the film and is now a central feature in the new lighting tool called Torch. I also supervised all the crowd shots and did many of them myself, which are not featured on this reel.
Shrek 2: On this film I wrote a new hair and fur system. For the hair system, I did tasks as diverse as doing the styling and grooming for main characters (such as Handsome Shrek), writing the system itself, and re-writing low level components of the renderer (such as the curve tessellator) – sometimes all in the same day! I also wrote a system called “Smoosh” which handled fur-object interactions driven by the fact that Puss was a furry character who wore a belt and boots. I also continued to author the crowd system and supervised and animated many crowd shots.
Minority Report: I was in charge of the shaders for the show, in particular the metallic spiders featured here.
Shrek: I was an FX lead and also the shader lead for the show. I wrote almost all the studio’s core shaders during this time. I also worked on trees and foliage, wrote a system for Donkey’s fur and for Fiona’s hair. I also worked with liquids, such as the “beer mud” shots in this reel.
Antz: While I started my first show as an “assistant animator” I was promoted twice during production and ended with a Lead Animator credit. I co-wrote the crowd system, supervised and animated most of the crowd shots and also worked on a fracture system for dirt.