Work
Music & Experiential Entertainment Projects
Music, Dance & Location-based experiences have been a large part of my career. These types of projects have been the most challenging and the most rewarding. I've been fortunate to be there at the beginning of live digital entertainment and have played a major role in multiple transformational shifts in how people consume and immerse themselves in entertainment and content.
Computer Graphics Supervisor
ABBA Voyage
ABBA Voyage was one of the most complex projects ILM has ever undertaken. ILM Singapore had 5 songs and two talking pieces to execute. It constituted 30 minutes of 20K footage at 50fps in HDR across multiple screens. We had to coordinate with vendors of "in venue" visuals and audio to ensure that the digital versions of the characters were syncronized across the entire performance.
As a CG Supervisor I was responsible for identifying and translating physical specifications and requirements into digital deliverables. I then had to research and validate potential novel workflows to produce these deliverables. All the while supervising a team of 80+ artists and engineers to execute these workflows, and coordinating across 4 different timezones with other similar sized teams.
- Advanced digital doubles: combining motion capture, performance capture and animation.
- AI based face swaps.
- Managing millions of cloud compute and storage resources.
- Translating physical laser machine language into a VFX format
- Replication of DMX based stage lights into a digital format.
Systems Engineer
Turtle Talk with Crush + Monster's Inc Laugh Floor + Stitch Encounter
While at 3DSite, I got the fantastic opportunity to be a part of a brand new set of experiences for Walt Disney Imagineering. We co-developed, the very first interactive digital attractions for Disney's theme parks.
While it may seem commonplace now, these were ground-breaking and extremely innovative when we first created them in the early 2000s.
I was part of a very small team of engineers and artists.
My role was:
- Manage the data flow across different organizations and timezones
- Optimize the graphics and playback of the realtime engine
- Coordinate with physical Systems Integrators
- Conduct play test sessions to send detailed reports to the artists & engineers
- Design game play mechanics for the puppeteer
Virtual Production & Digital Avatar Integrator
T.H.E Dance Company - Strangely Familiar
"An evolving presence enters the space – neither fully human nor entirely machine. In Strangely Familiar, five dance artists encounter this shifting digital being, moving at the threshold between instinct and invention.
Rooted in T.H.E's HollowBody methodology, the work centers the body as a living site of listening, adaptation and alertness to what it cannot fully grasp. As physical and virtual forces share the same terrain and an otherworldly ecosystem reveals itself, the encounter becomes a mirror – inviting reflection on coexistence, healing and how the futures we imagine may depend on our capacity to live with what we create."
My role on the project was many faceted.
- Scoped out, project managed and conduced the markerless motion capture session
- Coordinate and manage the motion capture cleanup
- Coordinate and manage the rig updates
- Coordinate the integration of updated lighting
- Integration of animation
- Unreal Camera animation
- Lighting and rendering
- Package and delivery of digital files for realtime playback at the venue
Digital Program and additional information about the performance available here.
*Images and media from the program and MOONRISE Studios
Music Videos - Compositor
Beck: Girl + DMX: X Gon' Give It To Ya
While in Los Angeles I was fortunate to be the lead compositor for a number of music videos. These two achieved the largest amount of critical acclaim.
- Beck: Girl
- DMS: X Gon' Give It To Ya
Girl went on to win the best Special Effects at the MVPA awards and X Gon' Give It To Ya got a nomination for best visual effects.
