PROFESSIONAL PROFILE

Graphic artist, designer and self-starter motivated to use aesthetic principles to deliver content and effective visual communications through an extensive art background. Passionate team player bridging art, technology and social media to deliver clear and powerful messages. Skilled leader capable of managing and educating team members through proactive communication while also implementing, troubleshooting and testing software tools.


Senior level Digital Lighting Artist with experience creating photo-real and stylized character and environmental lighting design. Able to effectively manage, educate and lead teams through proactive communication while also implementing the overall lighting schemes for sequences or environments, troubleshoot and test software tools, and develop the look and materials for assets to be rendered. 



TECHNICAL SKILLS

CGI Software

  • Autodesk: Maya
  • Chaos Group: VRay
  • Foundry: Nuke
  • Radiant (Activision/Treyarch proprietary game development software)
  • Side Effects: Houdini and Mantra
  • Adobe: Photoshop and After Effects

WEB

  • HTML,
  • HTML5,
  • CSS,
  • JavaScript,
  • JQuery,
  • SQL,
  • PHP,
  • XML,
  • Ajax,
  • Adobe Dreamweaver,
  • MySQL Workbench



EXPERIENCE

DIGITAL DOMAIN 3.0, Los Angeles, CA, April 2016

VFX Lighting Artist

  • Maya and Vray look development and lighting artist for a pilot for NBC/Universal TV.


METHOD STUDIOS, Santa Monica, CA, October 2015-March 2016

VFX Lighting Artist

  • Maya and VRay lighting and look-development artist working on “Captain America: Civil War” for Marvel Films.
  • Lit 26 shots in the film and provided look-development for digital double of Captain America.


TREYARCH, Santa Monica, CA, July-Sept 2015

In-Game Lighting Artist

  • In-game lighting artist for “Call of Duty: Black Ops III” using the Radiant platform
  • Worked primarily on the last level of the game called “Zurich – Life”


METHOD STUDIOS, Santa Monica, CA, November 2014-June 2015

VFX Lighting Artist

  • Maya and VRay lighting and look-development artist working on “Ant-Man” for Marvel Films.
  • Lit 15 shots in the film and provided look-development for the winged ants and carpenter ants and several props.


RELIANCE MEDIAWORKS, Burbank, CA, April-September 2014

VFX Lighting Artist

  • Maya and VRay lighting artist working on STARZ TV’s “Black Sails” Season 2


HERO COMPLEX GALLERY, Los Angeles, CA, 2013

Freelance Digital Illustrator

  • Illustrated digital artwork based upon pop-culture icons to be screen printed and sold as limited edition prints
  • “There Can Be Only One” for their Arch Nemesis show based upon the film, “Highlander”
  • “Shiniest in the Verse” for their Bleeding Metallics show based upon the series, “Firefly”
  • “Shane’s 2nd Send-Off” for their officially licensed “Walking Dead” art show in collaboration with AMC Television


RHYTHM AND HUES STUDIOS, El Segundo, CA, 2003 – 2013

Lighting and Environment Supervisor 

  • Collaborated with software, pipeline, and lighting supervisory teams to develop and support lighting technology and workflows throughout the studio, making the process of lighting faster, easier, more flexible and more intuitive for our artists
  • Managed and educated teams with an average of ten artists, including international artists, in shot production
  • Designed the overall lighting setup and aesthetic for sequences, while also lighting my own shots
  • Created material definitions and look development of assets
  • Interpreted client art direction into actionable notes to be addressed by lighting teams
  • Communicated with all departments on the best practices to effectively pass data up and downstream through to final rendering
  • Effectively managed my time and that of my team to reduce overtime needs
  • Documented technical processes for educational and historical purposes, resulting in less development time needed on subsequent projects
  • Developed a revision to our proprietary system for rendering crowds to increase ease of use and efficiency for our artists

Projects

“Seventh Son”, “300: Rise of an Empire”, “Snow White and the Huntsman", all three "Alvin and the Chipmunks" films, "Hop", "Knight and Day", "The Wolfman", "Fast and Furious", "The Incredible Hulk", "Evan Almighty", "Night at the Museum", both "Garfield" films, "The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe", "Serenity", and "Scooby Doo 2: Monsters Unleashed". 

STARGATE STUDIOS, South Pasadena, CA, 2000 – 2003

Lead 3D Artist 

  • Supervision of a team of Maya Generalist artists for live-action television productions
  • Created all visual aspects of shot post-production including:
  • Character setup and rigging
  • Character and effects animation
  • Modeling
  • Lighting
  • Texturing
  • Motion tracking
  • Compositing

Projects

“ER”, “CSI”, “CSI Miami”, “Crossing Jordan”, “Dead Zone”, “Chronicle”, “Helen of Troy” and several miniseries.



ASTON WORLDWIDE ANIMATION, Sarasota, FL, 1999

Character Animator

  Pre-visualization and storyboarding for animated episodic television and direct to video movies The rigging and set up of characters, character animation, and animated effects for said programming

EDUCATION

  • Loyola Marymount University, Web Applications Developer Certificate, 360 Hours, 2014
  • Ringling, College of Art and Design, Bachelor of Fine Arts in Computer Animation


AWARDS

  • Contributing member of the team nominated for the VFX Academy Award for “Snow White and the Huntsman”
  • Contributing member of the team nominated for the VFX Academy Award for “The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe”
  • 1999 SIGGRAPH Art Gallery Technoasis Contributor and Panel Speaker
  • 1998 SIGGRAPH In-Betweens Competition Contributor


COMMUNITY SERVICE

  • Kindergarten weekly volunteer art group leader at Washington Elementary School, Redondo Beach, CA
  • Revised and updated logo for Tuvia Preschool for use in marketing and programming
  • Created chalk art logo for Tuvia Preschool, Redondo Beach, for Hands On Art event, “Chalk It Up”
  • Organized and maintained a weekly Challah fundraising program at Temple Menorah, Redondo Beach


DEMO REEL BREAKDOWN

All work was completed at Rhythm and Hues Studios and is copyrighted to the respective film studios who produced and distributed the films.


  • “Chronicles of Narnia: The Lion, the Witch, and the Wardrobe” (2005) 
  • Lit and rendered all digital characters in this scene of the centaur leaping over the polar bears.
  • Lit and rendered the night shot of Aslan, the lion talking with Susan and Lucy.
  • “Knight and Day” (2010) 
  • Look development and lighting of the CG train used in both of these shots.
  • “Fast and Furious” (2009)
  • Look development and lighting of CG Tanker. 
  • Integration with fully CG environment including rendering FX debris and rocks and interactive light from practical fire elements.
  • “Snow White and the Huntsman” (2012)
  • Lighting Lead for half of the “Troll Bridge” sequence.
  • Created lighting balance and did the initial setup of all shots in the sequence and completely lit this shot of the troll roaring at Snow White.
  • “Serenity” (2005) 
  • Look development and lighting of the generator environment for all shots in this sequence.
  • “Night at the Museum” (2006) 
  • Lighting Lead and Lookdev Artist for this film. Set up and lit these shots of the CG lions.
  • “Garfield 2: A Tail of Two Kitties” (2006)
  • Lighting Lead – set up and lit these particular shots.
  • “Fast and Furious” (2009)
  • Look development and lighting of CG Tanker. 
  • Integration with fully CG environment including rendering FX debris and rocks and interactive light from practical fire elements onto the tanker, CG ground, and practical car.
  • “Knight and Day” (2010) 
  • Look development and lighting of the CG roadsters used in both of these shots. 
  • Can you tell which shot and which cars are practical?
  • “Alvin and the Chipmunks: The Squeakquel” (2009) 
  • Lighting Lead – set up and lit this particular shot.
  • “Serenity” (2005) 
  • Look development and lighting of the generator environment for all shots in this sequence.
  • “Garfield” (2004) 
  • Lighting TD for this shot.
  • “Snow White and the Huntsman” (2012) 
  • Lighting Lead for the entire “Great Father” sequence. 
  • I setup and lit every shot you see here on the reel including the fairies, the giant deer and background animals, and the thousands of butterflies given to me as geometry from houdini. 
  • “Alvin and the Chipmunks: The Squeakquel” (2009) 
  • Lighting Lead – Set up and lit this particular shot.
  • “Garfield 2: A Tail of Two Kitties” (2006) 
  • Lighting Lead –Set up and lit this particular shot.
  • “Snow White and the Huntsman” (2012) 
  • Lighting Lead - Set up and lit this shot.
  • “Serenity” (2005) 
  • Look development and lighting of the generator environment for all shots in this sequence.
  • “Knight and Day” (2010)
  • Look development and lighting of the CG roadsters used in both of these shots. 
  • Can you tell which shot and which cars are practical?
  • “Alvin and the Chipmunks: The Squeakquel” (2009) 
  • Lighting Lead – Set up and lit this particular shot.
  • “Snow White and the Huntsman” (2012) 
  • Lighting Lead - Set up and lit this shot.
  • “Fast and Furious “ (2009) 
  • Lighting Lead – Provided final lighting for the tanker and hitch in the foreground of this shot.
  • “Night at the Museum” (2006) 
  • Lighting Lead - Set up and lit this shot of the CG lions.
  • “Chronicles of Narnia: The Lion, the Witch, and the Wardrobe” (2005) 
  • Lit and rendered this shot of Lucy touching Aslan’s mane.
  • “Knight and Day” (2010) 
  • Lighting Lead for this cut sequence from the film. 
  • Lookdev for the Ducati motorcycle and digital doubles of Tom Cruise and Cameron Diaz. 
  • Lit and rendered the bull and CG stone alleyway, the Ducati motorcycle and in some shots the digital doubles of the actors. 
  • “Chronicles of Narnia: The Lion, the Witch, and the Wardrobe” (2005) 
  • Lit and rendered this shot of Aslan saying “Goodbye”.