Music: Linkin Park x Steve Aoki - A Light That Never Comes

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Breakdown

0:02 – Drive Hard

0:12 – Resident Evil: Retribution

0:18 – Patrick

0:35 – Santos

0:37 - Resident Evil: After Life

0:41 – Patrick

0:44 – Donut King

0:45 – DZ Deathrays

0:48 - Resident Evil: Retribution

0:49 – Patrick

0:50 – Gold Lotto

0:52 – Mako Mermaids

0:54 – Instant Scratch-Its

0:56 – Queensland Treasury

0:57 – Mover

0:58 – Lefdal

1:00 – Three Musketeers

1:05 – Silent Hill: Revelation

1:09 – Mako Mermaids

1:12 – Lefdal

1:16 - Queensland Treasury

1:21 - Resident Evil: After Life

1:24 – Ghost Rider: Spirit of Vengeance

 

Drive Hard (Feature Film)

As 3D Generalist for the project, I was responsible for compositing a handful of VFX shots, as well as the following for the opening sequence that I worked on in collaboration with Manuel Mantero:

  • Designed and pre-visualised sequence.
  • Retopologised and rigged engine using Maya.
  • Initial look development through to final lighting and shading using vRay.
  • Composited in After Effects

Patrick (Feature Film)

As 3D Generalist for the project, I was responsible for independently designing, building, animating and lighting the following CG shots using Maya and vRay:

  • Keyboard that types on it’s own.
  • A syringe stabs an eye and injects it with fluid.
  • Neurons that react as electricity pulses through the brain.
  • Inanimate objects flying around a room in a magical tornado.
  • A seat belt that traps a man in his car.
  • Electric cables that wrap around a women's arms and inevitably kill her.
  • Headphones that snake out of a mans pockets and jam themselves into his ears.
  • An eye to match the actors real eye for an extreme closeup with a reflection.

DZ Deathrays (Music Video)

As VFX Supervisor for the project, I was responsible for the following:

  • Pre-production planning and design of shots and methodologies for implementing visual effects.
  • On set VFX supervision.
  • Animation, lighting, shading and rendering using Maya and vRay.
  • Composited shots in After Effects
  • All 3D work was done in the space of 2 weeks entirely after hours.

Mako Mermaids (TV Series)

As 3D Generalist for the project, I was responsible for the following:

  • Creating water simulations for Mako Mermaids:
  • Bringing bodies of water to life using Realflow.
  • Morphing from humans to Mermaids and back again in a gush of Realflow water.
  • Bubbles around transformations and under water using nParticles in Maya.
  • All shots were rendered using Maya and Mental Ray

Santos (Educational Video)

As 3D Generalist for the project, I was responsible for the following:

  • Designing and Pre-visualising the entire 7 minute animation.
  • Building a full CG swamp environment from the time of the dinosaurs.
  • Creating the drill, as well as the drilling site, in 3D and show it entering the ground.
  • Modelling, rigging, animation, lighting, shading and rendering using Maya and vRay.
  • Composited shots in After Effects

Queensland Treasury (TVC)

As 3D Generalist for the project, I was responsible for the following:

  • Look development and animation of holograms
  • Modelling Australian School
  • Composited shots in After Effects

Resident Evil: Retribution (Feature Film)

As CG Lead for the project, I was responsible for the following:

  • Conducted lighting and shading look development on tentacles coming out of zombies mouths.
  • Designed animation and projection technique to realistically have the mandibles move through the zombies throat and exit its mouth. 
  • Led animation and lighting team through the sequence of tentacle shots.
  • Animated axe flying from her hands and through the camera in stereo space.
  • Quality checked all stages of production, including tracking, match moving, stereoscopy, animation, lighting and compositing.
  • Coordinated teams, designed work flows and taught techniques to artists.

Ghost Rider: Spirit of Vengeance (Feature Film)

As CG Lead for the project, I was responsible for the following:

  • Conducted look development on the Ghost Rider's half transformed face.
  • Created a workflow for the effect and led a small team of 3d artists and compositors to complete sequence of shots.
  • Rigged a butterfly for use in animation.
  • Created a mushroom that animated on as if it was growing really fast.
  • Projected real fire plates onto his arms as a fast and effective way to have him catch fire without have to create CG flames.
  • Quality checked all stages of production, including tracking, match moving, animation, lighting and compositing.
  • Coordinated teams, designed work flows and taught techniques to artists.

Three Musketeers (Feature Film)

As CG Lead for the project, I was responsible for the following:

  • Led animation, dynamics and lighting teams to create an explosive sequence of metal, spiked balls being shot into a hallway and wreaking havoc.
  • Led asset team to create a full CG shot of crossbows hidden behind the wall.
  • Led dynamics team to create billowing dust and cloth simulations that were required to behave in a very specific way.
  • Conducted look development on CG wires that were ultra thin and sharp.
  • Designed projection technique that was used to create realistic face replacements.
  • Quality checked all stages of production, including animation, dynamics, stereoscopy and lighting.
  • Coordinated teams, designed work flows and taught techniques to artists.

Silent Hill: Revelation (Feature Film)

As CG Lead for the project, I was responsible for the following:

  • CG fog look development and ensuring the fog had a sense of depth in stereoscopy.
  • Created a fog rig to ensure short set up times and consistent look and quality between shots. Then led team through multiple large sequences.
  • Added gore elements and glow effects to the medallion.
  • Led dynamics team to create fog for shots where it needed to animate on or off.
  • Quality checked all stages of production, including tracking, match moving, stereoscopy, animation, dynamics and lighting.
  • Solved technical problems faced by team members and offered creative solutions to compositing supervisors.
  • Coordinated teams and was responsible for the planning and status of over 100 shots, then scheduling them among 30 artists.

Resident Evil After Life (Feature Film)

  • Conducted lighting and shading look development on the white facility and led a team to complete a large sequence involving them.
  • Created an underground facility and completed 2 lengthy shots which involved panning the facility and travelling inside. This included previsualisation and look development and compositing.
  • Technical Director for all rendering and stereoscopy issues faced by artists.
  • Pre-visualised a full CG sequence involving following a swarm of virus' that get injected into the blood stream.
  • Modelled and rigged 2 different micro organisms, as well as rigged multiple human characters.
  • Animated the heads of soldiers flying off their bodies.

Mover (Short Film)

  • Created a CG can that moved on it's own.
  • Created the opening titles of the film, which involved seamlessly transitioning from a full CG shot to Live Action.
  • Made a bunch of CG paper dynamically fly around the character.
  • Completed all aspects of shots, including Tracking, Modelling, Lighting, Shading, Animating, Dynamics, Rotoscoping and Compositing.

Lefdal (TVC)

As CG Lead for the project, I was responsible for the following:

  • Set placement and asset management.
  • Crowd simulation Technical Direction, including rigging and dynamics.
  • Motion capture TD, including developing a script to cleanup graph data.
  • All Lighting and Rendering. Some Modeling, Shading and Projections of various assets.

Donut King (TVC)

  • Creating the 3D letters that burst out of the packaging.

Gold Lotto (TVC)

  • Lighting and shading of "What's Your Monday Dream," as well as air balloons, clouds and sun.
  • Inflation of "What's Your Monday Dream" and dynamic bouncing using nCloth in Maya.

Instant Scratch-Its (TVC)

  • Skeleton Animation in Maya