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Resume

Here is my INFO.  Take a look or come find me on LinkedIn.


 

 

Work Experience: 

Lucasfilm Animation, San Francisco, CA - October 2016 - Present - Lighting & FX Supervisor

Credits:

  • Lighting & FX Lead “Star Wars: Rebels”

  • Lighting & FX Supervisor “The Clone Wars”


Zynga, San Francisco, CA - October 2015 - October 2016 - Senior Lighting Artist

Responsibilities:

  • Lighting direction - multiple titles

  • Material/shader look-dev - multiple titles

  • Acting as the sole lighting artist within the company.

  • Act as lead lighting artist within the studio art leadership group.

  • Create and maintain all elements for lighting real time mobile environments.

  • Work closely with Art Directors to implement lighting solutions, post-processing techniques, etc across all game teams.

  • Review and critique lighting across all game projects.

  • Drive lighting quality initiatives across the company.

  • Mentor, train, & inspire young artists and aspiring lighters.

Software:

  • Unity, Maya, VRay, Photoshop, Zbrush, Substance Designer/Painter



 

Atomic Fiction, Oakland, CA - January 2015 - July 2015 - Senior Compositor

Credits:

  • “Game of Thrones (Season 5), The Walk, San Andreas, Scouts VS Zombies”

  • Composite all aspects of live action and all-cg shots in both mono and stereo formats.

  • Manage all assets across a variety of departments (Digimatte, Lighting, FX, Layout, & Roto)

  • Report to Compositing Supervisor and DFX/VFX Supervisors to address both internal and client notes & comments.

Software:

  • Nuke, Maya, VRay, RV, Shotgun



 

EA - Visceral Games, Redwood City, CA – October 2013 – January 2015 – Senior Lighting Artist

Credits:

  • “Battlefield: Hardline”

Tasks & Responsibilities:

  • Lighting design, look-development, and execution for single-player levels.

  • Place lights, fixtures, and other props using Frostbite Engine.

  • Work with world builders and level designers to create holistic, beautiful, and “next-gen” looking levels.

  • Create FX for lens flares, light volumes, screen effects, and more.

  • Script triggered lighting events and other lighting conditions such as color grades, film exposure, etc.

  • Constant testing/feedback and Jira bugging for new/existing features and tools.

  • Act on direction from the Creative Director.

Software:

  • Frostbite Engine, proprietary development tools, Photoshop, Jira


 

Sledgehammer Games, Foster City, CA – March 2013 – September 2013 – Senior Lighting Artist (contract)

Credits:

  • “Call of Duty Advanced Warfare”

Tasks & Responsibilities:

  • Lighting design, look-development, and execution for single-player levels.

  • Modify Radiant mesh and create lighting-related assets, brushes, & models.

  • Create FX for lens flares, light volumes, screen effects, and more.

  • Script triggered lighting events and other lighting conditions such as color grades, film exposure, etc.

  • Constant testing/feedback and Jira bugging for new/existing features and tools.

  • Report to Lead Lighter and game Art Director.

Software:

  • Radiant, proprietary development tools, Script Develop, Photoshop, Nuke, Jira


 

Industrial Light & Magic (Lucasfilm Ltd.), San Francisco, CA – September 2012 – February 2013 – Senior Compositor (contract)

Credits:

  • “Star Trek Into Darkness”

Tasks & Responsibilities:

  • Composite all aspects of live action and all-cg shots in both mono and stereo formats.

  • Manage all assets across a variety of departments (Digimatte, Lighting, FX, Layout, & Roto)

  • Report to Compositing Supervisor and DFX/VFX Supervisors to address both internal and client notes & comments.

Software:

  • Nuke as well as internal systems/tools


 

Digital Domain Media Group, Port St. Lucie, FL - October 2011 – September 2012 - Compositing Lead - VFX Group

Credits:

  • “Rock of Ages”

  • “Heads Up Display” - New York Mets (client)

  • “Ball Unleashed” - New York Mets (client) (**NOMINATED FOR A VES AWARD)

  • “Amazin’ 2” - New York Mets (client)

Tasks & Responsibilities:

  • Compositing & Look-Dev of highly complex key shots.

  • Support and supervision of all Compositing artists.

  • Direct reporting to VFX Supe.

  • Dailies reviews with all Compositing artists in VFX Supe’s absence.

  • Daily Comp-Lead rounds with artists.

  • Shot bidding, casting of shots to artists, & forecasting render usage.

  • Responsible for shot continuity across sequence/show.

  • Interviewing of all compositing candidates and reporting of feedback to Recruiting.

Software:

  • Nuke


 

PDI/Dreamworks, Redwood City, CA - October 2007 – October 2011 / Dreamworks Animation, Glendale, CA - July 2005 – October 2007

Lead Lighter/Compositor

Credits:

  • “Puss ‘N Boots”

  • “Dragons: Gift of the Night Fury” - TV Special

  • “Night of the Living Carrots” - TV Special

  • “Megamind: Button of Doom” - DVD Extras

  • “How to Train Your Dragon”

  • “Merry Madagascar” - TV Special

  • “Monsters Vs Aliens”

  • “Madagascar 2”

Tasks & Responsibilities:

  • Key Lighting and Sequence Setup.

  • Lighting/Compositing of key shots and assigned production shots.

  • Support to Lighting/Comp artists including training and leadership.

  • Test/evaluate internal proprietary software development (Torch & Comp).

  • Recognized for my contributions in training and development of Dreamworks Artists.

Software:

  • Nuke, PDI/Dreamworks proprietary toolset

Compositing Lead/Supe (show level)

Credits:

  • “Megamind”

Tasks & Responsibilities:

  • Compositing of highly complex integration shots.

  • Compositing bidding.

  • Made suggestions to Lighting Leads on strategies for sequence based compositing needs.

  • Lead the development of the compositing workflow for the show.

  • Train and support Lighting/Comp artists.

Software:

  • Nuke

Shot Lighter/Compositor

Credits:

  • “Shrek the Third”

  • “Bee Movie”

  • “Over the Hedge”

Software:

  • PDI/Dreamworks proprietary toolset

Lead Compositor & Shot Lighter

Credits:

  • “Various Commercials - Walmart”

Tasks & Responsibilities:

  • Integration of animation characters with live action plates.

  • Various tracking and integration of characters’ reflections/shadows on to vehicles and other real world suburban environments.

Software:

  • Shake, PDI/Dreamworks proprietary toolset


 

Warner Bros Animation, Sherman Oaks, CA May 2005 – July 2005 - Compositor - Live Action

Credits:

  • “Four Brothers”

Tasks & Responsibilities:

  • Compositing that required the winterizing of several brightly lit summer shots.

  • This entailed much sky replacement as well as integration of CG snow on the ground and in the air.

  • Plates were also rebuilt/cleaned in Shake to remove unwanted contrails and other distinguishing details.

Software:

  • Shake


 

Digital Domain, Venice, CA May 2004 – July 2005 - Compositor - Live Action

Credits:

  • “Stealth”

Tasks & Responsibilities:

  • Compositing (approx. 25 shots out of the 600+ vfx shots)

  • Extensive CG compositing

  • Greenscreen extraction

  • Complicated 3d hookups

  • Various look development.

Software:

  • Nuke


 

WOT Inc, Van Nuys, CA July 2003 – May 2004 - Compositor & Lighter - Live Action

Credits:

  • “Sky Captain & the World of Tomorrow”

Software:

  • After Effects,Maya


 

Electronic Arts, Los Angeles, CA November 2002 - July 2003 - Lead lighter/Artist

Credits:

  • “Medal of Honor - Pacific Assault”

  • “Medal of Honor - Rising Sun”

Tasks & Responsibilities:

  • Lead Lighting

  • Lighting tools/pipeline prototyping & testing

  • Modeling/Texturing of game assets

  • Skybox Design/Creation

  • UI/HUD Design

Software:

  • 3DS Max, Q3 Radiant


 

Termite Games, Malmö, Sweden September 2001 - September 2002 - Lead Designer/Art Director

Credits:

  • “New World Order"

Tasks & Responsibilities:

This was a startup consisting of between 6-9 people.  I wore a variety of hats doing everything from Level Design to Sound Design to Art Direction.

  • Multiplayer Game/Level Design

  • Production Design of all levels, text, graphics, etc.

  • UI/HUD Design

  • Sound Design

  • Editing & Motion Graphics for tech demos, trailers, etc.

  • Lighting of character models for publicity and in-game graphics.

Software:

  • 3DS Max, Photoshop, Adobe Premiere, Adobe After Effects


 

PDI/Dreamworks, Palo Alto, CA May 2000 - July 2001 - Compositor - Live Action

Credits:

  • “A.I. Artificial Intelligence”

  • “People I Know”

  • “Hong Kong Phooey (Test)”

  • “The Mexican”

  • “The Deep End”

  • “Witches Broom - test”

Software:

  • Shake


 

PDI/Dreamworks, Palo Alto, CA March 2000 - May 2000 - Resource Coordinator

Credits:

  • “The Legend of Bagger Vance”

  • “Mission Impossible 2" (uncredited)


Electronic Arts, Redwood City, CA September 1999 - March 2000 - Customer Service/CQC Tester

Job Responsibilities:

  • Assisted phone customers with debugging/troubleshooting PC games.

  • Extensive training on computer hardware, software, and boot procedures for both Windows and DOS games.

  • Beta tested pre-ship PC & console titles for CQC group including bug write-ups.


 

Education:

Academy of Art University, San Francisco, CA 1995-1997 - Illustration/Computer Arts major

  • Traditional Illustration

  • Figure Drawing

  • Design & Color Theory

  • Photography/Cinematography

  • Editing

  • Additional focus on Computer Graphics and Character Animation.


Robert Louis Stevenson High School, Pebble Beach, CA 1990-1994 - General Education

 


 

Software/Computer Expertise:

  • Maya

  • VRay

  • Nuke

  • Zbrush

  • Substance

  • Q3 Radiant

  • Script

  • Unity

  • 3dS Max

  • Mental Ray

  • Renderman

  • TCShell

  • Javascript

  • Final Cut Pro

  • Adobe Creative Cloud & Photoshop