Antelmo Villarreal Email & Phone Number

Hillsboro, Oregon, United States

Working on creating digital backgrounds and set extensions!!!

Emeryville, California, United States

• Implemented a process that would take Usd assets and use Houdini dynamics to fill bins, create mounds of debris and then export them into our pipeline seamlessly. • Spearheaded a team to find solutions for fluidly changing sets. • Dressed a complicated set that was to be destroyed and required constant communication with multiple departments (Layout, modeling, animation and Fxs)

• Implemented and edited a Houdini tool to create Wetros (Water Metros) procedurally by drawing a curve. Worked closely with Setext and Art department to create their vision.• Assisted with the dressing of leaves on buildings using bloom and tested different levels of detail geo for leaves to minimize load and render time for those buildings.---Overlapping duties---• Dressed various sets with limited artwork, and modeled various assets.Short GG/SELF/PU• Served as dressing support for Good Game. Had to find solutions for new shots that would not destroy old work already released to the pipeline.• Helped set Dress the short "Self" by adding vegetation using Houdini's scattering tools. • Helped PU with onboarding for new hires and assisted in the creation of a new class, Storytelling with Camera and Dressing.

• Modeled and dressed sets using Houdini heightfields and worked closely with the Layout Department to ensure the environment could support a chase through a Pinnacles Forest, a Lava Geyser field, and a vast empty crater valley. • Implemented a process to add detail fast to a previs Mine Set using Heightfields and worked closely with the Shading Department to make sure created Heighfield geo could be easily shaded.• Implemented a process to be able to bring USD data from Houdini to Maya so that Maya artists could edit work, using proprietary tech.• Quality controlled the sequences I worked in and when shots were created outside the scope of the set, formulated solutions to save time and work for other departments. In some cases, this involved working closely with an animator or layout artist.

• Led a team in procedural asset creation and placement, to create sets, using Houdini and Maya.• Managed the transition of our team to a new Usd pipeline.• Created a structure where my team was also in charge of quality control of sets as they traveled to other departments.• Implemented a strategy for the creation of a grass grooming tool and ambient motion for all plant assets.

Procedurally created many locations. An island made out basalt.A functional city, with trash cans, lights, trees, parked and animated cars. A Mansion that looked like it was destroyed by time with the anticipation that it would be used in the third act and hold about 200 shots. All the elements had to be flexible enough to move if needed. In this movie I worked in conjunction with modeling to solve special issues and was in charge of overseeing all the sets I created through the pipeline. I worked closely with the art department to implement changes in the look of the movie and provided solutions eliminated additional work for departments who already had finished their task for sequences.

I was in charge of procedurally building a fictional town in Spain. Some of the challenges were to create a place that would serve the story and be flexible enough to be changed in any department.

In this movie our team created complex efficient sets as well as created supplemental efxs for an already complex world. I was personally in charge of creating supplement asteroid animation for the first act, as a form to illustrate The Big Bang. I was also in charge of creating the Crystal underworld procedurally for all of third act and make it efficient enough to render. My duties in this film also included to come up with exploratory material, looks and visual solution for the art director in world creating.

Part of my job is interpreting 2d images into 3d sets. Our team ins in charge of discovering how the classic comic gets to be translated into this new interpretation, while keeping the original whimsical feel.

In these movies my duties was not only of creating the sets, but also as technical support for other departments. My duties extended to helping with background animation cycles on vegetation, creating proxies, trouble shooting high ram renders, helping implement a process that would support propagation sticking to moving objects. This lead to a VES nomination in 2013 for Epic.

In this movie my main duty was to create lush forest for the land of the dinosaurs. Challenges consisted in creating a 3d look on what the art director had put on paper. Unlike the other Ice Age movies this one had a lot of vegetation.

Assembly is the check point to assure that assets are working. Some of the duties involve shot dressing, propagating and working with the Art director to obtain asset layout lock.

Responsible for Modeling, texturing, rigging, animating, lighting and compositing comercials, also overseing the live action crew when they shoot plates for moving.

Reposible for managing crew and organazing the day to day events for a reality TV Series.

Responsible for creating hair motion, fixing assets, editing efxs, and animating bg characters. Our department was responsible to trouble shoot and fix any problems that stopped other departments from moving scenes forward through the pipeline.

Responsible for secondary animation and animation of background characters.

Bfa, Animation

Aa, Graphic Design

Activities and Societies: Newspaper and photography.