The "simulation" group involved testing the accuracy of the REAL System's sensors and solvers. A larger complicated python-websocket system was designed before I joined the group, and we decided to shelve that work in favor of a simpler approach where the testing was housed within the C++ codebase of the new backend services.This was a very large repo that used ImGUI and OpenGL running on Windows. The Sim Group (two of us) would add extra interfaces to allow pipelines of testing to be performed. This approach allowed leveraging all the visualization components within the context of the other developer's ongoing work. This was risky but allowed establishing a level of understanding necessary by many folks with different agendas.The simulation pipeline used ground truth FBX, CSV and various other as-needed configuration files and displayed a combination of extra measurement widgets and graphs to show the results of the testing.Prior to the simulation group, I was working on the actual clinical interface to the REAL product, which was a webapp that ran on the providers' tablet. I worked on a few of the visualizations and charts, as well as redesigning one of the body diagrams.

During my first year I was designing and implementing a third-party developer portal. This project was awarded to me based on my extensive experience in the VFX field where coordination of multiple vendors is typically handled by a product like AutoDesk Shotgrid (previously "Shotgun.") The REAL Dev Portal focused on documentation and a basic vendor assignments and contacts, using a headless CMS service. The project was spurred on by a rapidly expanding plan to involve third-party game developers, but as plans dissipated so did the project shortly after we had a working PoC.

Tool development for publishing, asset management for Maya, RV, Nuke and Katana via Shotgun; standalone PyQt and command line interfaces, python modules; training, documentation. Rebuilt legacy element library via Shotgun with additional components. Shotgun Evangelist, and primary support engineer, ported local host to Docker-based version.

PyQt/PyOpenGL software design and development for morphing earth tectonics; photoshop concept art; Python pipeline development; marketing and exhibit high res images; Houdini evangelism, dynamic fracturing, dust cloud F/X, realtime shot previz, rendering and dome-centric OTL development.

Workflow, pipeline, infrastructure, communication, process. Command line tools, Python modules, PyQt and PyOpenGL toolmaking.

Fluid simulation and lighting artist using in house proprietary software.

Designed and developed the Lookdev core toolset. What started out as a few quicky Mel scripts to help me and other artists find textures emerged into dozens of command line tools, python modules, database ops and Qt apps, including PyOpenGL viewers and GLSL shading helpers. It's been a real fun place... and I did most of this while doing lookdev work too, nothing complicated, but a few projects involving managing large quantities of assets. Completed work at IMD after transferring to the F/X department and developed electrical spark and arcing tools in Houdini for a handful of shots I handled.

Look development artist working in the Novato office.

Look development for "The Last Mimzy" cocoon f/x and skin damage for "Grindhouse"

Previz in Maya for "Zodiac"; Animation in Maya for "Mimzy"; Crowd rendering in Tweak proprietary Python pipeline for "Invincible"

Maya tree modeling, animation and IBL rendering; 3DS Max cityscapes; Houdini gun f/x; all for "Superman Returns"

Writing a python program that is used in screenplay visualization. Renovating my bathroom. Updating my reel.

Compositor on "The Darwin Awards"; helped design new company infrastructure, advertising.

Taught four courses in Computer Graphics, Portfolio review; attended graduation student reviews; assisted in directing the department; wrote curriculum for Particles course.

CG Supervisor for "Deep Blue Sea" (underwater look development); CG Supervisor various Clio commercials. FX Unit Supervisor for "Frankenstein". VFX Supervisor for "Bounty Hunter" game cinematics; FX TD on "Perfect Storm", "Mission to Mars", "Planet of the Apes".

Broadcast Designer for many of Canada's largest clients; Prisms and Houdini.

Designing Houdini UI.

Designed and animated many large Canadian broadcast pieces. Prisms. Was first employee for Side Effects which started at Alias. Wrote some Alias rendering code.

Manager of Software (5 programmers) in the LA satellite office. Designed and programmed some of Prisms (including the first tool.) Programmed and performed a realtime on-set SGI display in GL.