As a Tracking and Match Move Supervisor, I held a pivotal role in ensuring the seamless integration of camera tracking and match moving processes within our production pipeline. Collaborating closely with the Head of CG and executives, my primary focus was to identify and rectify inefficiencies and quality control issues within these critical areas.Drawing upon my extensive experience in the field, I spearheaded discussions with various departments, including Layout, Compositing… Show more As a Tracking and Match Move Supervisor, I held a pivotal role in ensuring the seamless integration of camera tracking and match moving processes within our production pipeline. Collaborating closely with the Head of CG and executives, my primary focus was to identify and rectify inefficiencies and quality control issues within these critical areas.Drawing upon my extensive experience in the field, I spearheaded discussions with various departments, including Layout, Compositing, Animation, and Lighting, to streamline workflows and enhance overall efficiency. By pinpointing pain points and implementing targeted solutions, I played a crucial role in optimizing our production pipeline.One of my key responsibilities was to develop and refine workflows and specifications for tools tailored to our dynamic pipeline environment. This involved not only addressing current challenges but also anticipating future needs and ensuring that our tools and processes remained adaptable and scalable.Throughout this journey, I leveraged my expertise to drive innovation and foster collaboration across teams. By facilitating clear communication and fostering a spirit of cooperation, I helped to create an environment where ideas could flourish, and challenges could be overcome collectively.In essence, my role as a Tracking and Match Move Supervisor was about more than just technical expertise, it was about driving positive change, fostering innovation, and ultimately, contributing to the success of our production endeavors. Show less

As the Layout and Final Layout Supervisor, I was responsible for leading a team of artists and overseeing the production process from beginning to end. My main role was to ensure that the show's layout and final layout met the highest standards of quality and creativity.Responsibilities included:- Leading and supervising a team of artists in the layout and final layout of the TV series. This involved assigning tasks to team members, setting deadlines, and ensuring that the team… Show more As the Layout and Final Layout Supervisor, I was responsible for leading a team of artists and overseeing the production process from beginning to end. My main role was to ensure that the show's layout and final layout met the highest standards of quality and creativity.Responsibilities included:- Leading and supervising a team of artists in the layout and final layout of the TV series. This involved assigning tasks to team members, setting deadlines, and ensuring that the team was working effectively and efficiently.- Collaborating closely with the show's director, art director, and other department heads to ensure that the layout and final layout of the show aligned with the creative vision and goals of the project.- Providing training and mentorship to team members, sharing knowledge and expertise to help them develop their skills and grow in their roles.- Overseeing the production process from start to finish, ensuring that the project was completed on time and within the given budget.- helped develop ideas for tools for workflow and efficiency - Conducting regular quality checks to ensure that the work produced by the team met the high standards of the project.- Transitioning into other departments as the show wound down, taking on roles such as asset QC and lighting using Arnold.Throughout my time at Lucas the Spider, I was dedicated to the success of the project and to the growth and development of my team. I enjoyed the mentoring and teaching aspects of the role, sharing knowledge and expertise with others to help them achieve their best work. Show less

As the CG Supervisor/Head of CG at Mavericks VFX, I was responsible for overseeing all aspects of CG work.I was responsible for brainstorming ideas and solutions to any problems that arose during production. I was always eager to learn new techniques and software in order to solve problems more effectively. For example, I gained expertise in crowds (miarmy), fluid simulations (bifrost), and hair simulation (Yeti).As the CG Supervisor/Head of CG, I was also responsible for… Show more As the CG Supervisor/Head of CG at Mavericks VFX, I was responsible for overseeing all aspects of CG work.I was responsible for brainstorming ideas and solutions to any problems that arose during production. I was always eager to learn new techniques and software in order to solve problems more effectively. For example, I gained expertise in crowds (miarmy), fluid simulations (bifrost), and hair simulation (Yeti).As the CG Supervisor/Head of CG, I was also responsible for overseeing our team of talented artists. I provided mentorship and guidance to help them achieve their best work. I also identified areas for workflow and efficiency improvements and implemented changes to help our team work more effectively. CG camera moves, Layout, compositing, asset creation, simulations, rendering and so many other skills used during my time at Mavericks.Overall, my time as the CG Supervisor/Head of CG at Mavericks VFX was incredibly fulfilling with many great relationships built, multiple award nominations and I made a significant impact on the company's success. Show less

Previs, camera work, object tracking, cloth/vfx simulation and compositing, for the Expanse, the Strain and hell on wheels.

Covert Affairs season 5, Suits season 4.

Shepherd technology from tool developers to the production floor and to help shots progress from one department to another. Serve as a technical generalist who can brainstorm and implement production approaches, solutions, assist in setting up shots and provide technical support for other artists working on the production. Help to maintain studio production tools by identifying and documenting bugs or issues (and providing examples) for the production engineering development team,… Show more Shepherd technology from tool developers to the production floor and to help shots progress from one department to another. Serve as a technical generalist who can brainstorm and implement production approaches, solutions, assist in setting up shots and provide technical support for other artists working on the production. Help to maintain studio production tools by identifying and documenting bugs or issues (and providing examples) for the production engineering development team, as well as working with artists and team leads to outline and design needed feature requests to existing tools. Assist animators and artists to troubleshoot production issues encountered during asset creation and shot production across the entire production pipeline, and help resolve those issues with data fixes or tool workarounds as required. Support and work with multiple departments, including Modeling, Animation, VFX, Lighting, and R&D. Work effectively in a dynamic and collaborative team environment. Bridge the gap between art and technology by serving as an experienced technical problem-solver, exemplary communicator with a keen eye for creative aesthetics and execution. Participate directly in production tasks as well as develop new workflows and spec out new tools and techniques or improve existing ones. Oversee and support day-to-day operations of assigned projects, and exhibit exceptional communication and interpersonal skills, addressing technical issues promptly with care and professionalism. Assist in training and mentoring of Artists or other Technical Directors. Show less

Gnomeo and Juliet Stereoscopic Crew.

DVFX Sup Underworld 3

Urban Vermin (Houdini Pipeline)Chop Socky Chooks (maya Pipeline)Model, Texture, Rig, Light, CompositeCharacters, Sets and Props.

Ant Bully Crew

Silent Hill Crew

The Wild

The Wild