Helped develop Verizon's XR content creation pipeline. Supported the artist and TD pipeline for Bluejeans Space Virtual Meeting App.

Developed software for a motor control system for Fantasy Engineering that uses Microchip PIC controllers for embedded communication and motion control. Used QtCreator for a C++ and QML based desktop programming tool and utilized the Unity game engine (with C# software) to provide CG pre-visualizations of live-performance events such as stage shows and music performances.Have also created a FREE party game app with photo contests, a scavenger hunt, icebreaker games, a custom quiz for the event, and contact info collection. It is great for weddings, corporate parties, vendor after-parties, birthdays, family get-togethers, etc. Check out the video:

I developed a metadata file-tagging utility that runs natively on OSX and Windows machines. The program fuses Python code with an AngularJS/HTML5 interface.Then I created a server to upload media files for storage on AWS (Amazon Web Services.) This server is built using the MEAN (MongoDB Express AngularJS NodeJS) stack.

Redid the interface for their "Maker" WEB site converting it from a PHP based server to a NodeJS server. Developed a Unity 3D game-engine demo scene for showing potential customers how binaural audio can enhance Virtual Reality experiences. Worked on various pipeline tools for the creation of Virtual Reality movies. Worked with Javascript, CSS, Unity3D, Occulus Rift, Python, C#, and C++.

Aided in the ongoing development of a sophisticated international production pipeline that allows artists, supervisors, and producers in facilities across the globe to engage in tight collaboration with daily oversight and review of multiple large-scale productions. The company created visual effects for literally thousands of shots in the movies "Hercules: The Thracian Wars","Sin City: To Kill a Dame", "Non-stop", and "Vampire Academy: Blood Sisters". Software was mostly Python and GIT was used for version control amongst developers on three continents.

Was a member of the water team for the film "Percy Jackson: Sea of Monsters." As the title suggests, this film includes large-scale water scenes involving fluid simulations, deformer based ocean waves, particle-system based foam, and particle and volumetric fog and churn elements. Houdini was the primary animation tool and rendering was done with Mantra. Coding was done in VEX.

Created artist tools used by the water team for Sony Animation's CG Feature Film "Hotel Transylvania". These tools, written in C++, VEX, or Bash Shell Language, enhanced the simulation and rendering capabilities of Houdini and Naiad.

Was responsible for creating a visual effects pipeline from the ground up for a new VFX studio. Created my own MySQL-based Digital Asset Manager for tracking and updating models, cameras, and other digital assets and created my own Renderfarm Manager to distribute rendering processes among hundreds of Linux based rack-mounted computers. Also supervised development of all other aspects of the pipeline including dailies, I/O management, color management, and renderfarm submission tools as well as plug-ins for Shake, Nuke, Maya, Naiad, and Arnold. Software development was primarily done in Python along with some C++ and C-Shell scripting.

Was responsible for tool development and look development for photorealistic fire in Disney’s all CG stereoscopic 3D feature film “A Christmas Carol” starring Jim Cary. Since a major character in the story is composed of fire, the fire elements needed to be highly art-directable so as to reflect the character’s emotions and to scare the audience. Emission and deformation tools for Maya fire were created along with a volumetric shaders for rendering the results in Open GL and Renderman. Computer languages: C++ and Mel.

Did FX animation for CG atmosphere, dust, and damage effects for the film: "Journey to the Center of the Earth in 3D". Developed a volumetric fluid plug-in for rendering Maya fluids within Renderman; developed footprint and dust tools for creating reactionary dust and debris along with collision based foot imprints; developed a geometry break-up plug-in for converting polygonal geometry into interlocking 3D Voronoi shapes. This was a “soup to nuts” assignment involving look development as well as animation, rendering, and preliminary lighting and compositing. Primary packages: Maya, MTOR, Renderman, and Shake. Software was done using C++ and Mel.

Did particle effects and crowd animation for hundreds of flying ghost creatures which appear in the Sci-fi channel movie "Librarian II". Also worked on pipeline issues and did some basic character rigging. The packages used were Maya, Mental Ray, and Shake. This also involved Perl, Python, C-shell, and MEL scripting.

Software development and support for asset tracking, motion capture data clean-up, and hardware based particle rendering. Also created a proprietary computer language for initializing and manipulating a particle system developed for "Spiderman III". This job primarily involved C++ software development along with some Perl and Python.

Created an effects pipeline from the ground up for "Looney Tunes: Back In Action", "Scooby Doo Two" and future projects. This meant defining a standardized shot directory structure and creating software and documentation for environment initialization, navigation aliases, disk usage reports, software package version control, package based render queue submission, privileged directory construction, asset publishing, and a MySQL based assignment tracking database. CG packages used were Maya, Mental Ray, Renderman, and Shake. Computer languages: Perl, PHP, Python, pyQT, XHTML, MySQL, MEL, Linux C-shell, and C++;

Added CG dust, smoke, and flying spider guts to sequences for the film "Eight Legged Freaks" and worked on look-development for the spaceship destruction sequences in the Matrix sequels. Maya, Renderman, and Shake were the principle packages utilized. Software was done using C++, Mel, Perl, and C-Shell scripting.

Assisted with muscle growth simulation to portray the appearance and disappearance of a man and a gorilla for the movie "Hollow Man". Dealt with production pipeline problems involving Maya plug-ins and other in-house software.

Developed a flocking plug-in for animating simulated vehicular traffic for the movie "Bicentennial Man". Did much of the final animation and assisted with the lighting and rendering for the final shots. Helped with various technical production pipeline problems. Worked with Maya, MTOR, Renderman, LSF, and Shake. Coding was done with C++ and Perl.

Created CG fire, fog, clouds, and dust for Square's all-CG "Final Fantasy Movie". Wrote a custom renderer to create volumetric Earth clouds and developed methodologies for exploding and collapsing CG building structures. Also created an L-System plug-in for the procedural generation of foliage. Worked with Maya, MTOR, Renderman, Shake, Photoshop, and Elastic Reality. Coding was done with C++, Mel, Perl, and C-Shell Scripting.

Initially assumed responsibility for development of in-house image processing software and then in November '96 transferred to production to become an artist. Worked as a programmer for "T2-3D", "Sgt. Biko", "Chain Reaction", "The Island of Dr. Moreau", and "Dante's Peak" utilizing C++, TCL, and C-shell code in a SGI Unix environment. As a Digital Artist, created an animated "evil planet" surface for "The Fifth Element" using Prisims, Renderman, and custom C++ code. Used fractal based patterns to simulate a molten lava surface that expands, explodes, and crusts over on cue. For "Titanic": was a member of the Ocean Water Team which created CGI water with Arete, Renderman, and in-house compositing software.

Created a simple forward and reverse kinematics control program for controlling a six-legged hydraulic motion-control base used to simulate a flying vehicle in the movie "Judge Dread". Also developed software to reconstruct the path of helicopter mounted camera and reproduce the move with a Kuper motion-controlled stage camera. This was used to take a backyard pool and place it on top of a skyscraper in a fictitious futuristic city. C++ was the software language used.

Developed C language software for theatrical lighting control systems. Wrote the control system for the Encore console series which became one of the top selling lines of lighting consoles in the world. Used C and assembly languages for V25, 68302, and 80386 processors and used PSOS, MS-DOS, and OS/2 operating systems. The consoles feature MIDI show-control interface and outputs DMX-512 lighting signals.

Created a graphical motion editor for Universal Studios' "Back to the Future" and "Funtastic World of Hanna Barbera" motion simulator theme park rides. Used Allen Bradley PLCs to create a show control system for Disney's "Ghosts, Myths, and Legends Haunted Tour of the Queen Mary". Also wrote PLC software for controlling a fire-breathing dragon in MGM Grand's Las Vegas based stage production "EFX". Installed robotic camera electronics for Hanna Barbera and Praxis Film Works that were used in making the films "Pagemaster" and "Fortress". Created message management and display software for SMPTE (Society of Motion Picture and television Engineers) trade shows to broadcast messages on closed circuit TVs. Created a MS Windows based C++ program for controlling complex lighting patterns used in an art sculpture which has been displayed at The Center for the Arts at Yerba Buena Gardens among other places.

Was manager of the R&D Electronics department. Used C++ to developed a digitizing station for creating animations displayed with a laser, developed laser display equipment used for the Pink Floyd World Tour and other stage events, and developed a control system for a multiple output laser-simulation device which uses fiber optics to project beams of light manipulated by servo controlled mirrors and color. This latter system was used in disco-techs around the globe.

For the films "Ghostbusters", "2010", "Fright Night", and "Legal Eagles", modified software in existing motion control equipment to make it easier for camera operators to use. For the films "Poltergeist II", "Big Trouble in Little China", "Monster Squad", "The Boy Who Could Fly", and "Solorbabies", developed a motion editing system for displaying and modifying move data using numerical and graphical techniques.The above mentioned motion editor was then expanded into a complete control system for use on the films "Masters of the Universe" and "Date with an Angel". During the shooting of "Masters of the Universe", I also programmed camera moves and operated the equipment. This system used an IBM compatible computer with C and assembly language based software combined with custom CMOS electronics of my own design.

Led a group of three programmers, including myself, in the development of a 2-D graphics software package for use by the United States Army on large screen tactical computer systems. This was written in 68000 assembly language with some Ada.

For the film "Brainstorm", wrote software for a camera controller and then became the night-shift motion control operator for the filming of effects.

Created software for an audio-animatronic playback system, worked on a video display controller at the EPCOT theme park, and documented the ride control system used on the Disneyland Matterhorn ride.

Designed high speed digital electronics for hard disk controllers. Also did conceptual development work for Burroughs' Office-of-the-Future Multimedia Digital Local-Area-Network which was to combine voice, still images, and real-time light pen annotations into both interactive and electronic-mail communications. The goals of this development effort are still leading-edge three decades later.