Robin Scher Email & Phone Number

Santa Monica, Ca, Us

A lead architect and developer of the new Unified Pipeline for all the Company 3 business units. Plan, schedule, and allocate tasks for all development teams. Primary developer for app launch, configuration, render farm, transcoder, and Flame integration. Supervisor for the legacy pipeline, maintaining a full production schedule and optimizing render costs on both legacy and new pipelines. Supervise, train, and mentor other developers and TDs. Represent the pipeline team to executives, department heads, and production leads. Regular communication with vendors like Autodesk, AWS, and Foundry.

Seattle, Washington, Us

Design, develop, sell, and support Smedge, a popular render management application. Customers include production networks as large as 1,500 nodes in facilities and educational institutions worldwide, including Sony Pictures Animation, RebusFarm, Boeing, and The New York Times. Responsible for all aspects of operation, from design and implementation of the code base and build system, to testing, documentation, distribution and deployment, business development, marketing, and technical support for end users. Managed junior, senior, and outsourced software engineer and sales teams. Built production pipelines around it on public and private clouds for customers.

Managed large teams of artists on extended projects and worked with top studios, agencies, clients, directors, and international brands. Worked in all aspects of visual effects and motion graphics production from pre-production, to on set, to final delivery for clients including major motion pictures, Clio award winning national broadcast commercials, episodic TV, special events, AAA video games, and interactive CG human holograms. Developed integrated production pipelines and automated production processes. Clients included Duck Studios, Hornet, Method, Riot, Syndicate, Giant Steps, Sight Effects, Zoic, Radium, Ember, Solid, Superfad and Yu+CO. Projects included films (Pirates of the Carribean, Fast and Furious, Cirque du Freak), commercials (Coke, Comcast, Prada, EA, Toyota, Nissan, DirecTV, Ford, and many others), episodic (Buffy, Angel), as well as work for game cinematics, commerical print work, web, CG holograms, real-time CGI, video walls, virtual studio production, and custom installation pieces.

Redmond, Wa, Us

Build and support artist tools and pipelines to deliver assets to the Slipstream engine for Halo Infinite. Tasks include: building interfaces in PyQt for artist use; updating PyMEL and Maya plugins in C++, C#, and Python; building pipeline components, tools, and test frameworks; interfacing with Autodesk to report and manage bugs in Maya; supporting artists with bug fixes and technical guidance to optimize both the assets being created and the time spent creating them.

Orlando, Florida, Us

Build and run the content production pipeline for the world’s largest video wall installations. Lead team of engineers preparing content for playback. Work with designers and project managers to optimize content preparation and quality, and work with technology engineers that deploy and maintain the playback hardware. Customers include the video wall systems for all Microsoft Stores and dynamic check-in and wayfinding signage for the Orlando International Airport and the TSA.

Redmond, Washington, Us

I work as a vendor to the DMT team, part of Microsoft retail stores IT group. I help develop, debug, document and run production services for the Microsoft Store video-walls and related technologies.

Atlanta, Georgia, Us

Taught special effects and video game production to young artists in Seattle.

After freelance work I came on staff to build a solid production pipeline for both the 2D and 3D departments, and to manage teams of artists on projects both large and small, with final control over the look of the 3D work.

Starting as a night time client assistant, worked up to become lead 3D artist on cutting edge national broadcast commercials, episodic shows, and music videos. Worked directly with clients, agencies, and directors, from on-set supervision to final render and supervising compositors. Implemented some of the first advanced production pipelines using Maya when it came out, including one of the first uses of motion capture with it.