Full spots, detailed breakdowns, turntables, and references viewable [here].

00:01-00:04 – [American Express, a52 Elastic]
Tokyo Alley – Textures, Look Development
Substance Painter, Maya, VRay
I paired up with another artist, and we learned Substance Painter on the fly to quickly create textures and materials in this grungy Tokyo alleyway! We split up the work and used reference images online to create the look.  

00:04-00:08 – [Hennessy, The Mill]
Gondola, Balloon – Textures, Look Development
Mari, Maya, Arnold
I created textures & shaders for the gondola using reference images from Piccard’s journey in the 1930’s. I also did partial texture & look development for the balloon cloth together with CG lead.

00:09-00:13 – [Universal Studios, The Mill]
All – Layout, Lighting, Precomp
Slide, Trees – Modeling, Texturing, Look Development
Mari, Maya, Arnold, Nuke
Our team created a full-CG version of Universal Studio’s Volcano Bay waterpark in a “hyper real” style. I was responsible for all aspect from layout to precomp, as well as filling in for the CG lead while he was in FL and London for shoots. During this time, I was responsible for my shots as well as delegating tasks to a team of about 10 artists, sitting on client calls, and providing the Head of CG with a list of additional resources needed by the CG team, mainly additional power in RAM, CPU, and render nodes.

00:14-00:17 – [Pepsi, EightVFX]
Stadium Upper Level, Ad/Score Banners, Box Suites, Crowd Clothing – Modeling, Texturing, Look Development, Lighting, PreComp
Mari, Maya, VRay, Nuke
I was CG Lead on a team of 6 artists. We faced the challenge of using plates shot at a stadium with an oval shape, the Rosebowl Stadium, and digitally transforming the stadium into a rectangular shaped stadium, Panther Stadium. We added a second tier of seating in a rectangular shape atop the lower tier’s oval shape as in the plates. From there, we created crowds to fill in the empty seats, built in advertising banners, scoreboard, as well as on-field crowds, referees, field goals, and field line markers. The turnaround was tight but we pulled it off! It was hilarious watching the parody remakes when the ad came true after the Eagle’s Cody Parkey missed a game-winning field goal shortly after the Pepsi ad first aired. 

00:18-00:21 – [BYD, Framestore]
Futuristic Buildings – Textures, Shaders
Opera House – Model, Textures, Shaders
Mari, Maya, Arnold
I referenced sketches from the Art Director as well as buildings in Singapore to create textures and materials on the buildings. 

00:22-00:23 – [Disney, The Mill]
Mermaid Tails – Model, Texture,
ZBrush, Mari, Maya, Arnold
The Mermaids in the spot were a coast-to-coast effort where I worked as the model/texture artist in NY together with the CG lead/look dev artist out of LA. I used photo reference provided by the client to develop the design of the Mermaid’s shape and look. I modeled the mermaid tails by starting with a base mesh in Maya and taking it to ZBrush to sculpt scales and details on the fin to match a combination of provided references. After modeling, I created the textures in Mari, then created a base shader in Arnold complete with turntable for handoff to the Look Dev artist to take the rest of the way and into shot lighting.

00:24-00:26 – [Kim Crawford Wines, The Mill]
Chandelier, Wine Rack, Glasses, Tables, Wine Bottles, Stools, Handrail, Pendant Lamps – Model
I modeled the props and wine bottle for a 24-piece zoetrope animation. Pieces such as the revolving handrail and wine rack were modeled in one 15 degree span of a circle and duplicated radially 24 times to repeat perfectly around the spinning zoetrope at 24 FPS.

00:27-00:28 – [Bayer, The Mill]
Weeds – Animation

00:28-00:29 – [ESPN, The Mill]
Bear Traps – Texture, Shader, Lighting, Rendering, Precomp
Maya, Mari, Arnold, Nuke
Bear Traps – Three foreground and all background traps are CG, while midground traps were in the plate. I was responsible for the entire pipeline except modeling, from texturing through lighting.

00:29-00:31 – [Lockheed Martin, The Mill]
F-35 Fighter Helmet – Model
I modeled the F-35 helmet in Maya to provided reference of Lockheed Martin’s newest Helmet model.

00:31-00:32 – [Montefiore, The Mill]
Architectural Models – Textures, Shaders, Light, Render, Precomp
Maya, Mari, Arnold, Nuke
Our team of 5 lighters worked together texturing, shading, lighting, and laying out shots for all 8 buildings. Platforms were in the plate, and CG architectural models were added on top.

00:32-00:37 – [Toyota, EightVFX]
Road – Layout, Model, Texture, Shaders, Lighting, Rendering, Precomp
Car – Layout, Lighting,
Maya, Mari, Arnold, Nuke

To improve visual clarity of the spot’s white vehicle, I created a wet tar road to replace the snowy white roads that were shot in the plates. This included textures made in Mari, layout of fresh road geo in each shot, reflections of trees in lighting, and hand-painted mattes provided to comp to blend the CG road into the plate with snow along surrounding edges.

00:38-00:40 – [Trex Decking, Framestore]
Deck, Handrails– Modeling

I used NURBs to model the deck, with curves kept live to accommodate design changes as well as quick and easy previs animation while the spot was in development. Using photogrammetry, LIDAR scans, and topographical measurements of the terrain in the back yard, I created a rough set for previs and design of deck shapes that would be accurate to the real world for use later on in lighting.

00:40-00:41 – [Nike, The Mill]
Jersey & Shorts name & number – Blendshapes, Animation, Camera Track

After the spot had been completed, the design of the uniforms changed resulting in the need for numbers on the jerseys and shorts to be replaced, as well as players’ last names to be added to the back of their shirts. I tracked the name & numbers onto the uniform, then sculpted each one frame by frame to give a cloth-like effect as one with the uniform.

00:41-00:42 – [Crown Royal]
Antique Billboard – Model

00:42-00:43 – [The Orville, CoSA VFX]
Spaceship – Lighting
Maya, VRay, Nuke

00:44-00:46 – [American Express, a52 Elastic]
Airplane Wing – Textures, Shading, LookDev, Lighting, Rendering, Precomp
Clouds – Lighting, Rendering, Precomp
Mari, Maya, VRay, Nuke

00:46-00:47 – [Energizer, The Mill]
Bunny, Drum – Lighting, Rendering, Precomp
Maya, Arnold, Nuke

00:48-00:53 – [Swamp Thing Season 1, CoSA VFX]
Vines, Glass Window, Hallway/Room/Water Interaction – Layout, Lighting, Rendering, Precomp
Maya, VRay, Nuke
Aiming for accurating CG/plate interaction from the vines to the hallway in lighting, shadows & reflections on the walls, CG shattering window glass, flickering & spinning lights, and frequently changing animation passes made for some fun shots!

00:53-00:56 – [MGM, ChimneyVFX]
Road – Textures, Look Development
Bridge, Road – Lighting
Substance Painter, Maya, VRay, Nuke

I created a tar road to replace the road from set in closeup shots. Because I’d previously created a similar road in Mari at EightVFX, I decided to take this one to Substance Painter to compare tools. By the completion of the spot, nearly every shot had used the CG road or CG elements such as grunge and grime layered into the plate to enhance the realistic look. In addition, I was lighting lead on multiple shots of the bridge. 

00:56-01:00 – [Jose Cuervo, Electric Theatre Collective]
Ceiling Tiles, Broken Ceiling Boards – Layout, Model, Textures
Mari, Maya, VRay, Nuke

01:00-01:04 – [Lucifer Season 4, CoSA VFX]
Lucifer Devil Body, Wings – Lighting, Precomp
Maya, VRay, Nuke

01:04-01:11 – [Final Fantasy, Zoic]
Full CG Shot – Lighting, Rendering, Precomp
Maya, VRay, Nuke

01:11-01:14 – [Under Armour, The Mill]
Steph Curry doubles’ clothing – Model, Texture
Maya, Mari

I modeled and textured Under Armour clothing for Steph Curry’s CG doubles.

01:14-01:20 – [Walmart, The Mill]
Walmart Building, Parked Cars, BG Asphalt – Layout, Look Development, Lead Lighter, Precomp
Maya, Arnold, Nuke

I was lead lighter on the spot, setting up base scenes for each lighting environment to pass off to other artists picking up similarly lit shots. I organized and kept track of which shots were similar, who was on each shot, and what elements were completed/needed to be added to each shot.

I was responsible for lookdev assets including the parked cars, parking lot ground from the midground to background, and I picked up lookdev from another artist on the Walmart building. When the CG supervisor was out at the end of the job, I was responsible for lighting and delivering his hero shots.