This is the culmination of my work from the last ten years in the visual effects industry, Enjoy!

For Alvin and the Chipmunks Chip Wrecked, I painted dirt variations for the Chipettes clothing. I also painted a series of props, leaves, rocks, and vines.

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Over a few months, I worked closely with the animation director to pre-vis the CG heavy shots for Hop. I also worked with the design and story board departments to come up with the layout of the CG environments.

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A detailed stained glass window needed to be shattered by a plane, I painted the glass panels to match exactly what was on set. This needed a one to one match, so the painting had to be very precise.

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I worked with a pre and post vis house to create a vision for the effects heavy shots, as well as the Silver Surfer chase scene. I helped plan, layout, and to create animation in Maya for these shots before the post houses started work.

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Rhythm and Hues was hired to take over this iconic animated mascot, and I was tasked with remodeling and texturing the bee. For this shot, I, also, did the lighting and compositing for the commercial.

I, also, collected set data during the shoot to ensure we had all the appropriate camera information and correct tracking markers.

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I created pre visualization for the scenes involving the major CG asset "Grumpy" the dinosaur. I planned out the chase scenes with Will Ferrell and helped visualize effects shots early on.

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I painted smoke, dirt, and scrape detail for the tank, and the tanks platform for the effects heavy shot.

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I modeled and textured these toothbrush assets as well as supplied the background artist with modeling and texture support to merge Rhythm and Hues's proprietary tools with off the shelf software, such as Maya.

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Our team worked closely with the script and the director to plan out much of the film before locations were chosen and sets built to ensure that the actions and the effects would work.

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With a short timeline of only four weeks, the Rhythm and Hues commercial team created these music playing flock of seagulls for Cape Cod potato chips.

I modeled and textured the birds and their instruments.

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We were hired to re-imagine the Wells Fargo stagecoach logo and bring the painting to life.

I was deeply involved with the creation of the technique we used to create the moving painting look. I, also, painted textures for the spot. And oversaw a group of texture painters, who also worked to create the painterly look.

Along with the texturing I also did a fair amount of modeling on the stagecoach and characters to closely match the original painting.

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I matchmoved cars for plates that had little to no lens information. I also modeled geometry for shadow casting and creating CG cameras.

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For Garfield I did camera tracking and matchmoving of characters.

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For the theatrical release of Beowulf the "second eye" needed to be composited for the 3D version of the film. This entailed re-rendering, re-compositing, and in some cases re-lighting shots for the 3D version.

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We were tasked to bring the Chicken of the Sea mascot to life with this web only commercial. I modeled and textured all assets, and did lighting and compositing on a few shots.

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For Night of the Museum, I worked on camera tracking, matchmove, and technical fur simulation.

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The smallest alien "Sparks"  who is befriended by the little girl in this movie was painted in Photoshop and Bodypaint with displacement done in Zbrush. I painted all the maps for this alien, including, diffuse, specular, subsurface, 8 bit displacement, and 32 bit displacement.

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