A piece TBA Digital created for Philips' Sonicare brand to showcase toothbrush technology. I was involved with the client from initial style guide and storyboards, through to the final output.
All four brushes were modeled in 3DSMax from physical or photo reference, animated, and brought into After Effects for compositing. The initial concept was meant to mimic the curves present in the tradeshow booth design the piece was meant for, while also adhering to Philips' strict brand guidelines.
Tuesday, February 9, 2010
Tuesday, August 4, 2009
Medical Visualisation - Muscle Contraction
Recently modelled in my spare time, medical visualisation showing how muscles contract at a cellular level.
The Actin and Myosin Molecules interacting with each other were sculpted in modelled in 3D Studio Max, Sculpted in Mudbox, and Rigged, Animated, and Rendered with Maya.
The Actin and Myosin Molecules interacting with each other were sculpted in modelled in 3D Studio Max, Sculpted in Mudbox, and Rigged, Animated, and Rendered with Maya.
Friday, May 29, 2009
How to Survive a Streetrace - Fairlane Detail
For the short film "How to Survive a Streetrace," photo-real CG cars would be needed for most of the piece as the characters race. I modelled both the Fairlane and Saturn from photo reference to be used for both these high-speed shots as well as digital set extentions at the beginning of the piece.
The Fairlane model was created from just over 12,000 polygons, though some sections were converted to sub-d to create smoother surfaces, and textured mostly with procedural shaders. Total time was about 3 weeks over a 6 month period.
The Fairlane model was created from just over 12,000 polygons, though some sections were converted to sub-d to create smoother surfaces, and textured mostly with procedural shaders. Total time was about 3 weeks over a 6 month period.
Thursday, May 14, 2009
Get Connected TV - Product Demos
While at Blink Media Works, I contributed to their Get Connected TV show, producing short interstitial pieces for clients Microsoft, Symantec, Yahoo, and Globe and Mail.
Involved in most aspects of their production, I contributed to script-writing, voice-over recording, client approvals, video capture, editing, and finalling of each piece, with demanding turnaround requirements.
Involved in most aspects of their production, I contributed to script-writing, voice-over recording, client approvals, video capture, editing, and finalling of each piece, with demanding turnaround requirements.
How to Survive a Street Race - WIP
Short film written and directed by James Ricker. I collaborated with him on Visual Effects. Some shots are placeholder, as the project is still in production.
All live-action elements were filmed in a closed set, so our challenge was to bring the race alive utilizing CG race sequences involving the cars filmed on set. I crafted both the Fairlane and Saturn car models from photo reference, designed and crafted most of the outdoor sets, and contributed to the final render flow, including materials design, lighting, and animation.
All live-action elements were filmed in a closed set, so our challenge was to bring the race alive utilizing CG race sequences involving the cars filmed on set. I crafted both the Fairlane and Saturn car models from photo reference, designed and crafted most of the outdoor sets, and contributed to the final render flow, including materials design, lighting, and animation.
How to Survive a Fall from 35,000ft
This short film was created by James Ricker, with a pre-pro to final span of less than a week. I provided support as a visual effects artist.
Several shots in this piece were designed with CG elements, notably the wing seen outside the window, tear-away door and debris, as well as the following shot which involved crafting a fully CG plane, a higher detail panel section, and wreckage, which would follow the lead character as he plummets from the sky. I also contributed to some of the compositing work at the end of the piece.
Several shots in this piece were designed with CG elements, notably the wing seen outside the window, tear-away door and debris, as well as the following shot which involved crafting a fully CG plane, a higher detail panel section, and wreckage, which would follow the lead character as he plummets from the sky. I also contributed to some of the compositing work at the end of the piece.
Nissan 370z Unveiling Trailer - 2008
Promotional piece displayed at the 2008 LA Autoshow to unveil Nissan's 370Z. Created using purpose-built, scripted scenes in EA Blackbox's Need For Speed Undercover.
While working on Need for Speed Undercover, marketing was approached with this cross-promotion and I ran with it. I met with Spinifex Interactive in Australia, who provided a direction for the piece, and provided the in-game driving footage to contrast their live action book-ends. My work involved vehicle animation, lighting setup, camera animation, effects scripting, and rough compositing.
While working on Need for Speed Undercover, marketing was approached with this cross-promotion and I ran with it. I met with Spinifex Interactive in Australia, who provided a direction for the piece, and provided the in-game driving footage to contrast their live action book-ends. My work involved vehicle animation, lighting setup, camera animation, effects scripting, and rough compositing.
Cinematics Reel 2008
A compilation of work done while at Electronic Arts Blackbox from 2005-2007. The games shown are Need for Speed Most Wanted, Carbon, and Pro Street.
As a cinematic artist, I worked with producers and art directors to help design scenes that both matched the game's unique visual style, and told the necessary story. Once designed, I also contributed to vehicle and camera animation, game integration and effects scripting, and collaborated closely with software engineers and animators.
As a cinematic artist, I worked with producers and art directors to help design scenes that both matched the game's unique visual style, and told the necessary story. Once designed, I also contributed to vehicle and camera animation, game integration and effects scripting, and collaborated closely with software engineers and animators.
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