Reel Breakdown

1. Penguins of Madagascar (2014)

Responsible for "Dave the Octopus" face rig and neck integration. Tentacle and body rig by Nathaniel Dirksen. Extreme range of the face required many custom non-standard setups from the typical DreamWorks rigging workflow. The range of the face rig that was achieved even allowed animators to use the same character for the "cute" version of Dave (city skyline shot). It only required some minor maintenance and optimization techniques on top. I was also responsible for mermaid penguin face rigs, octopus henchmen face rigs, along with other misc. face and prop rigs throughout the film. Produced with proprietary rigging software at DreamWorks Animation.

2. "Jimbo and Baby Francis" from "The Boss Baby" (2017)

Responsible for Jimbo and Baby Francis Body Rigs, including setting up custom controls and shapes for jiggle and fat rolls. Also responsible for Baby Francis face rig and the diaper rig setup on both characters. Produced with proprietary rigging software at DreamWorks Animation.

3. "Gorilla Dad and Mom" from "The Boss Baby" (2017)

Responsible for face rigs on the two gorilla characters. Bodies by Alan Weider. Required quick turnaround and also extensive range for broad stylized look. Produced with proprietary rigging software at DreamWorks Animation.

4. "The Forever Puppy" from "The Boss Baby" (2017)

Responsible for face rig on the forever puppy. Body by Kevin Rogers. Produced with proprietary rigging software at DreamWorks Animation.

5. Mr. Peabody and Sherman (2014)

Responsible for various hair and clothing rigs. Had to set up all the school children hairstyles (excluding Sherman and Penny) for crowds. Required warping a set of hairstyles from modeling to various children heads, compose the shape of the warped hairstyles, and set up simulation parameters and custom animation controls. Produced with proprietary rigging software at DreamWorks Animation.

6. DIGITAL PALEOART: Reconstruction and Restoration from Laser-Scanned Fossils

Responsible for all elements. This was my master's thesis, that ventured into the realm of digital paleoart. The project involved the complete anatomically accurate restoration of an extinct crocodylian from New Jersey. I started with the digitized fossils, and used the scientific literature to help reconstruct the biology of the skeleton and musculature, which then allowed me to build and texture the creature's outer skin. The rest of the project called for lifelike motion of the animal, and to portray Thoracosaurus neocesariensis as it likely behaved in life.

This project won the prestigious National Geographic Lanzendorf PaleoArt Prize for Digital Modeling and Animation from the Society of Vertebrate Paleontology in 2011. It also won the Best Graduate Poster Presentation for Creative Arts and Design Research at Drexel University's Research Day 2011.

Site: Digital Thoracosaurus Production Blog

Completion Time: 1 Year, Fall 2009 - Fall 2010

Software Used: Geomagic Studio, Autodesk Maya, Adobe Photoshop, Pixologic ZBrush, Next Limit Realflow, Side Effects Houdini, Foundry Nuke, Crazy Bump, UV Layout, Adobe After Effects. Rendered in RenderMan for Maya

7. “Tupandactylus imperator”

Responsible for all elements. This shot was created as an intern project at Side Effects Software Inc. I chose this shot to help develop my character skills in Houdini. Modeling, rigging, animating, fur grooming, dust effects, lighting, shading, and rendering were all completed in Houdini.

Completion Time: 12 Weeks, Summer 2011

Software Used: Side Effects Houdini, Foundry Nuke, GIMP, 3DCoat, Pixologic ZBrush. Rendered with Mantra PBR