Final Destination 6 ( in theatres - May 16 )

CG Supervisor
As the primary VFX team, we tackled complex destruction, procedural environments, city building, and intense gore and death scenes. Additionally, we created a vast array of characters with intricate rigs for cloth simulations, hair simulations, and detailed representations of internal organs, muscle and fat tissue, as well as the skeleton.
This was Pixomondo's first major production using Solaris/USD for scene assembly, lighting, and rendering, and it was instrumental in developing and implementing the Maya>USD>Houdini pipeline.

Chief of War ( in production )

CG Supervisor - Crowd Pipeline
Developed the crowd pipeline and workflows for production, integrating Maya, Houdini, and Solaris. This included implementing a USD SkelRoot character workflow, enabling efficient handling of complex skeletal data across tools. The SkelRoot framework provided a unified structure for rigging and animation data, ensuring seamless interoperability between DCC tools and the Solaris-based pipeline. This approach improved the scalability and flexibility of crowd simulations while maintaining high fidelity in character motion and performance across the entire production pipeline. 

Goosebumps S1 2023

CG Supervisor
Children & Family "EMMY" Nomination for best vfx
The most challenging part of the project was creating the worm monster, composed of millions of individually simulated worms handled by the FX team, while the rigged tentacles and overall character dynamics were developed in collaboration with the Animation team, utilizing ragdoll dynamics for added realism.
We also tackled a large-scale tower of fire featuring extensive pyro effects and crowds engulfed in flames, along with complex magical effects that required detailed look development and execution across numerous shots. 

Maya & The Three 2022

Effects Supervisor
“ANNIE” Award Nomination - Animated Effects
The project presented many creative and technical challenges to the team.

The scope of work was beyond measure, and the budget and schedule seemed unrealistic. In 6 months, we conceptualized and established a fully functional and relatively efficient effects pipeline which allowed us to deliver a massive amount of stylized high quality effects over a short period of time, while dealing with the challenges of effects stylization, breaking the limits of Blender, and the difficulties of working remotely.

In Houdini, we established simplified, artist friendly workflows which allowed non technical artists to focus on the creative aspects of effects production. Blender was used for effects QC, look and shader dev and non procedural effects.
A large library of flexible generic effects assets was built to be used by the final layout and lighting departments to further enhance the look, detail and complexity of the effects while allowing the effects team to focus on the most challenging shots. 

See, Season 3 2022

Effects Supervisor
Complex destruction and battle scenes, massive explosions, procedural environments and set dressing, death scenes, blood and gore.
I developed a streamlined and modular destruction workflow that enabled multiple artists to collaborate on the same shot simultaneously, efficiently managing dependencies between their work. 

Midway 2019

Effects Supervisor
Supervision, development, and hands-on execution of shot work .
Collaborated with other Pixomondo facilities to unify the pipeline and workflow, ensuring seamless asset exchange and teamwork.

Contributed to the development and implementation of open ocean scenes, featuring complex interactions and high-resolution detailed simulations for water close-ups.

Massive explosions, including flak explosion rigs, tracer rigs, boat wake rigs, and underwater explosions.

Addressed challenges in simulation caching and rendering of destruction and water effects by utilizing wedging techniques to split simulations into manageable sections.

Star Trek Discovery S2 2018

Effects Supervisor
"EMMY" award nomination - Outstanding Special Effects
The scope of work included developing advanced procedural tools to automate space battle sequences, managing ship interactions like targeting, shooting, and navigating obstacles such as colliding asteroid fields. This also involved creating massive fields of colliding and exploding asteroids, complex space destruction, cloaking and warp effects, galaxies, space clouds, and procedural modeling of ship interiors. The simplified, modular procedural tools were utilized by CGFX artists, allowing them to focus on artistic shot work while handling the technical complexities.

Star Trek Discovery S1 2017

Effects Supervisor
Massive space explosions and destruction, blasts and energy effects, space warps, asteroid fields, space dust and debris, dust storms, procedural foliage, and trees. Supervision, tool and pipeline development,  shot work 

The Nut Job 2 2017

Effects & Crowds Supervisor
Managed all aspects of effects animation in cg production including establishing a fully functional and efficient effects pipeline in Houdini.
Crowd pipeline development and implementation in shots.
Designed and implemented a set of tools for foliage, including grass, trees, bushes, including keep alive and character/foliage interaction.
Shot work on technically challenging shots or any work out of the regular pipeline.