(click on thumbnails for more information)
I performed all of the VFX work on this single shot short film, from practical on set elements to the final composite. The most challenging part was that I could not employ most of the usual cheats since the dozens of layers of CG elements needed to hold up over 7300 continuous frames.
I was heavily involved in lighting design of St. Peter's Basilica, and developed tools for much easier and faster turnaround of indirect diffuse lighting. I was able to parallelize the calculation of several passes of occlusion and indirect diffuse on a point cloud of ~20 million points, dropping those calculations to minutes of real time. The final frames rendered a dozen lighting passes in seconds, with very little tehcnical input from the artist. Everything else was up to the fantastic people at Spin VFX.
While primarily a software developer (writing shaders or plugins to extend or integrate Houdini and SiTex Graphic's Air), I occasionally put in some time matte painting and compositing.
Research and development of stadium crowd generation and control software. A point cloud would describe the location of each agent, and attributes of that cloud would describe their perceptions and emotional state, influencing which animation loops would be blended together into the final shot. I could render 60k agents in seconds using less than 100MB of memory.
I performed all VFX on this surreal short film. This is just one short set of shots from many.
I performed all VFX on this short film. Many of the shots required blending of the two primary outdoor sets, which were filmed seperately. This is just one example of many in which there were significant lighting differences bettween the sets.