H o m e
R e e lS h o t B r e a k d o w n S t i l l s F o l i o R e s u m eC r e d i t s
C o n t a c t |
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Professional Experience
"A World Away " - Compositor
June - July 2009
Working from home on this project, I was still able to collaborate effectively with the director to fullfill her creative aspirations by sending stills through on a regular basis.
With brilliant mov compression, I could also send through half res quicktimes for any timing feedback she may have as well.
The objective was to composite a selection of 2d monsters into live action plates, while also making them look as though they were drawn on with crayon as they were solid lined creatures.
I created and tracked in a crayon texture which I used to "outside" the monsters with. I kept the intensity of the texture map "live" to allow for any adjustments that were required depending on the lighting in the live action plate.
Once the look was established, I streamlined the script so it could be easily populated into the other shots, whilst keeping the look consistant.
"Terminator Salvation " - Compositor
February - April 2009
Linear Pipeline - exr - 35mm
Day for night grade. Collaborating with the 2d lead and a small team, I developed a solution to grade one of the characters, "Barnes", for a sequence that was shot in the middle of the desert without a cloud in sight. We needed to make this entire sequence look like night and with fairly diffused shadows. In the original footage, the shadows were hard edged and the specs were extremely hot, as the shots were obviously strongly keylit by the sun.
Barnes was quite challenging, because as the look for Connor and the environment was established, my task was to get Barnes (who is a dark skinned person) to sit in the same environment as Connor. As a result, there were three separate treatments. One for Connor, one for the environment and one for Barnes. If the same treatment was applied to Barnes that had been applied to Connor or the environment, he would become pretty much a silhouette with only spec hits to signify any detail. The tricky part was to make Barnes look as though he belonged in the same environment as Connor, and to maintain a similar relationship between Barnes' hi, mid and low tones to achieve a lovely subtle and gentle fall-off throughout the his levels.
With about a thrird of the colour range to hand over to the client, this was imperative in order to prevent a solarised or compressed look, and to give the client as much colour information as possible so they could adjust/post grade accordingly in DI.
"Harry Potter - The Half Blood Prince" - Compositor
March - October 2008
Linear Pipeline - exr - 35mm
From the very start of the project I was assigned to the Dumbledore Hand Crew where a bunch of us removed Dumbledore's (DD's) live action hand and replaced it with a deteriorating, blackened and sick 3D hand which progressively became more and more decayed throughout the story.
To eradicate the green gloved live action hand, this entailed tracking patches of background scenery in to sit over the live action hand and then pull in as much of the live action wrist/ thumb/ top of the original hand to blend between 3d and the original plate.
The 3D hand shake script included passes from 3D such as uv maps, ambiance to spec, etc to give us the freedom to pull the hand inline with the lighting from the live action plate.
I collaborated extensively with the lighters as much as possible before hand (no puns intended) so hopefully not to much adjusting was needed and it became only a matter of tweaks to get the hand to really sit in.
I loved working with the DD hand crew as we all worked extremely well and passionately together to achieve a great looking hand and within a very short time. Each shot was finalled on an average of every four days! Go DD hand crew!
As DD hand shots were completed, I moved onto keying Harry from blue screens and integrating him with his new envrionment, grading his hair and surrounds. I also created a huge set of moving trees for one shot and worked on some night shots, involving balancing Snapes grade, adding fire and smoke elements, and tracking/integrating
mountains and ground patches for much needed set extension.
"The Ruins" - Compositor
Rising Sun Pictures
Sept - March 2008
Linear pipeline - exr format - 35mm
I worked closely with the 2d lead to help establish the underskin vine look in shake which carried through to most of the underskin vine shots.
As part of the process, I tracked 3D animated vines into place, on arms or legs, and retimed in shake to hit certain premise accents.
The underskin vines varied from shot to shot, depending on shadow and highlight influence and so had to be adjusted accordingly to maintain the same look throught the underskin vines sequences.
In addition, there was alot of bg prep, removal of blood tubes and clean up of general crew kit that was left lying around.
"Animalia" - Compositor
Photon Warner Bros Movie World
Aug - Sept 2007
Linear pipeline
I worked closely with the compositing crew to achieve the same look through out the show which was imperitive for the continuity in this childrens series.
3D throughout, we had alot of room to move, and I experimented with different spell and magical effects. During this time, I did alot of grading day for night, glow effects, temperature and grading to enhance moods, shadow and depth of field additions.
" Action Dan" -
Lead Compositor
Photon Warner Bros Movie World
May – July 2007
It was my role to set up the generic shake script, mood and tone for a 5 episode children’s series. I had to nurture entry level compositors to complete nearly 300 shots in 2 months. I collaborated extensively with the producer, 3d lead and Art director to achieve a look that was in keeping with the directors dreams and aspirations.
I problem solved on a constant basis as to what would be faster, achieving our look in the composite, 3D or a combination of the two.
“Scientia” up and coming feature by Melbourne Director Stephen Amis - Lead Compositor
March – May 2007
Collaborating extensively with 3D modeling, lighting and tracking artists, my role was to orchestrate the complete production of 3d elements, creation and then integration into live action plates, achieving realism in the lighting and matchmoving. Colour management was critical to make the 3d and live action plates look seamless.
Introduction to Shake - Shake Teacher
Australian Film Television and Radio School – Melb
March - 2006
Running over a week, I ran a short intro course on compositing in Shake including everything from keying to compositing in the bash terminal. This also covered file management and managing colour spaces for film and TV, compositing conventions such as premultiplication and colour grading.
"28 weeks later" - Compositor
Rising Sun Pictures
Feb
– March 2007
This was great! The compositing work consisted of changing people's eye colour, adding occular haemorrhages, removing people and vehicles in London streets and parks, exagerating key story telling icons such as brightening crosses on St Paul's Cathedral.
I also added city scapes and openings to tunnels, tracked in matte paintings supplied and one's I created, using Shake's tracker, track information from Boujou and generating track cards in Maya. I added 3d geometry as well as created and supplied mattes for DI.
All of the work was on extremely shaky and eratic camera movement. This was tracking city!
Introduction to Shake - Shake Teacher
Australian Film Television and Radio School – Sydney
Nov - 2006
Same program as above.
"Charlotte’s Web" - Compositor
Rising Sun Pictures
May – August 2006
During this time, I was busy replacing skies, trees and environments and replacing the original Charlotte design with the new.
I also created composites from scratch through scripting in unix and integrated the new charlotte in the live action backgrounds.
Charlotte had to be graded, tracked, grained, roto'ed (if there is such a term) to fit her into the live action plates.
I also created rough composites for the animators to allow for extensive discussion. All work on Linux.
"Road Kill" - Compositor
Act3 Animation
2003 Contract
My role was to enhance shots on an X box game called “Road Kill”. This was great fun! I was completely engaged in creating atmospherics for hazy landscapes and dark dingy bars and nightclubs. Adding reflections, flares, grading, keying and depth of field to name a few. I was given quite a bit of freedom to push the style of some of the shots as this added to the feel of the genre in which the game was set.
3d/2d designer and animator
Re-animator
January 1999 – 2004
My experience with Re-animator has been wide and varied. Creating and designing 3d characters for game companies and for advertising, title design for short films and corporate presentations, web design and development, print and layout for flyers and magazine inserts. Through Re-animator, I have also completed a fully 3d animated short called Caesar’s Phobia. I storyboarded the idea, built and textured the environment and insect models, animated the bugs, set up the shots, composited, created and constructed the title sequence and edited the film. The film was put together using Softimage, After Effects and Photoshop and took approximately 2 years to complete as it was purely after hours work. The process engaged me in a huge learning curve and I went to many courses to become fully adapted to the software I was using, eg the intermediate and advanced After Effects courses through AFTRS in Melbourne and Sydney.
Graphic Designer and web element artist
Fairfax Business Media
August 2000 – 2004
What started off as a 3month contract led to an over two-year relationship with a great company. During this period, I assisted in the design of the BRW Shares, Leverage and Global Odyssey web pages, covering layout, navigation and aesthetic qualities. I introduced, designed and coordinated the use of animated banner ads, for sales expansion and sponsor advertising. I also constructed an animated, emailable invitations for client functions.
Panel Assessment Member
RMIT – Royal Melbourne Institute of Technology
November 2001
I was invited to sit on a panel of assessors for 1st year Design Studio final year presentations. During this time, I assisted in marking and giving design feedback on student’s projects on how they could have improved their products, which would assist them for future design projects.
Graphic Designer and web element artist
Dstore
June 2000 - January 2001
While working for Fairfax and Re-animator, I was in this position for 6 months prior to Dstore shut down. I was responsible for designing and animating banner ads that were to catch people’s attention on the Dstore web page. I worked closely with the marketing team and was highly regarded for my diverse and flexible style, and ability to make information work in such a small space. I received excellent feedback from my piers as my banners drew a lot of attention which resulted in a larger number of “click thrus” and hence sales.
3D Designer and Animator
Dragonlore Games Developer
March 1997 - February 1998
One of a two person design team, I worked here while completing my degree in Industrial Design at R.M.I.T. We built and designed everything from characters, weapons, towns and worked on FMV’s etc for a first person shooter. During my experience at Dragonlore, I gained valuable games experience, which was to work hard and fast, and keeping everything from textures to modelling, at tight memory constraints, which is a practice I continue to endorse today. I worked on many facets of the game including designing and modelling characters and elements to textures and texturing. |
