Samples of Available Services- Click to Play!

What can I do for you?

Visual effects work can be confusing, and sometimes directors don’t appreciate what can really be done.  I’ve worked on everything from removing pimples on teenage actors faces, to skydiving ninjas filmed entirely on green screen, and even rampaging computer generated dragons.

The overall goal is always the same- to help to tell a story, and to improve the production value of your film as it’s perceived by your audience.  Sometimes small changes, like removing distracting background elements or skin blemishes, can go a long way to making your film look top-notch.  You may have a story element that would be unsafe, impractical, or even impossible to shoot (rampaging dragon torching a medieval village, anyone?)  Or you may just benefit from getting the weather conditions you want, or by getting that night shot during a less-expensive daytime shoot.

I’ve decided to create a longer showreel exhibiting some of the options, set into broad categories.  A lot of these shots aren’t the kind of thing that would necessarily make it onto my main demo reel.  They’re here to help you understand what I offer, and maybe stir some ideas about what I can do for your film.  The reel is long, and it’ll get longer as I think of and add more examples!

In the end, though, your imagination is the limit.

For more information or to inquire about your project’s specific needs, please contact me directly.

Want a slicker, quicker presentation of my work? View online or download a much higher quality copy of my Demo Reel.

Recently, together with my partners at BluFire Studios, I had the opportunity to work on a series of commercials for display before films in movie theaters as well as eventual TV broadcast.  The idea was to create a true “jackass” of a used car salesman- in this case quite literally, since he’s a humanized donkey.

Really poor customer service... Click to play

Donkey at work- Click to play

The project was a very fun challenge.  Our project manager, Ammon Jones, did a fantastic job of planning the shoot and managing the schedule and assets.  I handled the matchmoving or tracking (as needed for the shot), rotoscoping, and compositing.  I also took care of 3D translation and export, since the donkey was created by Mikhail Merkurieff in Maya and shaded, lit, and rendered by Matt Hoffman in Cinema4D.

For tracking, I used SynthEyes whenever there was sufficient movement to allow for a solid object matchmove.  I tracked based on points around the collar, since that’s where we were worried about the mesh matching properly.  In most shots, however, there was too little information to reliably use or even need a 3D matchmove, so instead I chose to work more quickly by stabilizing the shot in Monet.  Mikhail could then animate to stable footage and I would then reapply the tracking information to the final render while setting up the composite.  It worked perfectly, and saved us a ton of time.

I’ve only included two shots as samples of three commercials with 11 total shots.

The point of the demo was to showcase speed, style, and quality.  Besides completing VFX work in 160 total creative work hours, the entire short was shot in a single day (with a few wire shots done the next morning) on a small  greenscreen stage.  There are absolutely no sets, locations, or stock footage in the entire short: everything is faked.

The skydiving sequence was by far the most time consuming, since every shot is a unique setup.  I created the environment in Maya using camera projections from still photos onto basic geometry, then added fluid clouds.  The footage was matchmoved in SynthEyes, which served as the basis for larger camera moves inside of Maya.

Preparing to jump- Environment from photographs taken at an air museum- Click to play

Skydiving- Fully CG environment- Click to play

Skydiving- Maya fluid clouds- Click to play

Skydiving- Fully CG Environment- Click to play

Gliding past CG mountains- Click to play

Gliding past CG mountains- Click to play

The fight scene and dialogue portion of the film moved much more quickly.  Once a few shots were done, I was able to use them as a template for the subsequent shots.  I just needed to do a unique key for each shot, usually in Primatte, position the matte paintings properly, and adjust blurs, levels, etc. as needed.  These shots were done at a rate of about twelve a day, on average.

In the final stage of the project I applied a stylized color correction to each of the shots.   The skydiving shots were designed to be very warm and saturated, while the challenge in the nighttime sequence was to keep some skin tones in the footage.

Matte Painting Graveyard- Click to play

Stitched ground from stills- Click to play

More ground interaction- Click to play

Slow motion- Click to play

Fight scene sample- Click to play

Final blow- Click to play

Overall, I’m very pleased with the finished result.  I think when people see the short they’ll enjoy the look and quality level- even if they don’t know that it was done so quickly and with such a small team!  It was a fun opportunity, and I look forward to working on the complete film.

The shots here are displayed with permission and thanks to the kindness of director John Lyde. ‘The Guardian’ is property of Guardian Films LLC.

Matchmoving and crowd enhancement for "Lifeless"

A few years ago I had the opportunity to work on several episodes of ABC’s series “Pushing Daisies”. The project was intense, with tight deadlines and some ambitious effects. It was a real opportunity and a learning experience.
I’ve also had work shown on the History Channel series “UFO Files”, the Discovery Channel series “Future Weapons” and “Expedition: Great White”, and a privately funded independent series, “Lifeless”. I also recently helped the Navy complete a promotional piece for television detailing some of their efforts to use naval technology to help research shipwrecks.  The documentary ended up winning a 2009 Gold Screen “Award of Excellence” for government media.

Below you’ll find my current television filmography, with links to IMDB for the various projects, plus samples of some of the work that I am allowed to publicly share.

Current Filmography

Expedition: Great White

Discovery (2010)

“Pushing Daisies”

ABC (2007)

Episodes: Pie-lette, Dummy, The Fun in Funeral

“UFO Files”

History Channel (2004)

Episodes: Pilot Sightings, Red Alert, The Dragon Sea, UFOs of the ’70s

“Lifeless”

Independent (2007)

Episodes: 1, 2, and 3

“Future Weapons”

Discovery Channel (2007)

Episodes: Season 3.1 Opening Round, Season 3.3 Close Protection

“Partnership Runs Deep”

US Navy (2008)

Limited broadcasts

Single Episode

Other films include “Red Riding Hood” from “Grease” and “Blue Lagoon” director Randall Kleiser (a technical demo film that was some of the first film work with the Viper digital camera), “Passage to Zarahemla” from author Chris Heimerdinger, and the LDS Church film “Joseph Smith: Prophet of the Restoration”.  I also worked on a Michael Landon Jr. film, “The Redemption of Sarah Cain”.

Due to copyright concerns, some of my work from these films may not be currently visible on my demo reel.  Also, it ought to be noted that a few of the earlier films listed here were through my previous employer, Sandman Studios.

Current Filmography

Paladin (2011)

Joseph Smith and the Golden Plates (2011)

Age of the Dragons (2010)

Orcs! (2010)

Snow Beast (2010)

A Root Beer Christmas (2010)

The Maze (2010)

You’re So Cupid! (2010)

Christmas Angel (2010)

Father in Israel (2009)

Dragon Hunter (2009)

Minor Details (2009)

Errand of Angels (2008)

Forever Strong (2008)

The Game Plan (2007)

Saving Sarah Cain (2007)

Passage to Zarahemla (2007)

Outlaw Trail (2006)

Joseph Smith: Prophet of the Restoration (2005)

Lovewrecked (2005)

Red Riding Hood (2004)