Technical Director Reel
Responsible for: Houdini Crowd Simulations
Software Used: Houdini
In Photon Jump, an animated short done for NASA, I needed to create a particle based crowd system that used curves to control the flow of the particles through space. To handle the wave like motion of the particles, I used a velocity field to drive the movement. To handel the variations, Alembic caches were created in Maya and placed on all the particles based on attributes.
Responsible for: Look Dev, Lighting, Comp
Software Used: Maya, Renderman, nuke, mudbox
An animated short done for my wife, I used as a lighting study. She focused her animation on the facial performance so I worked on creating a lighting set up that not only conveyed the mood of the bar but also emphasized the subtle movements in the performance. Also responsible for lookdev and textures that were painted in Mudbox.
Responsible for: Creature Look Dev, Fur, Lighting, VFX supervision, Comp
Software Used: Maya, Renderman, nuke
On the short film Jasper, done as a thesis for another student, I was responsible for the technical aspects of the film as well as creating the hair groom and look dev for the main Characters. I also supervised a team of lighting and shading artists to identify technical issues as well as provide artistic direction. On a few shots, including this on, I was responsible for lighting.
Responsible for: Everything
Software Used: Maya, Renderman
To create petals on my tree I first wrote a simple mel script that saved the positions of random selected vertices to a text file. I then built an interface for maya using rman and mel scripts. Next I wrote a pre-shape mel script that would use the written vertices positions to inject a read archive call into the final RIB output. I also wrote a slim node that, using an injected attribute from the rib, would create the shape and variation of the petals’ shape.
Responsible for: Everything
Software Used: Nuke, Maya, Renderman RSL
For this project I created a custom utility in RSL to create different cloth patterns. Renderman for Maya supports nodes created with RSL to be imported into hypershade. I started with a surface shader then converted it into a header file to make the utility. I used nCloth to simulate a flag degrading over time. A full technical breakdown can be found here: http://jvspad.com/vfx502/maya_pattern_animation.html
Pyrolysis – Hand
Responsible for: Lighting, Rendering, Tracking, Compositing, On Set Supervision
Software Used: Maya, PFTrack, Nuke, Mentalray, Photoshop
In this shot I was responsible to lighting using an HDRI Panoramic image. I also needed to remove the actors original hand, track in our CG hand, and then integrate into our plate. I also combined the effect and the hand using a control map created by another member of the team.
Ritual – Shot 240
Responsible for: Particles, Particle Shading, Renderman exporting
Software Used: Maya, Houdini, Renderman
For “Ritual” I was tasked with creating a swirling sand effect around the main character of the film. I started by building the particle system that would rise as the main character’s geometry became visible. The main challenge in this shot was moving the particles from Houdini to Maya to be rendered with the rest of the scene. To accomplish this I exported RIB archives of the particles containing size and color information. I then read these archives back in at render time.