Character TD · Blizzard Entertainment · November 2010 – current JOB DESCRIPTION: Hired on as a Simulations TD for Blizzard Cinematics, doing hair and cloth simulations for characters. Also worked on Characters’ Hair Grooms as my schedule allowed. In 2012 I began training to learn Character Rigging.
Hair TD · Digital Domain · Tron Legacy · September 2010 – October 2010 JOB DESCRIPTION: Providing hair sims that hold up to photo-real quality for the main characters of Tron Legacy.
Hair TD · Blur Studios · October 2006 – September 2010 JOB DESCRIPTION: I was in charge of the hair/fur pipeline, making sure it stays current and works efficiently and smoothly within Blur’s pipeline. I was the first person to take up this role at Blur, and was able to change much of how the hair fits into the pipeline, making it much more seamless and less painful. Both the modeling department and I create the characters’ hair grooms. I am also responsible for creating all of the hair simulations using cloth, making them look as realistic as possible while being under tight deadlines. I have developed many Quality Check procedures that have helped smooth out the areas that were causing problems, and also to make sure the styling and simming is done quickly, efficiently and always pushing the bar.
Lighter/Compositer · Omation Studios · The Barnyard · 2006 JOB DESCRIPTION: Lit shots according to the pre-established look for a scene. Used Fusion to composite the scene together into the final product.
Lead Hair/Fur Artist · Omation Studios · The Barnyard · 2005 – 2006 JOB DESCRIPTION: Worked with the Director and Art Director to design the furred characters. These were all done in XSI’s hair. After the haired assets were created, I was part of the team that applied dynamics. We used a proprietary dynamics package to achieve the desired movement for the hair.
Character Modeler · Omation Studios · The Barnyard · 2004 JOB DESCRIPTION: Create 3D characters based off of concept art. Models are made using polygons and subdivision surfaces in Softimage XSI, and are designed for animation. The models had to adhere to the style of the film as well as keeping the polygon count as low as possible to achieve that style. Each model was given a strict timeline, and then handed off to texturing and animation departments.
Savannah College of Art and Design, Savannah, GA · 2001 – 2004 Bachelor of Art in Computer Art