technology support
Actual work that helped Hunchback extended exactly as far as adding
a set of cut, copy, and paste buttons in a piece of custom Disney
software. Mostly I stood around and watched, learning a lot in the
process and laying the groundwork for the future. I still love the film
because I couldn't stop pinching myself to see if I would wake up as
I watched it being made. Of course, this did not merit a credit but
it apparently did merit a wrap party invite so I listed it here.
additional technology support
For Hercules I spent about eight months trying to create software
that would make life easier for the Animation Check department,
a bunch of underpaid and overworked animation professionals whose
job it is to make sure that every line is perfect and all the
pieces fit together. This did merit a credit for "additional
technology support," and the only thing
"additional" about the support was that I'd moved onto another
project six months before the end.
technology support
Well, in this case I didn't do all that much work. No credit,
no wrap party invite. However, I did have to get up at seven
in the morning twice a week for a few months for videoconferences,
so it counts in my book.
process engineering
This was the big one, three years of my life. I love this project
though I have no idea how it will turn out or what people will think
of it. Some say it's the most expensive motion picture ever made, but
I think we can rely on Disney to ensure that if that's the case I'll
never know for sure.
My job was to identify and document everything each and every digital
artist had to do in order to do their jobs, then figure out how the
shots would pass smoothly from hand to hand. There was other stuff
in there too but it's a blur and I don't remember all of it perfectly.
I supervised a department for a while and was a fly on the wall in
some really interesting circumstances that I may never be able to talk
about. Someday when my career is waning I'll write a tell-all book, but
not soon and I'll probably protect my friends.
technical supervisor
My first project at PDI/Dreamworks, in the now-defunct Commercials and
Feature Effects (CAFE) division. Our work on the film consisted mostly
of 2D effects. Lots of lighting fixes and the occasional digital golf
ball. However, it was not a particularly small project, at 85 shots.
additional technical supervisor
I helped get the ball rolling on our work on this project while we were
starting up Bagger Vance. Our work was mostly compositing in the Spanish
Car Chase sequence, as well as a CG dove flying through a burning door
that was in all the trailers.
animation tools developer
Our work didn't make it into the film, wouldn't you know?
technical support
Helped out in a few small ways on a couple of CG shots for the Approach
to Rouge City sequence, and consulted on some of the effects editorial and
compositing issues for the show.
character animation tools lead
We animated those creepy robotic "Spyders" that scan Tom Cruise's recovering
retina. Got a lot of nice attention for that sequence... I was responsible
for developing the character animation tools that the animators used for the
Spyders as well as a system for attaching lights to the characters. (If
you're Maya-savvy, you'll ask "why is that difficult?" Long story.)
Sinbad (2003)
character animation, effects, and lighting technical director
I'm currently helping support a team of character animators working on
Dreamworks' traditionally-animated film Sinbad. Earlier in the year I
spent four months working as an effects and lighting TD at Dreamworks in
Glendale, and now I'm back in Palo Alto. Feature animation again!!
What's next?
Who knows?