This was a project for the Discovery Channel through a grant at The Ohio State University with Brave New Pictures. A core team of artists, engineers, and faculty worked through a film studio to develop a one hour long documentary about a juvenile T-Rex in Hell Creek Montana. We worked with a team of scientists from the Burpee Research facility in Rockford, Illinois. These scientists had worked with Dr. Robert Baker, who was the consultant with Industrial Light and Magic, on the Jurassic Park films. In addition, Dr. Stuart Sumida was brought on board to critique physiology and motion. I handled modeling, rigging, animation, compositing, and partial DVD creation. This project bi-weekly conference call meetings with the scientists to not only make the physiology accurate, but make the dinosaurs move bio mechanically correct. Software used: Maya, Combustion, Photoshop, Deep Paint. Worked with leads of DreamWorks SKG on this project as well on critique, rigging implementation, pipeline, art direction, and texture painting. During the six months of the DreamWorks SKG Outreach Program (I was a participant), I was an assistant lecturer and presenter in the lecture hall at The Wexner Center for the Arts. This was through the DreamWorks SKG program on computer animation under their supervision. The team we worked with from DreamWorks SKG were on the following projects: Shrek, Shrek 2- (modeling supervisor), Shark Tale (animation lead- and DreamWorks SKG film director ((who happened to also animate on Spirit)), lighting supervisor), Madagascar, and Madagascar 2- (texturing artist leads- one of whom also worked on Spider-Man 2), and finally a director of operations for DreamWorks SKG. Lastly, the rigging supervisor at DreamWorks SKG who I worked with in several one on ones was formerly at Pixar on Finding Nemo.

I worked directly as a two person team with the Madagascar Texturing Lead on one of the dinosaurs in the project. Other faculty involved on this project were my academic advisor (the director of ACCAD and former head of the computer animation department at The Ringling School of Art and Design), and the motion capture supervisor (and good friend- I took motion capture three times) from ACCAD who was brought on board for critique sessions (formerly a supervisor at Giant Studios and Acclaim).

Link to Burpee Museum

Link to ACCAD

This was completed and submitted at Lucasfilm Animation Singapore. This rig test is a combination of "Block Party" from Industrial Light and Magic (Jango Fett from Star Wars Episode 2: Attack of the Clones), Lucasfilm Animation (Anakin Skywalker and Ahsoka from Star Wars The Clone Wars, in addition to the standard Industrial Light and Magic biped), and "Toolbox" from LucasArts (Darth Vader from Star Wars The Force Unleashed). The rig was completed on my own time on my personal computer with improvements to all three systems combined into one "uber rig" and a playblast was later submitted to the Lucasfilm, Ltd. server with documentation. In order to achieve this, I also acquired full working knowledge of standard Industrial Light and Magic quadrupeds and winged creatures. This was apart of Technical Art Documentation used in Lucasfilm Research and Development for Film Game Convergence development. This rig combines video game development, visual effects, and feature animation. This was made possible in Singapore due to my bi-monthly meetings with the two directors of DAG (the name for Industrial Light and Magic in Singapore) where we discussed Film Game Convergence. In these meetings we discussed rigging, optimization, art direction, workflow, and convergence technology. This was later picked up once I relocated to Lucasfilm, Ltd. San Francisco where we had a core convergence team including the lead research and developer (Director of Animation Technology) at the "Big Rock" Clone Wars studio (former motion capture supervisor on Gollum at Weta Digital), the lead creature developer for Industrial Light and Magic, the main producer for the Clone Wars in Singapore (via conference call), the head Creature Development CG Supervisor for Industrial Light and Magic (lead on the Star Wars prequels), and myself. In addition to the topics discussed above, we also discussed modeling topology and rendering optimization. Lastly, research was done on "enveloping" by myself using Industrial Light and Magic technology. At my station, I had four computers setup, one of which was a Linux machine with direct login to Industrial Light and Magic's server and their software Zeno. I was doing compare and contrast simulations and playblasts of enveloping between Zeno and Maya with the hope to include more Zeno technology into future LucasArts projects. I was using Industrial Light and Magic's Zeno software daily during my work in the LucasArts division testing builds and experimenting with Linux Block Party. In this sequence, the motion, done by myself, was completed in approximately a half hour per cycle and "run_fly". Again, this is a rig test.

Link to My Lucasfilm, Ltd. Business Card

Note: The meeting notes and handouts, to my knowledge, that I have from the "Convergence Steering Committee" cannot be shown due to potential Lucasfilm, Ltd. non-disclosure violation.

Link to Trailer  featuring John Madden discussing the direction that the MADDEN franchise is headed (in full agreement with my side of the debate on realism in EA Sports- Madden should look identical to television).

Entirely new rigging setup from scratch with scientifically accurate proportions. Lead rigger on central football. Quaternion research and development for deformation completed and implemented in rigs. Custom quaternion node usage in deformation while working with core engineering team. Deformation solved for poses as presented by lead animation director for Madden '09 version. In addition, physiology and motion experimentation completed and implemented. Existing animations broken down and analyzed with the beginning process of biomechanics as seen on television show "Madden Nation" on ESPN. Physiology and flexing differences and improvements from Madden '08: biceps, triceps, knees, forearms, wrists, shoulder deformation improvement. All of this was achieved with the quaternion node developed by EA Sports lead engineer (done as a favor for me, thanks Jayeson!). When I left to go to Lucasfilm Ltd., in Singapore as senior staff, all four body types were completed and the same quality as Reggie Bush (see the photo of Tour).

Scenes from the MADDEN NATION finale on primetime ESPN.

Promotions for MADDEN NFL '09.

Research and development on procedural shoulder pads to be implemented in game. Worked with engineering lead to implement technique but ran out of time for implementation. Slight binding "weighting" modifications while as apart of Central Football Team at EA Sports (improper anatomy issue in this title as well, see NCAA Football 08 where this was corrected after a debate was won by myself and the modeling team over the animation director who came down from EAC to EA Orlando to try to incorporate ANT- an animation system used on EA Sports NBA Live- for quality of motion and blending on NBA Live (ANT) please refer to www.ign.com and look up NBA Live for this year- which looks and moves inferior to NBA 2K).

This is the billboard in New York City for the annual MADDENOLIDAY.

The rigging modification of all four body types: athletic, muscular, heavy, and average. In addition, worked with proprietary EA Sports tools on the exporting of skin weights as XMLs. This version was before scientific visualization principles were introduced. These figures were not based off of scan data, rather artistic interpretation of what a football player should look like with tweaking of proportions. Debates took place between myself with the (modeling team, art directors- on my side) and an animation director brought down to EA Orlando from EAC (who wanted to keep long arms and improper anatomy). Science (new proportions based on scan data and first executed on NFL Tour) won the argument and the proportions were changed to be anatomically correct and not like a cartoon (non applicable to EA Sports)- like the animation director wanted who came down from EAC (see the above non proportioned figure with elongated arms in comparison to Reggie Bush on Tour- the anatomically correct way).

Gensler is the architectural firm ranked number one in the world. This is one of the projects that I worked on while there. Volkswagen is one of the top brands on the planet and a high profile client. I did design development, construction documentation, and presentation pieces to Volkswagen clientele while at Gensler. Part of the work that I did was "rolled out" to Volkswagen dealerships globally. I was on global retail steering committees to discuss retail design, environmental psychology, shopping behavior, and merchandising strategy to benefit the retail division of Gensler: Studio 585. The other retail client that I worked with was Lincoln Mercury as apart of "rollout" concept work. The art directed designs worked on by a team including myself were constructed at every Lincoln Mercury car dealership globally. This included strategic brand identity placement as well as presentation meetings to clientele. Other projects included store design development of Adidas. Lastly, one of the architects that I shadowed had studied under Frank Gehry. I was recommended for graduate school at ACCAD at THE Ohio State University (where CGI was founded by Professor Emeritus Charles Csuri- former all american football player on THE Ohio State University National Championship team) by a Vice President (partner and managing director of the Atlanta studio) at Gensler, who studied architecture at Harvard.

As apart of an undergraduate Industrial Design senior thesis, I developed an entire marketing, re brand positioning, retail design, and merchandising strategy for Nike. This campaign was to be "rolled out" globally and designed for quick construction. The design needed to be clean, as well as sell the Nike brand in these specialty shops. Full design and construction documentation submitted to Nike Executive Team, one of which was the head of global merchandising for Nike worldwide. Research was done on wayfinding, sales, marketing, construction, brand identity, sports physiology, and "roll out" done for this project. The Nike brands researched and implemented in this prototype "NIKE MIDWEST" store were the following: Nike Football, Nike Basketball, Jordan, Tiger Woods, Nike Baseball. The brand repositioning was to make specialty boutique Nike stores that, from an aesthetic standpoint, would be a direct reflection of the environment of the consumer in that region. This would be reflected by way of form, function, colour, and environmental graphic. In addition, wayfinding kiosk points are placed throughout the store to both assist with traffic flow as well as touch the consumer more directly.This marketing campaign, developed by myself, was to counter negative press of overseas mispractices. Store audits of the Millennium Mall (Dallas, Texas) and NIKETOWN CHICAGO were done as well. To summarize, a three hundred page marketing, brand identity, construction documentation, merchandising, industrial design, and brand repositioning campaign was done entirely by myself in a period of twelve weeks. The illustrations of the kiosks, interiors, and storefront as seen above are done entirely in marker and pen. Retail design knowledge based on two quarters of retail prototyping as well as being visual merchandising and sales for Tommy Hilfiger. All perspective and kiosk images done with marker and pen. The design department at THE Ohio State University is ranked number 1 in public institutions and number 5 nationally according to U.S. News and World Report.

Two of the episodes for season two of Star Wars The Clone Wars (about three sequences- 13 minutes total) were composited, color corrected, and rendered by myself while at Lucasfilm Animation Singapore. I was putting together a monthly presentation for the entire studio. After speaking to the lighting team, as well as the art director for the sequences, we decided that color work needed to be done by way of additional compositing work in Shake. This was handled by myself in about a week's time and was approved by the heads of all of the divisions. At the all company meeting, where Mr. George Lucas and Ms. Mich Chau speak to all divisions (over 1000 people- the entire company), my sequences were showcased. The sequence in particular involved the bounty hunter "Cad Bane", as seen on the reel. Part of the convergence research that myself and my core convergence team was doing required me to have working knowledge of the entire Clone Wars rigging library: all bipeds (including General Grievous, Ahsoka, Anakin Skywalker, and Kit Fisto); all quadropeds; and all custom rigs. My core team of six (portfolio range was NBA Live, Assasin's Creed, Call of Duty, Fifa, and myself- I miss you guys) in Singapore did research and development, where I handled the convergence rigging, of these assets and after I made modifications on a few- got them to build in engine. Shortly after, this is when I was transferred to the Lucasfilm, Ltd. home office in San Francisco to continue convergence work on initially Indiana Jones and more Star Wars intellectual property. Name not in credits for billing reasons.

This was concept work completed by me while on vacation and submitted to the Star Wars The Force Unleashed Downloadable Content crew. The idea behind this, the idea did not go through to production on Downloadable Content, was that when a playable character uses the force additional shader technology would permanently scar the surrounding environment. I took an existing render in build of Lord Maul and altered the shapes, added content, and color values in photoshop. This image was done in approximately three hours with over thirty layers. Because I was on vacation when this was done, I did not have my Wacom tablet. I used my right hand and a mouse to create this image and I am left handed. This was presented in email format, while on the road, to the writer of Star Wars The Force Unleashed. Often at times when I travel I get ideas and need to get them to my laptop immediately. My laptop is my life. I love to work virtually. It makes things clean, concise, and easy to get to once on a server and I can easily email concepts, ideas, and instructions to a team that I am affiliated.

Based on this portfolio, done at The Central Ohio Art Academy, I was accepted into the Department of Industrial, Interior, and Visual Communication at THE Ohio State University. I did not have to apply to the department in college, I was given honorary pre admission acceptance from high school.

The Beijing Hotel is an international monument that was a renovation project for The Republic of China. During this time at NBBJ, I was responsible for research on both fixtures as well as textures (materials). In addition, I had to become familiarized with the Chinese culture, due to the fact that Chinese government officials would frequent the studio. Lastly, this project was worked on by several studios within NBBJ, one of which was headed by a member of the Interior Design Hall of Fame. During conceptualization of both interior and exterior architecture, I was fully engaged in shadowing. This project used computer visualization for presentation. This hotel project was an amazaing experience and my first encounter with international politics. Ranking of number two in the world during the time spent there.

This facial system is setup based on experiences at Lucasfilm, Ltd. Hundreds of poses can be created by translating the sliders around. This allows the animator to move quickly from pose to pose as well as create overlaping motion relatively easily. The test model is just that, "a test model", and the importance of the segment on this reel is to show the GUI.

The Reebok Golf Sandal (Greg Norman Line) was conceptualized by myself and a business partner, Mr. Jason Patrick; and presented in PowerPoint format to the office of the CEO of Reebok, Paul Fireman. The strategy of this product was to position Reebok in a competitive product sales market against their rival, Nike. Tiger Woods had just won the Masters for the first time in 1997 and Nike had launched their “I Am Tiger Woods” campaign. This product was intended to reposition Greg “The Shark” Norman, signed with Reebok, into a younger consumer age bracket. The marker renderings above are two of four designs submitted.

Procedures and arguments called.

IKlegSetup (UpLeg, LowLeg, LegAnkle, LegBall, LegToe, legPVx, legPVy, legPVz)

muscleJoint (startJoint, endJoint, targetLOC)

fkController (jointParent, jointChild, controller, controllerRadius)

spine (root, waist, thorax, rootMaster)

arm (shoulder, elbow, hand, IKshoulder, IKelbow, IKhand, FKshoudler, FKelbow, FKhand, armPVx, armPVy, armPVz)

foreArmRotate (foreArm, foreArmTwistOne, foreArmTwistTwo, Wrist)

shoulderSetupStart (clavicle, armUpShoulder, aimTarget, shoulderTwistOne, shoulderTwistTwo, shouldUpVectorX, shouldUpVectorY, shouldUpVectorZ)

This is a tool that triggers the IKLegSetup script, the spine, and the arm script. This also puts the handles in a clean hierarchy.

Worked with ConAgra structural engineer to design and develop the ConAgra Nashville plant (design documentation completed). ConAgra is the world's largest commodities company. The division of ConAgra this plant was done for is Arrow Industries.

Custom MSV interior designed for John H. McConnell, owner of the Columbus Blue Jackets, while working in the Design Engineering Department at Custom Coach. Specification of custom millwork and interior architecture on this MSV. Custom Coach is considered the top ranked MSV and Coach design company in the United States. Other clients of Custom Coach include John Madden, President George Bush Sr., and Reverend Louis Farrakhan (who I met in person).

Electronic Arts