Computer Graphics Artist and Programmer Summary

With over fourteen years of experience in the computer graphics industry, I have pursued the dual paths of programmer and artist. This rare ability to combine both the technical and artistic has won me many awards and credits. I have played a key role in the development of an eclectic mix of technology, including an award-winning laser rendering system for Pangolin. I developed software for controlling the Kuper motion-control rig, as well as the Monkey stop-motion puppet. I personally developed Illustrate, the market leading toon and technical illustration renderer. This renderer is used by NASA, British Aerospace, Walt Disney Imagineering, and Sony Pictures Entertainment, among others.

My career has spanned a wide variety of companies and continents. In Paris, I supervised the production of 3D stereoscopic scientific films, including the award winning film, Inside the Cell. In London, I developed a patented facial animation system. Further broadening my experiences, I worked in New York in the post-production industry, where I contributed to many high-profile commercials.

While at Walt Disney Feature Animation, Los Angeles, I developed cutting-edge animation and modeling technology that was used in the production of their animated feature films. I diversified further by joining Exluna, Berkeley, the software company founded by former Pixar rendering researchers, including Larry Gritz. While there, I played an active role in the design and development of Entropy, the Renderman-compatible renderer, as well as other products. I continued his rendering development efforts while at NVIDIA, in Santa Clara, California, by aiding in the design of their future 3D graphics chips. I am the author of two acclaimed books on Maya programming Complete Maya Programming (Volume 1) and (Volume 2).

I have been at the academy award winning studio WETA Digital in New Zealand for over three years now. I have worked on The Lord of the Rings trilogy, and more recently King Kong. My varied roles in production include research and development, shader writing, lighting, and effects.

Entropy Renderer
Film-Quality Photorealistic Renderer (Exluna, Inc)
I contributed to design and development of the Entropy renderer; a hybrid scanline-raytracer. Entropy is capable of handling complex geometry, with sub-pixel displacements, and user programmable shaders. It is also capable of advanced raytracing, global illumination, caustics, area lights, etc. This renderer is used at numerous studios, including Industrial Light and Magic, Sony Pictures Imageworks, Disney Feature Animation, Mikros Images, Frantic Films, etc.

Entropy for 3dsmax
3dsmax to Renderman Translator (Exluna, Inc)
This product is designed to take a 3dsmax scene and convert it to RIB for rendering in the Entropy renderer. It converts all the geometry, lights, cameras into the required RIB statements. It also generates Shading Language (SL) shaders from the 3dsmax materials. This product is targeted to non-technical artists. As such, it handles all rendering preprocessing (RIB generation, SL creation and compiling) and renderer execution transparently. The user initiates the render by clicking on the Render button and a final rendered image is returned without any additional user intervention.

Monkey™ 2.0
Animation Controller driven by Monkey Device (Digital Image Design Inc.)
Personally developed this updated plugin that allows you to move the appendages of a Monkey device (articulated electronic model) and have the animation imported into and manipulated in 3DS MAX.

LaserShow Convertor™
3D to 2D Laser Graphics System (Pangolin Laser Systems Inc.)
Personally developed this product that generates animated 2D vector laser paths from a scene consisting of 3D objects. Clients typically use this system for the creation of animated shows or presentations that project laser images onto walls of water, smoke, etc producing unique and spectacular laser effects.

Professional Experience
Senior Technical Director September 2002 - present WETA Digital Wellington, NEW ZEALAND
My many diverse roles at Weta Digital include research and development, shader writing, lighting, and effects animation. Recently completed work on King Kong. On the film, The Lord of the Rings: The Return of the King I developed custom shader technology for creating precise and accurate shadows for Gollum's hair. I developed environment shaders for mountains and terrain that were designed to be seen at large distances as well as extremely close. I also headed the R&D effort on the development of the lava effects including managing external developers, pipeline development, and Renderman shader writing. I contributed to the R&D and final execution of the ground cracking shots for the Black Gates sequence. I also completed key shots, including Gollum's death and the ring's final destruction.
On the film, The Lord of the Rings: The Two Towers, my work included the development of Renderman shaders for many of the Ents (tree characters). I also completed many Effects shots for the Isengard battle and flooding sequences. This work included enhancing the existing miniature water with cg water and particles as well as generating cg smoke and fire elements.