Group endeavor; I was part of a big team. My responsibilities included rotoing, tracking (2d + 3d) rig removal, and comping of some of the smaller fire elements, all in Shake, Maya, and Boujou.
I personally tracked, and removed all evidence of the police car following Nicole Kidman in Nuke.
I rotoed and tracked a screen replacement behind Pierce Brosnan in Nuke.
I combined a maya live 3d track with nuke's built in 3d system and some reference images to build a photo-real sawblade, and personally integrated it into the dynamic environment using Nuke.
I personally 3d tracked, roto'd and built a background plate by projecting footage of a train moving through a tunnel. I then comped the rest of the shot, adding very subtle reflections of the tunnel passing by to the bright surfaces inside the car, using Nuke.
I personally 3d tracked, and built a wall using provided textures using Nuke's built in 3D system. I matched the lighting, faked the shadows, and comped the shot. All within Nuke.
I personally 3D tracked the scene, aligned the lasers to match the practical laser-pointers embedded in the wall, and procedurally degraded the too-perfect cg beams to be more realistic. I then rotoed the characters so that they occluded the beams at the proper times / places. All within Nuke. The floor lights were a CG element generated in After Effects by another artist.
One of the regular locations on the show was this diner which was always filmed against Green. Due to all the metal, there were terrible spill problems. Tracked and Composited in Shake. I'm particularly proud of the hair detail.
This Hotel exterior was shot during the day, but the script called for the Evening. All work personally done in Nuke.
Shot personally composited in Nuke, including creating a false depth-map using rotoshapes to simulate snow-haze.
By 3d tracking this aerial shot, and re-projecting a clean still on simple geometry I was able to quickly remove evidence of the parking lot and the car traveling across the frame. All accomplished with Nuke.
This film came back from the lab with a scratch in almost every shot. I devised a number of solutions to fix the scratch. This shot was the most elaborate -- the busy pattern of the tablecloth made isolating the scratch tricky. By re-projecting a series of stills onto simplified table geo, I was able to remove the evidence of the scratch. All within Nuke.
This shot was from a dream sequence in Rescue Me where Dennis Leary dreams he's in the ruins of the World Trade Center. I 3d tracked the shot in Boujou and helped composite the matte painting (done by another artist).
Another tough key. As the exaggerated green channel suggests, it was hard to isolate just the screen. The solution involved using a difference key against a copy of the footage with specific parts of the green spectrum removed, and using an un-premultiplied over instead of the more common "over" operator in order to preserve all possible edge detail. I keyed this shot myself, and encapsulated the technique in a gizmo for the 10 or so other shots in this series. All in Nuke.
I wrote custom code in Processing to manipulate this concert footage. Properties of each pixel's rgb value modified it's depth and skew. One of about 5 or 10 shots manipulated this way.
A body double had more hair than his counterpart so we hand tracked a render of a 3d bald spot onto the actor. Done entirely in Nuke. One of three shots just like it.
Undesirable reflections led me to 3d track the scene, build a cleanplate, and build a 3d environment in nuke that would accurately output the reflected trees behind the camera. All accomplished by me in Nuke, except for some rotos.
Wrote custom music visualization software, as well as derived animation curves from audio for the manipulation of footage for Documentary project. Developed 10-20 techniques / looks.
I developed a system that embedded rendering metadata (hostname of renderbox, duration of render, source script / file responsible for this render, etc) into the resultant images for tracking and data analysis. The system also allowed re-queueing missing or bad frames and whole sequences.
Wrote custom software to display SMS messages as iChat style text bubbles in real time as part of an installation we did for a private party.
I constantly try to find automatable tasks in our pipeline that are bad for humans (repetitive, boring, error prone) and encapsulate them in a script or workflow. I've saved many man-hours with some of my expressions and scripts, including an auto-write node that guesses an appropriate output path / colorspace, a shake-style uni-directional clone, and a plugin system that supported different architectures, operating systems, and version of nuke.
Many many custom techniques were perfected on one shot and then bundled by me into gizmos so they could be reused on similar shots. I developed a 3d smoke / cloud gizmo using procedural noise, and I built a camera-combiner rig that allowed merging virtual cameras and fading between them smoothly.
An interest in mine is procedural animation, modeling, and texturing. I have extensive experience creating elaborate geometry using simple tools / algorithms.
I have a good working knowledge of current web technologies and have applied to that to a few projects. Particularly JQuery, css2/3 and html4/5. I recently had to create a website that could have it's aspect ratio adjusted on the fly to correct for a project with a non-square pixel aspect ratio, that would also run on an iPad.
I've been fixing computers for as long as I can remember. During my work in the VFX industry, I've fixed countless computers with problems ranging from a mouse that wasn't plugged in to a misconfigured Xorg.conf file. I'm an advanced user of Linux and Mac OS X, and am equally comfortable with a GUI as I am with a CLI.
I recently repurposed CUPS, the common UNIX printing System into a simple queueing mechanism for batch converting images through a complicated series of colorspace conversions using open source tools in an effort to avoid using a more expensive commercial system.