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You Shouldn't Have Come Here
Just kidding. You stumbled onto my secret unlisted portfolio page. This is kind of a brain dump of all the work I have done (that I can show anyways.... NDAs last a long time....) This is a living page - Updated as I do new jobs, and as I remember old ones. It's pretty casual here, so grab a drink and look around a bit!
FILM AND VISUAL EFFECTS WORK - (scroll down for toy and other work)
I spent about a decade in film and visual effects full time, and 5 or so years after on a freelance basis, my last project being ROGUE ONE: A STAR WARS STORY in 2016. A majority of that time was spent as a 3D layout artist. What is that, you ask? It's multi faceted. Layout Artist can be broken down into 3 main roles - Matchmove Artist, where you recreate the on-set cinematography in 3D by animating a 3D camera against a 3D version of a set. Standard Layout where you are placing digital objects in a real world environment (Think the giant armada scenes in Pirates Of The Caribbean - The hundred ships in the background. Those were all digitally placed in the "real" world by someone like me.) Finally my specialty Match Animation, where I would animate a 3D skin of an actor (or object) which would be replaced by a digital skin later. I did basically the above description for thousands of film and feature animation shots. (Full filmography is here)
Here is an example - a scene where Davy Jones ghost pirate crew is emerging from water. Every pirate on that ship had a specific actor assigned - on the left, you can see the colored wireframes of the body match animations I did. On the right, the final shot, as seen in the film:
In feature animation, layout is much more literal. Since feature animation is all in a 3D environment, the set dressing and environments need to be populated. For example, this graveyard I laid out for Scared Shrekless, every weed, tombstone, tree, scary branch, etc. was hand placed where it is by me. In situations like this it is important to remember how impactful silhouettes in the background are. This was actually one of my favorite projects in my time at DreamWorks.
MEGO TOYS - As a special projects consultant I have worked on several projects outside the realm of the standard Mego releases. Some of these projects included the Mego GI Joe redesign, the Ghostbusters set, and the unreleased 4" monster line. Most of the special projects work was proof of concept for alternate toy lines, or meant to attract specific licenses. While I cant really share any of those projects, I can share the array of head sculpts I did for the standard release action figures.
PARAGON FX GROUP - I was a very hands-on consulting Creative Director at Paragon FX Group for 4 years, often times sculpting and designing packaging for the products I was managing. Here are a few of my favorites. Note, these are just the pieces I personally sculpted, I managed over 50 SKUs in my time at Paragon!
Southpark X Source3 - As the Creative Director; 3D Design I got to work with the Southpark brand and in doing so, create the first ever line of licensed print-on-demand collectibles.
SEGA - I had kind of a crazy role at SEGA. I spent most of my time in licensing, working as a product development manager and art director (creative lead, by SEGA terminology) and also helped internally act as an art director for the SONIC BOOM animated series. Due to my 3D skillset, I was the only American artist trusted to create licensing poses for the main Sonic character crew, which were then used on everything from video game packaging, to DVDs, to ICEE cups. I also managed the content for the ARCHIE comics series.
FACTORY ENTERTAINMENT - Between my time as a freelance sculptor and eventual Art Director, I created some of Factory Entertainments most popular products. (The ARCHER figure line unfortunately is unreleased, but a personal favorite.)
PACKAGING DESIGN - While I dont have a traditional graphic design background, I always enjoy getting to do some packaging design. These are a few that I particularly enjoyed making.
COMMERCIALS - I worked on a handful of commercials in between film gigs. Here are a few of my favorites. I sculpted the digital Slimer maquette used in the Radio Shack "80's" Superbowl 2014 commercial (He's at the end), did some body match animation for the Human Torch in the Fantastic 4 vs. Magic Johnson ad, and was a 3D camera and previz artist for this odd but cool South American Ford Fusion ad.
VIDEO GAME WORK- I only worked on 2 games, and one was cancelled... but that one was awesome. I just did a youtube video about it in fact (left). I also did water / mist effects on Tiger Woods 2003 - Both from EA games
MISC- Some things I worked on that I loved don't really fit in above categories, like the Luenell Doll. I created the doll (Head is an original sculpt, body is sourced) for her Netflix special, produced by Dave Chappelle. I actually was unfamiliar with Luenell's work before this and was kind of blown away (in a funny way) when I finally saw this.
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