I joined the Visual Arts Service Group, Sony's internal outsourcing facility, to support the Uncharted 4 team. My first priority was to learn their proprietary facial motion capture software and associated pipeline to address issues that had been on the team's wish list for over two years. Within a few months of receiving source code I tackled most of these issues. Next I moved on to advanced features like detecting optimal frames to pose the rig in order to generate better animation results. After addressing the outstanding issues and features requested with the current facial software it became clear that a complete rewrite was required to achieve further optimization and quality improvements. This latest version is being created as a Maya plugin utilizing Maya’s C++ API. This will allow us to store all data native within the Maya scene. I first developed a Python API for interacting with the plugin, and developed unit tests to verify expected functionality. Once the basic API was approved I started to create the PYQT user interface. In addition to developing tools for the animation department I have been working with the art department to refine their facial rig. I created tools to analyze how the blend shapes are utilized in shipped animations. This is helping art prioritize blend shapes and evaluate what shapes are required. Since joining VASG I have helped ship Uncharted 4, The Show 16 and The Show 17. I am currently supporting Uncharted: The Lost Legacy, The Last of Us Part 2, Days Gone, Knack 2, and Death Stranding.  

To establish and refine the animation and motion capture pipeline, I trained my team on MotionBuilder, and developed tools to improve the quality and speed of our animation process. While managing the animation team for The Agency, I supported two additional SOE projects: Everquest and Planetside. I assisted the Everquest team with pre-production planning for motion capture, provided MotionBuilder training, and advised on-site during motion capture shoots. After evaluating the Planetside team’s animation needs, I helped set up a motion capture pipeline within 3D Studio Max. In 2011, I became lead animator on Planetside 2. We shipped Planetside 2 in just under 2 years, were nominated for 30 awards and won 20. Planetside 2 entered the Guinness Book of World Records for the “most players in a first person shooter battle.” Optimizations I made to the animation network helped make this possible. After receiving a certificate in C++ from UCSD I was invited to the Everquest Next team as a technical artist and developed Python and PyMel tools for the art team. Sony's custom framework is based on the model, view, and control pattern with data stored in an Oracle database. Developed a tool to reload our modules in Maya, which sped up our tool development. I created a visual tool to edit texture atlas layouts stored in our Oracle database and developed a company-wide 3D art asset browser. 

Recruited to join the “C.O.R.E. Operations” group; CORE’s mission was to focus on the future and prepare Omation for new intellectual property development. My role included provision of best practices input and guidance to line producers and production. One of the six productions I contributed to was the Emmy Award winning television series Back at the Barnyard, where I helped integrate motion capture back into the Omation pipeline and contributed expertise as a computer graphics generalist. I developed their proprietary motion capture based pre-viz camera similar to the one used by James Cameron on Avatar. Utilizing my sales experience, I took the initiative to begin advertising Omation as a service bureau. I created and implemented a new marketing push for Omation, complete with a new website, brochures, 3D Logo, Demo Reel, viral marketing and magazine articles.

My responsibilities were to develop new clients and manage the production crew and projects. From 2008 to 2009 I personally generated over $1.5 million in revenue and grew our staff from three to thirty. I regularly evaluated new tools, software, and organized advanced training to ensure our artists worked efficiently. My team was hired to animate cinematics for the following games, God of War 3, Ghostbusters Wii, Uncharted 2, The Saboteur, and Mod Nation. As a Partner, I managed Crazy Pixel Productions’ finances and developed successful working relationships with the following clients:

As the first CG artist assigned to Robert Zemeckis’ animated movie Beowulf, my primary responsibilities were to perform research and development for the MotionBuilder pipeline. I developed effects, implemented normal mapping on characters, and rigged environments as well as props and characters. During motion capture shoots I worked with make-up artists to ensure accurate marker placement on performers. After motion capture shoots wrapped, I joined the integration team. We applied motion capture data to the characters and placed them in proper environments so that the scene could be shot in director’s layout. As new artists were brought onto the production, I trained them on the integration process. I was then reassigned to the director’s layout team and trained the team in MotionBuilder. When the team was proficient, the entire crew moved to Carpinteria, CA to work at Robert Zemeckis’ facility. Once there, I created shots with Zemeckis, prepared scenes for layout, protected the integrity of the Sony pipeline, and created custom rigs and special effects in MotionBuilder.

Joined Steve Oedekerk’s Omation Studio to develop his movie, The Barnyard. Our team’s responsibility was to animate all background characters utilizing motion capture and traditional key frame animation. I performed research and development on software packages and the rigging set-up to ensure timely completion. Our team was recognized for producing polished material at an extremely productive rate.

While working as a 3D modeler at High Voltage Software I was offered an opportunity to join their new venture Red Eye Studio. Using up to twenty-four Vicon cameras, I designed and created custom motion capture rigs for a variety of unique needs, including hockey at an ice rink and a shoot with simultaneous facial, finger and full body moves. To highlight the capabilities of Red Eye Studio, I planned, developed, and presented demonstrations at NAB, GDC, and Siggraph. I created final animations for use in full motion videos and video games and co-developed the RE: Motion “drag and drop” seamless animation system. As interim Studio Manager I created project estimates, established project budgets, sourced motion capture performers, and completed schedules for client projects. I personally participated in the delivery of the following products:

Education
Specialized Certificate in C/C++ programming, University of California San Diego, 2014.
Bachelor of Fine Arts, Time Arts major, Northern Illinois University, 2000.

Expertise & Awards
Emmy Award Winner: Outstanding Special Class Animated Program for Back at the Barnyard, 2009.
Specialized training: Vicon Motion Capture, OptiTrack, Intersense, and Motion Analysis Motion Capture.
Game Engines: Unreal, Unity, Torque, Forge Light and Infernal.
Programming Languages: Python, Lua, JavaScript, MaxScript, PHP, MySQL, HTML, and C++.
Software Expertise: MotionBuilder, Morpheme, 3D Studio Max, Maya, Softimage XSI, Blade, Fusion, PF Track, Premiere Pro, Photoshop, After Effects, Illustrator, Dreamweaver, Eclipse, Microsoft Visual Studio, and Flash.