My proficiency in 3D modeling and texturing propelled me into renowned animation studios such as Pixar and VFX giants like Sony Images Works. I worked with an exceptionally skilled Visual Effects (VFX) team on the production of The Matrix. In this domain, creativity knew no bounds, diverging from the constraints of traditional product design. The advent of computer graphics transformed the landscape of filmmaking, erasing the distinction between reality and fantasy. This technological evolution enabled visionary directors like James Cameron to explore new frontiers in visual effects, employing state-of-the-art camera technologies, motion capture techniques, and seamlessly integrating live-action scenes with computer-generated imagery.

^ Geri’s Game, crafted at Pixar Animation Studios, earned the prestigious 1998 Academy Award for Best Animated Short Film. This accomplishment was attributed to groundbreaking advancements in cloth, hair, and human animation. As a technical director on the project, I collaborated with a dedicated team, focusing on enhancing lighting effects and refining depth of field.

^ Pixar’s HR reached out to me for a contract position to model some 3D assets  on the ‘Rosarita’ commercial. It was a period when Pixar was exploring commercial production alongside their research and development in computer graphics, establishing their presence in the animation industry.  Despite not being familiar with them initially and receiving a cautionary note from my father regarding their reputation for missing deadlines, I collaborated effectively with the team. Subsequently, they invited me to join them full-time.

^ During my early foray into 3D graphics, I eagerly assumed the roles of art director, modeler, texture artist, and animator for my own personal concept. The inspiration behind this project was trip to Guilin, China with my father in 2000. While taking the magical scenery, I  envisioned a truck delivering cell phones to a remote area.

^ At Pixar Animation Studios, I worked with Harley Jessup who was the production designer for Monsters, Inc. Together, along with programmers, we engaged in a ‘shoebox’ test, exploring camera effects to achieve forced perspective and transform 2D paintings into the illusion of a 3D scene. I took charge of modeling and texturing the entire room depicted in the image above.

^ Fresh out of the Art Center College of Design, I was swiftly contracted by Sony Imageworks as a technical director for two films, Speed and Hideaway. I distinctly recall being guided to what seemed like the bottom floor, possibly the basement, of the TriStar Studio. The space was enveloped in darkness, with only the glow of computer monitors illuminating the faces of fellow TDs. It was in this setting that I encountered Tim McGovern, a key figure at Sony Imageworks and an Oscar winner for the visual effects in the 1990 film Total Recall.

The opportunity to serve as a lighting technical director on the Matrix Revolutions film was truly exhilarating. I cherished the extensive 70-hour work weeks spent collaborating with some of the most accomplished professionals in the VFX industry. These films were significant productions, each involving the efforts of at least three major special effects teams. During this period, I was stationed at ESC in Alameda, California.