DOCSLIB.ORG

805-338-5177 [email protected]

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
805-338-5177 Matt.Rampias@Gmail.Com Matthew Rampias 805-338-5177 [email protected] OBJECTIVE I am looking to expand upon my leadership skills while continuing to hone my ability as an experienced lighter and compositor whenever possible. QUALIFICATIONS I have 20 years experience lighting and compositing, with roles from artist to supervisor for feature films, commercials, TV productions and games using a variety of platforms and software packages. I come from a generalist background and have experience in many areas of production pipelines. Skills VFX, CG and Lighting Supervision. Lighting and Compositing Software packages and renderers include: • Katana 3D with PRMan and Arnold • Nuke • Maya to Arnold • Unreal • Houdini/Mantra • After Effects • Maya VRay • Photoshop EMPLOYMENT 2018 - Present Lead Lighting, Sony Pictures Imageworks • Lead Lighter for the Marketing Department • Lead Lighter for: • Spider-Man: Into the Spider-Verse (Oscar for Best Animated Film) • Angry Birds 2 • Connecting 2018 CG Supervisor, MPC LA • Led the team on a few Toyota Commercials 2018 CG Supervisor, Duncan Studios • Mary Poppins Returns 2017-2018 CG Supervisor, Framestore LA • Led the teams on several commercials. • NRJ, Capital One Quicksilver (Desert), Guardians Mission: Breakout 2016-2017 Senior Look Development, Lead Lighting • Lookdev and Lighting on the “Evony World” Superbowl Ad and several other spots. • Lookdev on various Toys such as Superman, Captain America, Pinkie Pie, and more. • Lead Lighting on the Gingerbread Deal Spots and the Target 2016 Holiday Mini Musical (Rat King Song) 2016 CG Supervisor, Psyop inc. • Led the CG team On the Target Star Wars Commercial “There’s a Rebel in All of Us” 2015-2106 VFX Supervisor, RGH Themed Entertainment Media • Worked with the dev team to create a pipeline structure to support future projects. • Worked with the Creative Director and designers to come up with concepts, and stories for stereoscopic panorama ride films. 2015 Senior Lighter, Sony Pictures Imageworks • Shot lighting, sequence template creation and maintenance, tutorials and workflow documentation on “Pixels,” a live action feature 2014-2015 CG Supervisor, RGH Themed Entertainment Media • Worked with Pipeline leads to create, test and implement new pipeline tools. • Managed, gave guidance and delegated work to artists throughout the production. • Forecasted monitored and defined cost in man hours associated with all departments. • Created and gave demonstrations of our technology, workflow and media to high profile clients and explained techniques and approaches to senior corporate staff. 2013 Compositing, Psyop, Inc. • Worked with lead designer, and lighter to match reference artwork and come up with interesting ways of making animated cg look like paper artwork inspired by Eiko Ojala 2012-2013 Lighting and Compositing Lead, DisneyToon Studios • Worked closely with the Art Director, CG Supervisor, and Digital Department Leads to establish the artistic look of the film through lighting and compositing. • Created and communicated well thought out lighting direction and shot retakes • Lit production keys, key art, and production shots when necessary • Provided lighting and comp set-ups and technical solutions to our vendor studios. • Worked with Marketing and Consumer Products divisions providing techniques, models, and rendered artwork to facilitate worldwide marketing campaigns and toy development. 2012-2012 Lighting, Weta Digital • Lighting on “The Hobbit” for the flashback sequence involving Azog and Thorin Oakshield. 2005-2012 Lighting and Compositing and Look Dev, Sony Pictures Imageworks Lighting and Compositing Look Development Stereo • Hotel Transylvania • Men in Black 3 • Hotel Transylvania • Men in Black 3 • Arthur Christmas, • Men in Black 3 • The Smurfs • The Smurfs • Arthur Christmas, • The Zookeeper • Alice in Wonderland • The Smurfs • Alice in Wonderland • Cloudy with a Chance of • Cloudy with a Chance of • Cloudy with a Chance of Meatballs Meatballs Meatballs • Monster House • Eagle Eye • Open Season 3D • I Am Legend • Surf’s Up • Open Season 2008-2009 CG Supervisor and Project Manager for Rolling Razor, Inc Promotion 2003-2005 Lighting, Pacific Data Images/DreamWorks Animation • Lighting and Compositing on “Madagascar” and Academy Award nominated “Shrek 2” 2003 Lighting/FX Supervisor, Todd Grimes Productions, Inc. 2002-2003 Lighting, Effects, Animation, Modeling, Compositing, Nick Digital 2002 Lighting, Fluid Dynamics, Base 2 Studios 2001-2002 Lighting, Effects, and Animation, Threshold Digital Research. 2000-2001 Lighting and Effects, Neutronium/DNA Productions, Inc. 2000 Designer/Animator, ABC 1999-2000 Lighting and Effects, Foundation Imaging 1998-1999 Lighting and Pre-visualization, Pittard Sullivan 1997-1998 CG Modeler, Lighter and Animator, DreamWorks SKG 1997 Instructor, Nova Institute, Culver City, CA 1994-1997 Game Developer, Art Data Interactive REFERENCES Darren Lurie, Supervisor Sony Pictures Imageworks [email protected] Alan Chen, Lighting/Lookdev Lead, Imageworks [email protected] Greg Reynolds Sr FX, Blizzard [email protected] Robert Waddell, Sr. Themed Entertainment Producer [email protected] .
Load more

Recommended publications
  • Buckaroo Banzai
    WORLD WATCH ONE _ IN THIS ISSUE Corrected Edition: With apologies to Radford Polinsky for a misspelling of his name on page 44 of the original edition Introduction from the Editor Dan “Big Shoulders” Berger, Libertyville, IL Page 1 By the Oath of the Flying Fish! Sean “Figment” Murphy, Burke, VA Page 2 Oh, those Pesky Dimensional Barriers... Steve “Rainbow Kitty” Mattsson, Portland, OR Page 3 What’s Crushing the Watermelon? Dan Berger and Sean Murphy Pages 4-5 The Essential Blue Blaze Irregular Edited by Dan Berger Pages 6-12 3M Mask Modification Bryian “Cyclone One” Winner Page 13 INTERVIEW: Reno and Perfect Tommy Vetted for publication by Reno of Memphis Pages 14-15 An Oral History of the Birth of Banzai Compiled by Sean Murphy Pages 16-17 A Buckaroo Banzai Sampler Sean Murphy Pages 18-22 A Buckaroo Banzai Aperitif Dan Berger Pages 23-25 An Oral History of Buckaroo Banzai: Ancient Secrets & New Mysteries—Introduction Dan Berger Pages 26-27 Creating the Banzai Institute Website Dan Berger Pages 28-30 Visualizing Ancient Secrets & New Mysteries Sean Murphy Pages 31-33 Creating the CGI Jet Car Trailer Sean Murphy Pages 34-36 Creating the Jet Car Model, et al. Dan Berger Page 37 The Final Word on Pitching Sean Murphy and Dan Berger Pages 38-39 Banzai TV: The Kevin Smith Experience Dan Berger Pages 40-42 “Evil, Pure and Simple!” Scott “Camelot” Tate, Alamosa, CO Page 43 The Cheers/Lectroid Connections Scott Tate Page 43 Banzai Institute Alert! DeWayne “Buckaroo Trooper” Todd Pages 44-45 From the Bureau Office World Watch One Staff Page 46 What Makes My Potato Tick! Doug Drexler, Los Angeles, CA Back Cover Acknowledgements Once again, a host of BBIs—many of them first-time contributors to World Watch One—gathered together to help make this issue possible.
    [Show full text]
  • Language, Intertextuality, and Subjectivity in the Poetry of Diane
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Louisiana State University Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2005 Sites of resistance: language, intertextuality, and subjectivity in the poetry of Diane Wakoski Cordelia Maxwell Hanemann Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Hanemann, Cordelia Maxwell, "Sites of resistance: language, intertextuality, and subjectivity in the poetry of Diane Wakoski" (2005). LSU Doctoral Dissertations. 1092. https://digitalcommons.lsu.edu/gradschool_dissertations/1092 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. SITES OF RESISTANCE: LANGUAGE, INTERTEXTUALITY, AND SUBJECTIVITY IN THE POETRY OF DIANE WAKOSKI A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English by Cordelia Maxwell Hanemann B.A., University of Southwestern Louisiana, 1970 M.A., University of Southwestern Louisiana, 1975 May 2005 © Copyright 2005 Cordelia Maxwell Hanemann All rights reserved ii Acknowledgements The completion of this dissertation owes much to the impetus and efforts of many people. Without the support of my family, my colleagues, and my friends, I would not have persevered: I especially thank my partner, William Birmingham; my children, Louis, Benjamin, and Craig; and my good friend, Lisa Gibbs.
    [Show full text]
  • Andy Romine 818-590-9801 (Mobile) [email protected] Link: Reel
    Andy Romine 818-590-9801 (mobile) [email protected] Link: reel: https://vimeo.com/114588256 Skills Key Skills: cloth development, hair & character effects. Other Skills: lighting, surfacing, animation, modeling, compositing, mel, python. Key Software & Tools: Maya, Houdini, Qualoth, Syflex, Shake, After Effects, Mental Ray, zBrush, various proprietary studio tools. Experience Walt Disney Animation, Culver City, CA April 2014 – September 2014 Big Hero 6 Feature Film Technical Animation The Mill, Culver City, CA Oct 2013 – April 2014 Coke, Gillette, VW, DirecTV Commericials Senior Cloth & Simulation Artist Digital Domain, Playa Vista, CA April 2013 – May 2013 Destiny & Shadows of Mordor Commericials Hair & Cloth TD DreamWorks Animation, Glendale, CA November 2007 – April 2013 Turbo Feature Film Cloth/Hair/Character FX Artist The Croods Feature Film Cloth/Hair/Character FX Artist Puss in Boots Feature Film Cloth Dev/Character FX Artist How to Train Your Dragon Feature Film Cloth Dev/Character FX Artist Sony Imageworks, Culver City, CA July 2007 – October 2007 I Am Legend Feature Film Cloth/Hair TD Hydraulx, Santa Monica, CA March 2007 – May 2007 Fantastic Four 2 Feature Film Dynamics (Cloth Sim & Particles) The Syndicate, Santa Monica, CA Jan 2007 – Feb 2007 Six Flags (You are Here) Commercial Digital Artist (Lighting, Modeling, FX) Pixel Magic,Toluca Lake, CA June 2006 – October 2006 Rogue Feature Film Digital Artist (lighting & simulation) 300 Feature Film Look Development & Lighting The Guardian Feature Film Lighting & Effects Entity
    [Show full text]
  • Lightwave 3D Ha Costantemente Dominato I Mercati Televisivo E Cinematografico, Il Mercato Per Lo Sviluppo Dei Giochi Seguirà Presto
    Db-Line srl Via Alioli e Sassi, 19 21026 Gavirate VA - ITALY Partita Iva: 02254780121 NewTek Official Distributor Tel. 0332-749000 Fax 0332-749092 http://www.dbline.it email: [email protected] http://www.dbline.it/newtek/ Db-Line srl - Via Alioli e Sassi, 19 - 21026 - Gavirate ( VA ) www.dbline.it - [email protected] Tutti i marchi citati sono di proprietà dei legittimi aventi diritto Key Accounts Films: Films: 5th Element Mystery Science Area51 Planet Blue Anastasia Theater 3000 Autumn Light Rainbow Studios Armageddon Ninagi Computer Cafe Rainmaker Digital Pictures Barney's Great Adventure Nixon Digital Domain Saban Batman Red Corner Digital Muse Station X Studios Blade Spawn Encore Take 3 Film Productions Blue Planet Sprung Flash Filmworks The Big Machine Blues Brothers 2000 Star Kid Flat Earth The Magic Camera Company Casper (A Spirited Beginning) Star Trek First Contact Foundation Imaging UberFX Contact The Avengers Fox Animation Studios Warner Brothers Courage Under Fire The Gardener OCS/Freezeframe Will Vinton Devil's Advocate The Jackal Paramount Flubber Three Ninjas: High Noon Television: Golden Eye at Mega Mountain AGA Digital Paramount Lord of Illusions Titanic Area 51 Planet Blue Lost-In-Space Tomorrow Never Dies Computer Cafe Rainbow Studios Men in Black Wishmaster Digital Domain Rainmaker Digital Pictures Mortal Kombat II Digital Muse Rez.n8 Television: DNA Productions Saban Babylon 5 Mystic Knights Encore Silent Planet Battletech:The Series Robocop: The Series Flat Earth Station X Studios Baywatch seaQuest DSV Foundation Imaging The Big Machine Dark Skies Sliders Human Code Will Vinton Disney Flubber to home video Space Above & Beyond Imagination in Motion Wreckless Abandon Star Trek:Deep Space 9 Star Trek Netter Digital HBO's From Earth to the Moon Titanic TV miniseries Games: Hercules: The Legendary Unsolved Mysteries 7th Level Megatoon Studios Journey's Star Trek:Voyager Atari Microsoft Hypernauts X Files Broderbund Software Inc.
    [Show full text]
  • COPYRIGHTED MATERIAL 20 084908 Bindex.Qxp 2/24/09 3:08 PM Page 482
    20_084908_bindex.qxp 2/24/09 3:08 PM Page 481 Index COPYRIGHTED MATERIAL 20_084908_bindex.qxp 2/24/09 3:08 PM Page 482 (Previous page: Kung Fu Panda’s Shifu (Facing page: Office Noise characters. (Madagascar: Escape 2 AfricaTM and uses proven teaching techniques to © 2008 The Animation Workshop, © 2008 DreamWorks Animation LLC, make Po realize that he is a kung fu and Karsten Madsen, Mads Herman used with permission. Previous page: master. Notice the clear silhouettes, Johansen, Laerke Enemark, Torben S. Kung Fu PandaTM and © 2008 telling body language, and easy-to- Christensen.) DreamWorks Animation LLC, used read facial expressions.) with permission.) 482 INDEX 20_084908_bindex.qxp 2/24/09 3:08 PM Page 483 Index • A • Aliasing effects, 30, 82, 298, 300 329, 343–347 AAF file format, 468 and antialiasing, 282 file formats, 356–358 character. See Character Aardman Studios, 33 spatial, 281–282 getting ready, 358–360 animation Abel (Robert) and Associates, temporal, 282 getting started, 86–89 crowd, 394, 396, 400 19, 20, 21 Alias Research, 29 hand-drawn, 296 dynamics simulation, A/B roll editing, 448 Alien Song, 28, 29, 241 history of. See Computer 374–382 Absolute position, 343 Aligning, 148, 164 graphics, history of facial. See Facial animation Absolute values, 101 Alpha channel, 267, 437, 445 information sources, 16 flock, 383–386 Abyss, The, 20, 23 Altitude, 241 limited, 311–312 fundamental, 295–305 Academy of Motion Picture Ambient light, 222, in live action movies, 27, goal-oriented, 386–390 Arts and Sciences (AMPA), 229–230, 231, 239,
    [Show full text]
  • The Hollywood Cinema Industry's Coming of Digital Age: The
    The Hollywood Cinema Industry’s Coming of Digital Age: the Digitisation of Visual Effects, 1977-1999 Volume I Rama Venkatasawmy BA (Hons) Murdoch This thesis is presented for the degree of Doctor of Philosophy of Murdoch University 2010 I declare that this thesis is my own account of my research and contains as its main content work which has not previously been submitted for a degree at any tertiary education institution. -------------------------------- Rama Venkatasawmy Abstract By 1902, Georges Méliès’s Le Voyage Dans La Lune had already articulated a pivotal function for visual effects or VFX in the cinema. It enabled the visual realisation of concepts and ideas that would otherwise have been, in practical and logistical terms, too risky, expensive or plain impossible to capture, re-present and reproduce on film according to so-called “conventional” motion-picture recording techniques and devices. Since then, VFX – in conjunction with their respective techno-visual means of re-production – have gradually become utterly indispensable to the array of practices, techniques and tools commonly used in filmmaking as such. For the Hollywood cinema industry, comprehensive VFX applications have not only motivated the expansion of commercial filmmaking praxis. They have also influenced the evolution of viewing pleasures and spectatorship experiences. Following the digitisation of their associated technologies, VFX have been responsible for multiplying the strategies of re-presentation and story-telling as well as extending the range of stories that can potentially be told on screen. By the same token, the visual standards of the Hollywood film’s production and exhibition have been growing in sophistication.
    [Show full text]
  • Joshua E. Mcguire
    E-Mail: Phone# [email protected] (661) 993-5899 Web Site: www.joshmcguire.com IMDB: http://www.imdb.com/name/nm0570227/ Joshua E. McGuire Objective The opportunity to work for a company where I can utilize my skills, Knowledge and experience to help the company be successful, while at the same time continuing to learn and grow. Tools Used Nuke, Fusion, Lightwave 3D, Modo, some Maya experience, Photoshop, VDX, Particle Illusion, Boujou, After Effects, Combustion, Point Oven, Beaver Project, Frame Cycler, Magpie Pro, Premiere. Experience 2011-2014 Mirada 4235 Redwood Ave. Los Angeles, Ca 90066 (424) 216-7470 Compositor • Did compositing work on a 5 Gum commercial directed by John Favreau. • Was the compositing lead for a Centrum commercial. (A 30 and a 15.) • Did compositing work on 2 Microsoft commercials, 4 Scottrade commercials, 2 T-Mobile commercials, a Kellogg's Crunchy Nut commercial, a Colgate commercial and several Tide commercials. • Did paint and roto work for a Wonderful Pistachios superbowl commercial. 2011- Eden FX 12421 Olympic Blvd. Santa Monica, Ca 90064 (310) 481-7002 Digital Artist • Did modeling, surfacing, set-up, lighting and compositing work on 2 episodes of the TV series NCIS. • Did compositing work on 1 episode of the TV series The Playboy Club. 2011- Technicolor 2255 N. Ontario St. Burbank, CA 91504 (818) 260-3837 Stereoscopic Compositor • Did 2D to 3D stereo conversion for the feature film Kung Fu Panda for Dreamworks . 2010-2011 Stereo D, LLC 3355 W. Empire Ave. Burbank, CA 91505 (818) 861-3100 Depth Artist/Stereoscopic Compositor • Did 2D to 3D stereo conversion for the feature films Gulliver's Travels and Thor.
    [Show full text]
  • Animation Business Directory Winter 2002
    Animation Industry Database GLOBAL aidb.com ANIMATION BUSINESS DIRECTORY WINTER 2002 An Animation World Network Publication awn.com GLOBAL ANIMATIONBUSINESS DIRECTORY WINTER 2002 GLOBAL ANIMATIONBUSINESS DIRECTORY WINTER 2002 WE ARE PLEASED TO WELCOME YOU TO ENJOY AWN’S INAUGURAL publication of the AIDB Directories. This three-part animation industry directory offers a resource to professionals that has never before been available. Derived from AWN’s exclusive online Animation Industry Database (www.AIDB.com), these new downloadable publications are Animation Industry Database designed to provide AWN readers with valuable information on animation, www.aidb.com visual effects, gaming and related companies from around the world. The AIDB is the most comprehensive, searchable and easy to use resource of its Animation World Network kind. Over 4,000 companies from 80 countries are represented within these www.awn.com directories, featuring companies that sell products, provide services and AWN, Inc. possess creative expertise across more than 100 business and production 6525 Sunset Blvd. categories. Garden Suite 10 AWN has just published the Winter 2002 edition of the following printable Los Angeles, CA 90028 United States PDF directories. Follow the links below to download these directories for [T] 323 606-4200 free. [F] 323 466-6619 [email protected] > GLOBAL ANIMATION BUSINESS DIRECTORY www.awn.com > GLOBAL ANIMATION HARDWARE&SOFTWARE DIRECTORY PUBLISHING > GLOBAL ANIMATION PRODUCTION DIRECTORY PRESIDENT Ron Diamond The on-line AIDB grows everyday as more and more people update CHIEF OPERATING OFFICER their company profiles. Inclusion, access and use of the AIDB is provided Dan Sarto free of charge. Participating companies edit their own descriptive profiles, so the information stays up-to-date and accurate.
    [Show full text]
  • Animação Stop-Motion X Animação Digital 3D
    UNIVERSIDADE FEDERAL DO RIO DE JANEIRO ESCOLA DE COMUNICAÇÃO ANA BEATRIZ MUGGIATI SUASSUNA OS INCRÍVEIS: Animação stop-motion x animação digital 3D Rio de Janeiro 2004 Ana Beatriz Muggiati Suassuna OS INCRÍVEIS: animação stop-motion x animação digital 3D Trabalho de conclusão de curso submetido ao corpo docente da Escola de Comunicação, Universidade Federal do Rio de Janeiro, como parte dos requisitos necessários à obtenção do título de Bacharel em Comunicação Social, habilitação Radialismo. Orientador: Professor Luciano Saramago Rio de Janeiro 2004 S. Suassuna, Ana Beatriz Muggiati S. Os Incríveis: animação stop-Motion x animação digital 3D / Ana Beatriz Muggiati Suassuna. Rio de Janeiro, 2004. 125 f.: il. Trabalho de conclusão de curso (Graduação em Comunicação Social) – Universidade Federal do Rio de Janeiro Escola de Comunicação, 2004. Orientador: Luciano Saramago 1. Animação. 2. Debate entre técnicas 3. Comunicação Social (Trabalho de conclusão de curso) I. Saramago, Luciano (orient.). II. Universidade Federal de Comunicação. III. Título. CDD ANA BEATRIZ MUGGIATI SUASSUNA OS INCRÍVEIS: animação stop-Motion x animação digital 3D Trabalho de conclusão de curso submetido ao corpo docente da Escola de Comunicação, Universidade Federal do Rio de Janeiro, como parte dos requisitos necessários à obtenção do título de Bacharel em Comunicação Social, habilitação Radialismo. Rio de Janeiro, 16 de dezembro de 2004 ________________________________________________________________ Prof. Luciano Saramago, MSc Comunicação, ECO / UFRJ. _______________________________________________________________ Profª. Fátima Sobral Fernandes, DSc, ECO / UFRJ. _______________________________________________________________ Prof. José Henrique Ferreira Barbosa Moreira, Mestre em Comunicação Social, ECO / UFRJ. _______________________________________________________________ Prof. Mauricio Lissovsky, Doutor em Comunicação Social, ECO / UFRJ. À minha família. Obrigada aos meus amigos que me ajudaram com suas sugestões e críticas.
    [Show full text]
  • INFORMATION to USERS This Manuscript Has Been Reproduced
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in ^ewriter face, while others may be from an y type of computer printer. The qnaliQr of this reproduction is dependent upon the quali^ of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and inproper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manusciipt and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the badt of the book. Photogr^hs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Z eeb Road. Ann Arbor. Ml 48106-1346 USA 313.'761-4700 800/521-0600 INFORMAL COMPUTER-ART EDUCATION: A FOCUS ON THE ART AND HISTORICAL IMPACT OF COMPUTER GENERATED SPECIAL VISUAL EFFECTS AND THE PEDAGOGY OF THE ARTISTS WHO CREATE THEM PROFESSIONALLY IN THE SAN FRANCISCO BAY AREA PRODUCTION COMPANIES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Garth Anthony Gardner, B.A., M.A.
    [Show full text]
  • ROGER BORELLI 3D Modeling and Sculpting
    ROGER BORELLI 3D Modeling and Sculpting [email protected] - https://www.artstation.com/roger 3D Production Artist ll: New Balance Athletics - Modeling and texturing photorealistic shoes. - 09/2018 to Now Freelance: Character Modeling, Low-Poly Character Modeling, Visual Development, Texturing, Lighting, Rendering, Product and Store Displays – 01/2012 to Now Modeling and Digital Sculpting Instructor: The Digital Animation & Visual Effects School - 08/2013 to 08/2018 Character Artist: Bolder Games - Low-Poly Character Modeling and UVs - 2017 Character Artist: Mindshow, Inc - VR Modeling and Blend-Shapes - 2016 Senior Modeler: The Third Floor - Lichdom: Battlemage and The Amazing Spider-Man 2 - 10/2012 to 12/2012 Modeler/Texture Artist: DreamWorks Animation - Dragons: Riders of Berk - 05/2011 to 08/2012 Lead Modeler: Warner Brothers Animation - Green Lantern: The Animated Series - 08/2010 to 03/2011 Character Artist: Microsoft Game Studios - Kinect Adventures - 10/2009 to 07/2010 CG Designer: IMAGI Animation Studios - Astro-Boy and Tusker - 09/2007 to 05/2009 3D Artist: BNS (Brand New School) - Commercials - 06/2007 to 09/2007 Senior Modeler: Disney Feature Animation - American Dog, Meet the Robinsons, Lorenzo, Chicken Little, Fraidy Cat, Fantasia 3, and My Peoples - 06/2002 to 05/2007 Character Modeler: Digital Domain - Star Trek: Nemesis - 02/2002 to 06/2002 Character Modeler: Disney TV Animation - Dumbo-2 and Lloyd in Space – 10/2001 to 02/2002 3D Modeler: Digital Domain - DODGE Trucksville, SONIC, and SCIFI Channel - 06/2001 to 10/2001 Character Modeling Supervisor: Foundation Imaging - DAN DARE TV Series and MAX STEEL Season 02 03/2000 to 05/2001 Character Modeler: Foundation Imaging - STARSHIP TROOPERS the TV Series and MAX STEEL Season 01 03/1999 to 03/2000 Software Modo, Maya, ZBrush, Mudbox, Cyslice, UV Layout, Photoshop, After Effects, Premiere OS Windows, Linux, UNIX, Mac MAKEUP EFFECTS EXPERIENCE: 1987 - 1999 Shop Supervisor, Sculptor, Moldshop Supervisor, Painter, Mold-Maker, Lab Technician, and Set Application.
    [Show full text]
  • Ken Brilliant
    Ken Brilliant Credits www.Brilliant-creations.com [email protected] Objective To create cutting edge digital creations and effects for the entertainment media. Education Graduated 1986 with a BFA from the School of Visual Arts Skills Practical effects background in sculpture, painting & drawing. Digital effects skills in 3D modeling, texturing, rigging, animation. Awards 1999 3D Design Big Kahuna Award for character design. (Also nominated for animation) Software knowledge Maya, Softimage, ZBrush, MudBox , Substance Painter, 3D Max, Modo, Lightwave, Photoshop, 3D Coat, Body Paint 3D Work Experience 2010-2016 Company: The Asylum Performed character , hard surface modeling texturing, rigging and fur duties for over 40 films. Tron2 2009-2010 Company: Digital Domain Texture Artist Weird Al’s Brain 2009 Company: Amalgamated Pixels Lead 3D Character Modeler/Texture Artist for a 3D film. City of Dreams 2007-2009 Company: Amalgamated Pixels Lead 3D Character Modeler/Texture Artist. Some Animation World Series of Poker Game 2007 Company: Left Field Productions 3D Character asset artist: modeling/texturing 2005-2007 Gigapix Studios: Lead Modeler/texture artist The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe 2005 Company: Rhythm & Hues 3D Modeler Disney 50th Anniversary commercials 2005 Company: Digital Domain 3D Modeler and texture artist Lemony Snickets video game commercial 2004 Company: Rhythm & Hues 3D character modeler 21st Century commercial 2004 Company: Rhythm & Hues 3D modeler Golden Eye video game trailer 2004 Company: Rhythm & Hues 3D character modeler and animator Midnight Club 3 video game 2004 Company: Hornet 3D Vehicle modeler for printed art Fat Albert Movie 2004 Company: Warner Brothers Animation 3D Element Scene Layout Golden Eye video game commercial 2004 Company: Rhythm & Hues 3D Character modeler, texture artist and animator Quaker Granola Bars commercial 2004 Company: Hornet Inc.
    [Show full text]