Lmh – Cg/Vfx Director & Supervisor Lead 3D/Vfx

L M H – CG/VFX DI RECTOR & SUPERVISOR  L EA D 3 D/VFX GENERALIST

 VFX SHOWREEL BREAKDOWN – CONTENT LIST PRODUCTION RESPONSIBILITIES / INVOLVEMENT

 SUN, SOLAR STORMS - FEATURE (FOR DISCOVERY CHANNEL)

VFX by Buck DESCRIPTION: Feature presentation for Discovery Channel featuring over 80 shots. The scientist presenter Phil Plait narrates and gesticulates immersed (journeying to various POV’s of solar activity via a holographic style POV of the sun) in the events he is describing. The production involved wild sweeping ‘jib’ camera moves in a green-screen studio (a difficult challenge to light given the space covered) whereby Phil was then seamlessly composited and integrated with CG-VFX elements and environments.

TREATMENT/SOFTWARE USED: Maya MentalRay & VRay Photoshop Nuke (and various bundled Tinder FX tools) After Effects FCP (Final Cut Pro) Avid Motion Textural Elements in combination with CG-FX generated layers and Comp’ FX spotting were utilised to create the detailed VFX output.

MY PERSONAL INVOLVEMENT: VFX supervision; ensuring quality control, instrumental with guidance on render pipeline and workflow conventions. Managing a team of 30 artists and chairing Dailies and Rounds. Live-Action Studio Shoot Supervision (3 day shoot). Hands-on senior tasks including R&D, Character & Technical Rigging, Previs & Animation.

 TROPICANA ‘BOUNCING ORANGES’ – COMMERCIALS CAMPAIGN SERIES, 30’ TVC

VFX by Buck DESCRIPTION: Working as CG/VFX project lead and co-shoot supervisor for a high-end US client; Tropicana commercial featuring 3D animated oranges and bottle integrated with Live-Action back-plate.

TREATMENT/SOFTWARE USED: Maya MentalRay Photoshop Nuke (and various bundled Tinder FX tools) FCP (Final Cut Pro) Motion Textural Elements in combination with CG-FX generated layers and Comp’ FX spotting were utilised to create the detailed VFX output.

MY PERSONAL INVOLVEMENT: CG & VFX supervision; ensuring quality control, instrumental with guidance on render pipeline and workflow conventions. Managing a team of 3D/VFX artists and chairing Dailies and Rounds. Live-Action Studio Shoot Supervision (co-supervision). Hands-on senior tasks including R&D, Character & Technical Rigging, Previs & Animation, Master Light & Rendering.

 JAMES BOND, SKYFALL – VFX FILM

VFX by Dneg DESCRIPTION: Full feature VFX film.

Pg 1 BREAKDOWN LIST – PRODUCTION RESPONSIBILITIES & INVOLVEMENT L M H – CG/VFX DI RECTOR & SUPERVISOR  L EA D 3 D/VFX GENERALIST

TREATMENT/SOFTWARE USED: Maya REX (PR-MAN and bespoke Dneg proprietary solution) Photoshop Nuke

MY PERSONAL INVOLVEMENT: Lookdev Artist & Generalist Technical Director; worked at the inception of the latest James Bond Film with senior generalist tasks such as modelling (hard surface architectural), UV Set, Texture Painting / Mapping and Looks Development (lighting & shaders).

 BIRDSEYE – COMMERCIALS CAMPAIGN (SERIES OF SPOTS)

VFX by Iloura DESCRIPTION: Campaign series of 30 second and three 15 second commercials advertisement for ‘Birds Eye’ (renowned character driven series) featuring fully dynamically feathered talking birds (the first Birdseye lip-sync campaign).

TREATMENT/SOFTWARE USED: Maya, Vray and 3Delight Shave & A Haircut Photoshop Nuke Premiere Pro Flame

MY PERSONAL INVOLVEMENT: Animation Director / CG Supervisor; conceptual design and scripts, devising pre-visualisation output to guide the live- action camera and compositional dynamic, devising the technical pipeline, determining functional and aesthetic guidelines, departmental line management, CG Supervision as well as VFX shoot direction, 3D Design and senior hands-on generalist tasks local to the Iloura Melbourne office and collaboration with the Sydney team.

 JOHN CARTER OF MARS – VFX FILM

VFX by Dneg DESCRIPTION: Full feature VFX film.

TREATMENT/SOFTWARE USED: Maya REX (PR-MAN and bespoke Dneg proprietary solution) Photoshop, Nuke

MY PERSONAL INVOLVEMENT: Lighting Technical Director; master lighting for six shots over two sequences. I was also involved with slap-comp’s via Nuke to test and assess all the render passes.

 SHERWIN PAINT - COVER THE EARTH (‘PAINT CHIPS’ CHARACTERS)

VFX by Buck DESCRIPTION: 30 second commercial advertisement for Sherwin Paint. The colourful world is made up of ‘paint chip’ characters and settings.

TREATMENT/SOFTWARE USED: Maya MentalRay & Maya VRay Photoshop Nuke After Effects

Pg 2 BREAKDOWN LIST – PRODUCTION RESPONSIBILITIES & INVOLVEMENT L M H – CG/VFX DI RECTOR & SUPERVISOR  L EA D 3 D/VFX GENERALIST

MY PERSONAL INVOLVEMENT: CG/VFX supervision; ensuring quality control, guidance on render pipeline and workflow conventions. Hands-on senior generalist work.

 HERTHOG ICE CREAM - DANCING COWS

VFX by Buck DESCRIPTION: 30 second commercial advertisement for Herthog Ice cream featuring dancing cows, line dancing together.

TREATMENT/SOFTWARE USED: Maya MentalRay Photoshop Nuke & After Effects

MY PERSONAL INVOLVEMENT: Lead Character Animation R&D; setting up all the key poses and character dance choreography development, along with senior generalist 3D hands-on work.

 SHINY SUDS – SPOOF COMMERCIAL ‘PEOPLE AGAINST DIRTY’ (Cheeky sleezy soap suds)

VFX by Buck DESCRIPTION: 1 minute commercial / short-film advertisement for Method; cleaners that do not harm the environment - ‘People Against Dirty’. The spot takes and pastiche style homage to 1950’s style commercials and turns it on it’s head to hammer home the message with black-comedic style,

TREATMENT/SOFTWARE USED: Maya MentalRay Photoshop Shake HDRI stills and Live Action Plates

MY PERSONAL INVOLVEMENT: Head of 3D / VFX Supervisor; managing and directing a team of seven. VFX shoot supervision; supervising all on-set VFX content. Ensuring quality control, setting up render layers and guidance on render pipeline and workflow conventions. Hands-on senior generalist work including lead character animation for certain hero shots including ‘loofa’ chant..

 PEACOCK – COLOUR THE MAGIC OF LIFE

VFX by Saddington & Baynes DESCRIPTION: Two ten second spots featuring a ‘sad’ bird who transitions into a ‘happy’ jubilant colourful bird.

TREATMENT/SOFTWARE USED: Maya MentalRay Photoshop Nuke & Fusion

MY PERSONAL INVOLVEMENT: Creative Direction; Design and direction. VFX supervision; ensuring quality control, guidance on render pipeline and workflow conventions. Lead character Animation and master rig setup. FX Dynamics; using ‘hair’ to dress the bird with weighted ‘fronds; Lars was able to orchestrate a solution to deal with the difficult task of reverse logic engineering the animated production to match a Print Campaign, master minding the setup of a complex animation rig and ensuring the transition through to a ‘Print Art’ matched hero frame was possible. Working closely with the VFX Producer, lead lighting artist, compositor and grade/edit crew, he devised solutions to meet the delivery demands.

Pg 3 BREAKDOWN LIST – PRODUCTION RESPONSIBILITIES & INVOLVEMENT L M H – CG/VFX DI RECTOR & SUPERVISOR  L EA D 3 D/VFX GENERALIST

 TIME SPACE – SHORT FILM & PRODUCT PROMOTION

VFX by Saddington & Baynes DESCRIPTION: 1 minute HD-Resolution short film and product commercial delivered to a photo- real spec'. The film explores notions of the ‘time-space continuum’ targeting the watch market. The watch is based and modelled on the Mars Orbiter, a Chronograph by HS Design.

TREATMENT/SOFTWARE USED: Maya MentalRay & Vray. Photoshop. Shake, Nuke. Fusion, Sapphire, HDRI Stills camera

MY PERSONAL INVOLVEMENT: As CG/VFX Director, Lars was the Creative Director and VFX Supervisor for the production responsible for the concept, script, design and direction of the production, VFX and sound design crew. Lars supervised the 3D VFX team as well as acting as the project hands-on lead. His hands-on tasks spanned stills camera work, HDRI textural shoot, lead lighting, shaders, modelling, UV Set, master compositing, animation, rendering, grade and edit. Lars assured quality control via precise creative and technical direction, VFX Supervision and devising all workflow methodology, naming and directorial conventions.

 DISCOVERY CHANNEL – BEAR GRYLLS OPENER

VFX by Saddington & Baynes DESCRIPTION: A VFX prodution focusing on the Bear Grylls character as an opening identity for Discovery Channel. This production was two tier; the first spot delivering in standard HD output and the second as stereoscopic 3D. Hence the live-action shoot catered for the stereoscopic requirement and the standard delivery in HD.

TREATMENT/SOFTWARE USED: Maya MentalRay Photoshop Smoke & After Effects

MY PERSONAL INVOLVEMENT: Lars acted as 'Lead Generalist / VFX Supervisor', co-supervising the VFX content for the live-action shoot and leading a team of three 3D/VFX artists. Lars was the hands-on lead 3D generalist and supervised the animation, CG, VFX for the production assuring 'quality control'. The hands-on tasks included determining and setting up and render layers, organising naming conventions, determining and supervising the VFX methodology, animating hero camera moves, designing, composing and animating and the resolve shot.

 BUZZ MONKEY

VFX by Locomotion DESCRIPTION: 30 second promotional identity for Australian 'energy' drink 'Buzz Monkey' featuring a super cheeky, hyper-active lovable monkey.

TREATMENT/SOFTWARE USED: Maya MentalRay Photoshop Shake FCP Sapphire HDRI Stills camera

MY PERSONAL INVOLVEMENT: Lars was the Head of 3D / VFX Director, developing the design and scripts and directing a team of 3D/VFX artists.

Pg 4 BREAKDOWN LIST – PRODUCTION RESPONSIBILITIES & INVOLVEMENT L M H – CG/VFX DI RECTOR & SUPERVISOR  L EA D 3 D/VFX GENERALIST

 BT COVERFLOW

VFX by Locomotion DESCRIPTION: 30 second commercial for BT echoing the Macintosh ‘cover-flow’ style.

TREATMENT/SOFTWARE USED: Maya-MentalRay Photoshop Shake, FCP, Sapphire HDRI Stills camera

MY PERSONAL INVOLVEMENT: Lars was the Head of 3D / VFX Director supervising a team of 3D/VFX artists.

 MVA OPENER

VFX by Locomotion DESCRIPTION: 30 second promotional opener for the prestigious MVA (Music Video Awards), London, UK.

TREATMENT/SOFTWARE USED: Maya MentalRay Photoshop FCP After Effects Sapphire & Tinder Tools HDRI Stills camera

MY PERSONAL INVOLVEMENT: Lars was one of two creative director’s as well as the Head of 3D / VFX Director, developing the design and scripts and directing a team of 3D/VFX artists and also acting as lead 3D hands-on (lighting & shaders, render passes, animation).

 WATCH THIS SPACE – BBC

VFX by Locomotion DESCRIPTION: Pitch for BBC’s Watch This Space (property development) series.

TREATMENT/SOFTWARE USED: Maya MentalRay Photoshop Shake Flame Sapphire HDRI Stills camera

MY PERSONAL INVOLVEMENT: Lars was the Head of 3D / VFX Director, developing the design and scripts and directing a team of 3D/VFX artists. The pitch involved clever VFX transitions such as these roses & vase that spring forth from a drop of water.

Pg 5 BREAKDOWN LIST – PRODUCTION RESPONSIBILITIES & INVOLVEMENT L M H – CG/VFX DI RECTOR & SUPERVISOR  L EA D 3 D/VFX GENERALIST

 BUG, MASSIVE ATTACK

VFX by Locomotion DESCRIPTION: Bug, Massive Attack is one of a series of introductory spots for BUG, The Evolution Of Music Video. BUG is a prestigious bimonthly Music Video Festival held at BFI Southbank Cinema in London, UK. This particular night featured the video works of band Massive Attack..

TREATMENT/SOFTWARE USED: Maya MentalRay Photoshop Shake Sapphire FCP HDRI Stills camera

MY PERSONAL INVOLVEMENT: Written & Co-Directed by Lars who acted as 'Head of 3D / VFX Director', Lead Animator, 'Senior 3D Generalist' and master VFX compositor. Lars was responsible for co-developing the concept, design and scripts, directing and supervising a team of 3D/VFX artists.

 BUG, HILLS ARE ALIVE

VFX by Locomotion DESCRIPTION: Bug 09, Hills Are Alive is one of a series of introductory spots written and VFX directed by Lars Magnus Holmgren for BUG, a prestigious bimonthly Music Video Festival held in London, UK. Hills Are Alive is a pastiche style nod to the musical The Sound Of Music, with an element of 'The Day Of The triffids' style horror.

TREATMENT/SOFTWARE USED: Maya MentalRay Photoshop Shake Sapphire FCP, Apple Colour (Grade Finesse), HDRI digital stills / Filmed using HD camera

MY PERSONAL INVOLVEMENT: Written & Directed by Lars who acted as 'Head of 3D / VFX Director', Lead Animator,'Senior 3D Generalist' and master VFX compositor. Lars was responsible for developing the concept, design and scripts, directing and supervising a team of 3D/VFX artists.

 BUG, CUP CAKES

VFX by Locomotion DESCRIPTION: Bug 12, Cup Cakes is one of a series of introductory spots written and VFX directed by Lars Magnus Holmgren for BUG. BUG is a prestigious bimonthly Music Video Festival held at BFI Southbank Cinema in London, UK.

TREATMENT/SOFTWARE USED: Maya MentalRay Photoshop Shake (comp and grade) Sapphire FCP Apple Colour (Grade Finesse) HDRI digital stills. Live-Action via HDRI stills camera; stop-motion approach.

Pg 6 BREAKDOWN LIST – PRODUCTION RESPONSIBILITIES & INVOLVEMENT L M H – CG/VFX DI RECTOR & SUPERVISOR  L EA D 3 D/VFX GENERALIST

 ROBERT WELCH, KNIVES

VFX by Locomotion DESCRIPTION: Corporate Promotional Identity for Robert Welch promoting the new kitchen knife range.

TREATMENT/SOFTWARE USED: Maya MentalRay Photoshop After Effects Sapphire FCP Apple Colour (Grade Finesse), HDRI digital stills.

MY PERSONAL INVOLVEMENT: Lars acted as 'Head of 3D / VFX Director'. Lars was responsible for developing the concept, design, hands-on pre- visualisation 3D animatics, directing and supervising a team of 3D/VFX artists.  SONY PSP – (HUMAN SOCCER-BALL) “Bounce”, “Rain” & “Goal” - COMMERCIALS SERIES

VFX by Rushes DESCRIPTION: Three idents from a campaign series of six idents for Sony Playstation Portable (PSP). The brief was to create a representation of the official UEFA ball … but this time made entirely of PEOPLE.

TREATMENT/SOFTWARE USED: Maya: modelling, character set-up, animation and particle dynamics. Renderman; shaders and lighting. Photoshop; for textures/maps. Live-Action plates and digi-stills. Flame; Master VFX Compositing.

MY PERSONAL INVOLVEMENT: CG Supervisor for a team of three (animator and lighting-TD), also modelling and Master Animation setup for the 3D human-soccer-ball. The 3D people were all linked together, feet and hands, to form the complete football. These people had to be ‘photo realistic’ in terms of modelling, textures, clothing-dynamics, hair-dynamics and animation (body and facial gesticulation) in order to seamlessly match the close-up ‘live-action’ ball of people. This was vital since the transitions would involve 3D take-over occurring at the close-up to mid- ground distance. Extreme attention to rotoscoping during this transition was also a necessity. Particle dynamics involved creation of rain colliding and flying off the ball in the ‘rain’ spot.

 ESCADA – (“CG Petals blown from flower Bouquet”) - COMMERCIAL

VFX by Rushes DESCRIPTION: Thirty second commercial for Escada Perfume. Features stylised, wind strewn flower petals interacting with live-action backplates.

TREATMENT/SOFTWARE USED: Maya/Mental-Ray: modelling, animation and particle dynamics, shaders and lighting. Photoshop; for textures/maps. Live-Action plates and digi-stills

MY PERSONAL INVOLVEMENT: CG Supervisor for a team of two 3D staff. Hands on: Lead hands on involvement with the petals (involving the modelling, texturing, shaders, lighting, key animation and multi-layered particle dynamics with detailed attention to instance groups, forces and collisions).

Pg 7 BREAKDOWN LIST – PRODUCTION RESPONSIBILITIES & INVOLVEMENT L M H – CG/VFX DI RECTOR & SUPERVISOR  L EA D 3 D/VFX GENERALIST

 COCA COLA / COKE ZERO –“Cant Drink”, “Liar”, “Finger” & “Brain” - COMMERCIALS SERIES

VFX by Againstallodds, Sweden DESCRIPTION: Series of four television commercials for Coca Cola ‘Coke-Zero’. Final delivery in HD to meet the global, possible ‘to-cinema’ demands. The campaign features freakish characters (tongues with elephant legs, eyeball with bird legs, a finger and a brain with arms sitting on a drip-tray on wheels). 3D-CG characters and Coke- Bottle with Live-Action digital-stills plates used for the 3D environments.

TREATMENT/SOFTWARE USED: Maya-Mental-Ray: modelling, character set-up, animation. particle dynamics, shaders and lighting. Photoshop; for textures/maps., After Effects; VFX compositing. Flame; Final Grade and global campaign specific re- formatting. Live-Action plates and digi-stills

MY PERSONAL INVOLVEMENT: Head Of 3D / VFX Supervisor for a team of eight (character animators, modellers, IT lead, generalists and lighting-TD). Established effective strategies to ensure the highest quality of work, delivering to client satisfaction under very tight deadlines. Ensured effective communication between senior management, producers, 3D-CG and VFX personnel. Created and managed an effective CG/VFX Pipeline for the production. Determined creative, logistical and technical solutions throughout the production pipeline (pre-production and production stages). Hands-on senior-generalist tasks on a needs-be basis throughout the production. Character development and hands-on animation R&D at the pre-production stage.

 SAUDI TV - COMMERCIALS SERIES

VFX by Rushes DESCRIPTION: A series of idents for Saudi TV. Various CG environments and VFX merging and integrating various live-action characters.

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront: modelling, character set-up, animation and particle dynamics. Renderman; shaders and lighting. Photoshop; for textures/maps. Live-Action plates and digi-stills

MY PERSONAL INVOLVEMENT: I was responsible for the composition and animation of the various glowing ‘crescents’ which orbited the characters.

 Always – (Flower petals) COMMERCIAL

VFX by Rushes DESCRIPTION: A commercial for Always panty-shields, featuring flower petals choreographed to follow the lead actress as she walks through various scenarios. Live action with CG.

TREATMENT/SOFTWARE USED: Maya: modelling, animation, lighting, shaders and particle dynamics. Photoshop; for textures/maps. Live-Action plates and digi-stills

MY PERSONAL INVOLVEMENT: 3D-CG lead for a team of two. Hands-on lead involvement with the design, build, lighting, shaders, animation and particle dynamics solution of the 3D-CG flower and petals as they followed the actress from scene to scene.

Pg 8 BREAKDOWN LIST – PRODUCTION RESPONSIBILITIES & INVOLVEMENT L M H – CG/VFX DI RECTOR & SUPERVISOR  L EA D 3 D/VFX GENERALIST

 AA DUETS – (Flowers opening from buds) COMMERCIALS

VFX by Rushes DESCRIPTION: A commercial for AA Duets, featuring 3D-CG flowers on 3D-CG tree branches. The flowers open up in a time-lapsed manner. Live action with CG.

TREATMENT/SOFTWARE USED: Maya/Mental Ray: modelling, animation, lighting, shaders and particle dynamics. Photoshop; for textures/maps. Live-Action plates and digi-stills

MY PERSONAL INVOLVEMENT: Hands-on lead involvement with the design, build, lighting, shaders and animation of the 3D-CG flowers on the tree branches as they open up in a time-lapsed manner.

 NINTENDO / MY SIMS – (Characters ‘zap’ the town to life) COMMERCIAL

VFX by Againstallodds DESCRIPTION: Television Commercial advertising Nintendo’s My-Sims game, featuring the My-Sims characters animated and integrated to run amok, having fun in their Live-Action VFX environment.

TREATMENT/SOFTWARE USED: Maya/Mental-Ray: modelling, character set-up, animation, shaders and lighting. Photoshop; for textures/maps.Live-Action plates and digi-stills.

MY PERSONAL INVOLVEMENT: Head Of 3D / VFX Supervisor for a team of six (Lead Animator, character animator/generalists and tracker). I worked closely with the directors and Lead Animator to establish effective strategies to ensure the highest quality of work in order to deliver to client satisfaction. Provided strategic CG/VFX advice to the duo-directors and tracker for the live- action shoot. Ensured effective communication between senior management, producers, 3D-CG and VFX personnel. Worked closely with the Lead Animator and directors to determine creative, logistical and technical solutions Deleted: , throughout the production pipeline.

 SATURN TECHNOLOGY – (“CD-WALL” & “Nineteen”) - COMMERCIALS SERIES

VFX by Rushes DESCRIPTION: Two of three commercials for Saturn Technology (Germany). One commercial features a wall of CD-R’s which ripple and react to sound-waves followed by the (3D) lead-character breaking out of the CD-wall to deliver her line. The second commercial in the series features the female-lead character faced with a huge number 19 and a wall of type which scours its path towards her, throwing (CG) clouds of dust and rocks/debris into the air. TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront: modelling, character set-up, animation and particle dynamics. Renderman; shaders and lighting. Photoshop; for textures/maps. Live-Action plates and digi-stills

MY PERSONAL INVOLVEMENT: VFX Supervision of the Live-Action shoot for all three commercials. CG Supervisor for a team of seven (animator’s and lighting / dynamicsTD’s). Hands on: 1. “CD-WALL”: Hands on involvement on the “break-free’ effects (dynamics and hand animated layers) for the character as she breaks out of the CD-Wall. 2. “NINETEEN”: Hands on involvement with particle-dynamics for rocks and debris being whipped into the air by the huge wall of type (involving multi-layered dynamics with detailed attention to instance groups, forces and collisions etc).

Pg 9 BREAKDOWN LIST – PRODUCTION RESPONSIBILITIES & INVOLVEMENT L M H – CG/VFX DI RECTOR & SUPERVISOR  L EA D 3 D/VFX GENERALIST

 KERRY LOW LOW CHEESE – (SINGING TOON ANIMALS) - COMMERCIAL

VFX by Rushes DESCRIPTION: In the commercial old-fashioned-style (3D) animated toon characters and a young woman, styled as a traditional 1950’s homemaker all sing along and dance as they merrily cook with Low Low Cheese.

TREATMENT/SOFTWARE USED: Maya/MentalRay. Photoshop; for textures/maps. Flame; Master VFX Compositing Live-Action plates and digi-stills

MY PERSONAL INVOLVEMENT: Lead-character-Animator; Responsibilities included modelling, texturing, rigging, animating (character and lip sync + gesticulation) for the ‘toon character’s ‘Billy-the-Blue-bird’ & ‘Poppy the tiny pink bird’’. I also modelled, textured and rigged ‘Old-May’ (the gangly ol’ grammy-bird in the three bird chorus) and animated the ‘Fawn’ (small deer) for several shots. Furthermore I provided guidance to two other ‘bird’ animators’.

 FRANCESCA’S PARTY (SHORT-MOVIE / POP-VIDEO)

VFX by MPC DESCRIPTION: Music-Promo / short-Film for musician Baxter Dury (The late Ian Dury’s son), featuring a batchelor on a night out @ the strange, otherworldly Francesca’s Night-club, where the guest’s and members of staff appear as freakish ‘fish-bowl-headed’ humanoids to our ever increasingly drug ‘n’ alcohol fuelled star.

TREATMENT/SOFTWARE USED: Maya/MentalRay; for all 3D animation and elements. Rendering and lighting set-up via Mental-Ray.Photoshop; for textures/maps. Boujou and Shake for precision tracking. Shake; Master VFX Compositing Flame; Grade and VFX Compositing. Live action – heads with tracking markers (for 3D head replacements)

MY PERSONAL INVOLVEMENT: Responsible for all 3D and master VFX compositing, including CG/VFX Design. 3D build, animation, shaders, lighting, texture painting and precision tracking.

 TGV (FLYING 3D-CG PEOPLE) - COMMERCIAL

VFX by MPC DESCRIPTION: 45 second Live Action plates with 3D-CG dynamic flocking simulation (flying) of human characters.

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront; for all 3D animation, dynamic simulation and elements. Mental-Ray for shaders/rendering. Photoshop for textures/maps. Shake; for R&D compositing. Inferno; for master compositing.

MY PERSONAL INVOLVEMENT: 3D build/modelling and texture painting for photo-real human character’s used in the final ‘flocking’ simulation.

 FLASH – CLEANER (BATH-TUB VSN) - COMMERCIAL SERIES

VFX by MPC DESCRIPTION: Photo-real integration of CG bath-tub with Live-Action plates. A guy snatches up the bath- tub (illusion of ‘big’ things being ‘small’ and hence the by-line of ‘making BIG things SMALL).

Pg 10 BREAKDOWN LIST – PRODUCTION RESPONSIBILITIES & INVOLVEMENT L M H – CG/VFX DI RECTOR & SUPERVISOR  L EA D 3 D/VFX GENERALIST

TREATMENT/SOFTWARE USED: Maya/MentalRay, 3D elements and animation. Mental-ray (final gatherer, global illumination, sub-surface scattering); shaders and lighting. Photoshop; for textures/maps. Flame; Master VFX Compositing.

MY PERSONAL INVOLVEMENT: Lead RND designer and Lead Generalist creating all the 3D elements; the bath-tub was modelled and then integrated (in terms of lighting and shaders) in with Live-Action plates. The bath is then pin-point tracked to the actor as he picks it up in his hand. Two versions of the bath-tub were created; one clean and one dirty, so that when the actor ‘swipes’ the tub with his ‘flash’ cleaner spray-and-wipe, the tub transitions form dirty to clean.

 VUE (DANCING CHAMELEON LIZARD) COMMERCIAL

VFX by MPC DESCRIPTION: Warner Village Cinemas are changing their name to VUE. This sixty second commercial is their cinema brand launch. The commercial features a 3D dancing Chameleon lizard.

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront: modelling, animation. Mental-ray (final gatherer, global illumination, sub-surface scattering); shaders and lighting. Photoshop; for textures/maps.

MY PERSONAL INVOLVEMENT: CG Supervisor for a team of two (animator and lighting-TD), also modelling and Master IK/Animation setup for the Chameleon.

 KILLER DINOSAURS (TRICERATOPS) - VFX TELEVISION SERIES

VFX by MPC DESCRIPTION: Animated/VFX Documentary series, featuring CG Dinosaurs. This shot includes a ‘spin- round’ look at the Triceratops.

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront; for 3D build. Mental-ray and final gatherer; shaders and lighting. Photoshop and Matador; for seamless textures/maps.

MY PERSONAL INVOLVEMENT: R&D character rig & animation of ‘Triceratops’. Character animation of ‘Triceratops’ for this (see show-reel) particular shot.

 MTV MICROSKIPPY - IDENT FOR MTV INTERNATIONAL

VFX by Th1ng DESCRIPTION: A thirty second ident for MTV International. ‘Microskippy’ takes place in a research laboratory, focusing on the experiments of a character frantically searching for clues that will lead to the discovery of the great MTV gene, Our lead character “Microskippy” is a caricature of a passionately mad quantum physicist.

This spot has received distinctions with media articles, an MTV- exclusive screening and will featured on the SHOTS DVD (issue no. 86 - January 2005.

TREATMENT/SOFTWARE USED: Alias/Wavefront; Maya was used for all modelling and animation. Mental Ray was used to render the scenes, with great care and attention to detail, and realistic nuances heightened by use of features such as global illumination and sub-surface-scattering. Photoshop was used for environmental textural creation. Deep Paint was used to paint/create the maps necessary to achieve the highly detailed veins, sinews and skin of the Creature. After Effects was used to composite and grade all the elements and scenes together. Telecine allowed for the final grade touches.

Pg 11 BREAKDOWN LIST – PRODUCTION RESPONSIBILITIES & INVOLVEMENT L M H – CG/VFX DI RECTOR & SUPERVISOR  L EA D 3 D/VFX GENERALIST

MY PERSONAL INVOLVEMENT: Director of entire production. Concept, script, design, storyboards, 3D style frames, build, shaders and lighting for the laboratory elements and background environment. VFX Supervisor for a team of animators.

 BRAVO CHANNEL – CHANNEL IDENT– “VIAGRA”

VFX by MPC DESCRIPTION: 10 second channel ident for the Bravo Channel (featuring adult content) whereby the Bravo logo (featuring horns) rev’s up to become very ‘horny’ (horns grow large) with a ‘racey- smooth’ engine - metaphor for the ‘friskiness’ induced by ‘Viagra’.

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront; for the modelling, animation. Mental-Ray for the shaders and rendering. Photoshop; for textures. Shake: compositing.

MY PERSONAL INVOLVEMENT: Lead-Animator; (responsible for all 3D) build, textures, animation, shaders.

 PRIMAL SCREAM – MISS LUCIFER (DEMON LADIES) – POP VIDEO

VFX by MPC DESCRIPTION: Music Promo for band – Primal scream, featuring the fallen angel as woman and her two Demonic cohorts in crime, descending upon a nightclub.

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront; for all 3D animation and elements. Matador + photoshop; for textures/maps. Live action (blue-screen elements) 3D tails and monstrous heads, morphed in with live-action bodies.

MY PERSONAL INVOLVEMENT: Creature Design, 3D build, animation, shaders, lighting, and 2D maps - for the demonic tails and heads. CG supervisor for a team of three cg-trackers (tracking tails onto live-action bodies).

 FLASH – CLEANER (OVEN-COOKER VSN) – COMMERCIAL SERIES

VFX by MPC DESCRIPTION: Photo-real integration of CG Oven/Cooker with Live-Action plates. A guy snatches up the Cooker (illusion of ‘big’ things being ‘small’ and hence the by-line of ‘making BIG things SMALL).

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront: modelling, animation. Mental-ray (final gatherer, global illumination, sub-surface scattering); shaders and lighting. Photoshop; for textures/maps.

MY PERSONAL INVOLVEMENT: Lead RND designer and Modeller; the cooker was modelled and then integrated (in terms of lighting and shaders) in with Live-Action plates. The cooker is then pin-point tracked to the actor as he picks it up in his hand. Two versions of the cooker were created; one clean and one dirty, so that when the actor ‘swipes’ the cooker with his ‘flash’ cleaner spray-and-wipe, we transition from dirty to clean vsn.

 SHELL V-POWER (COMMUTING FISH) - COMMERCIAL SERIES

VFX by MPC DESCRIPTION: Commercial for Shell, featuring schools of fish as commuters in underwater traffic situations. The schools of fish, background environment and elements are all 3D.

Pg 12 BREAKDOWN LIST – PRODUCTION RESPONSIBILITIES & INVOLVEMENT L M H – CG/VFX DI RECTOR & SUPERVISOR  L EA D 3 D/VFX GENERALIST

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront; for 3D plants. Mental-ray and final gatherer; shaders and lighting. Photoshop and Matador; for seamless textures/maps.

MY PERSONAL INVOLVEMENT: R&D, build, shaders and lighting for the jelly-fish. Grading/design R&D. Composition and design of the ‘fish schools’ in the opening shots. Build, shaders, lighting for the underwater caves/dwellings.

 PRINGLES (DEVIOUS PLANTS) - COMMERCIAL

VFX by MPC DESCRIPTION: A 45 second commercial, as homage to "Little Shop of Horrors", featuring animated Venus- Fly-Trap's hunting for Pringles Chips.

TREATMENT/SOFTWARE USED: Alias/Wavefront Maya; for 3D plants. Mental-ray and final gatherer; shaders and lighting. Photoshop and Matador; for seamless textures/maps.

MY PERSONAL INVOLVEMENT: Lead-Lighting TD; Master shaders and lighting for the two Venus fly-trap plants. The director gave me a lot of freedom to help design the aesthetic look of the shaders.

 BLOCKBUSTER VIDEO – (DREAM MONSTER) - COMMERCIAL SERIES

VFX by MPC DESCRIPTION: The first in a series of three thirty second commercials for Blockbuster Video, featuring 3D dream demon complete with long tail, drool, sophisticated character detail and animation rig. The monster terrorises a ‘game’ addict in her dreams.

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront; for all 3D animation and elements. Matador + photoshop; for textures/maps. Live action (blue-screen elements) 3D tail and monster, tracked and integrated with live-action backgrounds.

MY PERSONAL INVOLVEMENT: VFX supervisor for a TD creating the necessary textures, shaders and drool. Also 'hands-on involvement' as Lead- Animator, involving the 3D build, animation-setup/rig, master lighting and animation - for the monster.

 LIBERTY-X (POP PROMO)

VFX by MPC DESCRIPTION: Pop Promo' for the band Liberty-X, featuring 3D and 2D visual effects such as 'sound- waves', speed-lines and lighting/atmospheric treatment..

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront; for all 3D animation and elements. Matador + photoshop; for textures/maps. 3D VFX and elements.

MY PERSONAL INVOLVEMENT: I was the lead-animator for a team of three, taking part also with designing 3D elements and devices that would blend Well with the live-action and 2D vfx. This included energy waves from the speakers, etheareal lighting/atmospheric effects.

Pg 13 BREAKDOWN LIST – PRODUCTION RESPONSIBILITIES & INVOLVEMENT L M H – CG/VFX DI RECTOR & SUPERVISOR  L EA D 3 D/VFX GENERALIST

 DIXONS WAREHOUSE - COMMERCIAL

VFX by MPC DESCRIPTION: 30 second commercial featuring ‘futuristic’ view of communication devices and specific products found at Dixon’s..

TREATMENT/SOFTWARE USED: Maya/MentalRay; for 3D elements. Mental-ray and final gatherer; shaders and lighting. Photoshop and Matador; for seamless textures/maps. Flame; master VFX Compositing.

MY PERSONAL INVOLVEMENT: R&D Design and Animation setup.

 MENTOS MINTS (SINGING BIRDS) - COMMERCIAL SERIES

VFX by MPC DESCRIPTION: 30 second commercial featuring singing birds. 3D bird heads and beaks were built, textured, tracked and animated to blend seamlessly with the live-action bird plates.

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront; for 3D build. Mental-ray; shaders and lighting. Photoshop and Matador; for seamless textures/maps. Inferno; Master VFX compositing.

MY PERSONAL INVOLVEMENT: R&D, Build, Animation Setup, Tracking and Lead Character Animation of the singing birds.

 WIMBLEDON (3DTENNIS BALLS) – FEATURE LENGTH MOVIE

VFX by MPC DESCRIPTION: Feature length movie featuring 3D special effects and 3D tennis balls tracked and animated to suit the live-action plates.

TREATMENT/SOFTWARE USED: Maya/MentalRay; for modelling, Renderman (Mayaman/Mtor); shaders and lighting. Photoshop and Matador; for seamless textures/maps. Shake; Master VFX compositing.

MY PERSONAL INVOLVEMENT: Lars was responsible for the R&D stage of the 'tennis ball'. He modelled and created multi-layered displacement textures to work as 'fur' on the distant to mid shots. These textures were eventually combined with fur for the close-up shots.

 PRINGLES (WILD-WEST) – COMMERCIAL

VFX by MPC DESCRIPTION: A 45 second commercial nod to the spaghetti western genre for Pringles Crisps/Chips.

Pg 14 BREAKDOWN LIST – PRODUCTION RESPONSIBILITIES & INVOLVEMENT L M H – CG/VFX DI RECTOR & SUPERVISOR  L EA D 3 D/VFX GENERALIST

TREATMENT/SOFTWARE USED: Maya MentalRay, Photoshop and Matador..

MY PERSONAL INVOLVEMENT: Lead-Animator; Master build, animation, shaders and lighting for all CG elements. Featuring CG lasso, crisps and packshot.

 BODY STORY (BLOOD CIRCULATION AND NERVES) – VFX TELEVISION SERIES

VFX by MPC DESCRIPTION: From a successful series for the BBC, entitled Body Story. This series features ‘inside’ journey through the human-body. Here we can see ‘blood cells’ circulating through veins, then transitioning through to ‘nerves’.

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront; for all 3D animation and elements. Renderman; shaders and rendering Photoshop; for textures/maps.

MY PERSONAL INVOLVEMENT: Dynamic’s solution; Particle animation for the blood cells as they course through the veins.

 MARS 1 & 2 - ‘DRIVE-IN” AND ‘ARCADE’ - COMMERCIAL SERIES

VFX by MPC DESCRIPTION: Two thirty second commercials for Mars (chocolate bars), featuring 3D chocolate bar, alien tongues, masks and ‘game’ characters.

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront; for all 3D animation and elements. Matador + photoshop; for textures/maps. Live action (blue-screen elements) 3D tongues and monstrous heads, morphed and tracked in with live-action bodies.

MY PERSONAL INVOLVEMENT: Creature Design,3D build, animation, shaders, lighting, and 2D maps - for the alien tongues and freakish heads. Also involvement in the initial design R&D of the ‘arcade’ game characters, based on the ‘space-invaders’ game as ‘Earth- Invaders’. VFX supervisor for a team of two 3D staff. Lead animation for the tongues.

 TH1NG PRESENTS – (FOOT WITH EYES) – PROMOTIONAL IDENT

VFX by Th1ng / Frankenskippy 30 SECOND IDENT’ / OPENER: DESCRIPTION: A thirty second opener for production company Th1ng, based in London. The opener is a pastiche style homage to the ‘Alfred Hitchcock – Presents’ show.

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront; for all 3D animation and elements. Matador + Photoshop; for textures/maps. Shake; for compositing and grade.

MY PERSONAL INVOLVEMENT: Concept, script, design, storyboards, animation, compositing, Director of entire production.

Pg 15 BREAKDOWN LIST – PRODUCTION RESPONSIBILITIES & INVOLVEMENT L M H – CG/VFX DI RECTOR & SUPERVISOR  L EA D 3 D/VFX GENERALIST

 BODY STORY (BLOOD CIRCULATION AND SPERM) – VFX TELEVISION SERIES

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront; for all 3D animation and elements. Renderman; shaders and rendering. Photoshop; for textures/maps.

MY PERSONAL INVOLVEMENT: Dynamic’s solution; Particle animation for the blood cells as they course through the veins and the sperm as they prepare to be ‘ejaculated’.

 RIMMEL LIPSTICK – COMMERCIAL

VFX by MPC DESCRIPTION: A commercial for Rimmel lipstick, featuring Kate Moss; live-action with 3D lipstick and Union Jack flag made up of reflective badges.

TREATMENT/SOFTWARE USED: Alias/Wavefront Maya; for 3D lipstick and Union Jack flag made up of reflective badges. Mental-ray for the shaders. Photoshop; for seamless textures/maps.

MY PERSONAL INVOLVEMENT: 3D build, shaders, master lighting of the lip-stick. CG-supervisor for a team of two TD’s to develop the rippling reflective flag effect. Responsible for the aesthetic design of all the 3D elements.

 COCA-COLA (BUSES) – SPECIAL FORMAT COMMERCIAL

VFX by MPC DESCRIPTION: Designed to be projected on the new coca-cola digital-billboard in London’s Piccadilly Circus. London tourist-buses with coca-cola bottles as passengers drive around the Piccadilly Circus area.

TREATMENT/SOFTWARE USED: Maya/MentalRay; for 3D bottles and surrounding buildings, lighting and shaders. Photoshop; for seamless textures/maps. Flame; Master VFX Compositing.

MY PERSONAL INVOLVEMENT: 3D build of the surrounding buildings, paying careful attention to details, adhering to the architectural style.

 POWERADE (BASED ON MICHAEL LAU’S DOLLS) - COMMERCIAL

VFX by MPC DESCRIPTION: Michael Lau was the inspiration for this commercial advertising the Powerade drink. 3D heads were built and tracked onto The bodies of actors performing sporting stunts with heavy sub-cultural references.

TREATMENT/SOFTWARE USED: Alias/Wavefront Maya; for 3D-heads. Careful attention to detail and matching the Lau designs accurately. Several blendshapes were created for each character to allow for varied expressions and flexibility of animation. Photoshop and Matador; for the textures/maps. Inferno was used to composite the heads in with the live-action.

Pg 16 BREAKDOWN LIST – PRODUCTION RESPONSIBILITIES & INVOLVEMENT L M H – CG/VFX DI RECTOR & SUPERVISOR  L EA D 3 D/VFX GENERALIST

MY PERSONAL INVOLVEMENT: CG-Supervisor for a team of three animators. Modelling, shaders, blendshapes, ik-setup, animation of three characters.

 SERIOUSLY STRONG CHEDDAR (MOUSE-HEAD) - COMMERCIAL SERIES

VFX by MPC / Stark Films DESCRIPTION: Series of two 30 second commercials advertising cheese. A 3d mouse-head (like a gangster-father version of Stewart Little) complete with three day beard-growth and gold-tooth.

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront; for the modelling, initial shaders, animation. Blendshapes used for the many expressions and also lip sync. Rendereman for the master shaders. Photoshop and Matador; for textures. Inferno; compositing.

MY PERSONAL INVOLVEMENT: VFX-Supervisor for a team of two, one TD responsible for uv-setup and final renderman shaders and one R&D person responsible for developing the fur. Responsible also for designing the look of the mouse, working closely with the director and agency creatives to achieve the required look. Also initial shaders and acting as lead-animator, creating all the blend-shapes and ik-setup and then animating the lipsync and character animation.

 TOYOTA – CAR COMMERCIAL (NEWS) – “3D NEWS HELICOPTER’S”

VFX by MPC DESCRIPTION: 30 second TV commercial for the Toyota Car, featuring 3D News Helicopter’s integrated with Live-Action plates.

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront; for the modelling, animation. Mental-Ray for the shaders and rendering. Photoshop; for textures. Shake: prep’ comp, Inferno; master compositing.

MY PERSONAL INVOLVEMENT: Lead-Animator; (responsible for all 3D) modelling, textures, animation, shaders, prep-compositing.

 COI – ELECTORAL COMMISSION (VOTES COUNT) – COMMERCIAL

VFX by MPC DESCRIPTION: 30 second commercial advertisement aimed at raising awareness for young British people to vote.

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront; for the modelling, shaders, animation. Photoshop; for textures. Inferno; compositing.

MY PERSONAL INVOLVEMENT: Working closely with the director in the design to develop the ‘punk-rock/grungy’ treatment – building streetscape, surroundings and the huge oppressive factory. The shaders and models I developed for the streetscape and background environment were used by other animators in their scenes. I was one of two lead-animators on this job due to a v. quick turnaround.

 CHEERIOS (HONEY SNACKS) – “WITCHES” - COMMERCIAL

VFX by MPC DESCRIPTION: 45 second commercial advertisement for Cheerios Honey Snacks breakfast cereal.

Pg 17 BREAKDOWN LIST – PRODUCTION RESPONSIBILITIES & INVOLVEMENT L M H – CG/VFX DI RECTOR & SUPERVISOR  L EA D 3 D/VFX GENERALIST

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront; for the modelling, shaders, animation. Photoshop; for textures. Shake: prep’ comp, Inferno; master compositing.

MY PERSONAL INVOLVEMENT: Lead-Animator; build, textures, animation-setup, shaders, of the “3D candle holders” with flickering flames. VFX pre’ comp’.

 MTV SLICED BREAD (CREATURE LASSOOING BREAD) – IDENT FOR MTV INTERNATIONAL

VFX by MPC DESCRIPTION: 30 second ident for MTV International. A pastiche on strange consumer symbiotic relationships, featuring a (3D) strange furry creature, lassoing a slice of bread overhead, whilst balancing precariously on a circus stilt, positioned on the nose-tip of a ravenous zombie.

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront; for all 3D animation and elements Photoshop and Matador; for textures/maps. Shake for the compositing. Maya was used to build, texture and animate the bread and creature. Maya fur was used to add a fur coat to the creature, whilst IK was used to animate the lasso and bread. These elements were all composited over the live action head (shot as blue screen)

MY PERSONAL INVOLVEMENT: Director of entire production, design, 3D build, animation, shaders, lighting, drool, fur and 2D maps.

 INSEPARABLE BONDS – SHORT MOVIE / MINI FEATURE

VFX by Frankenskippy 20 MINUTE MINI-FEATURE/MOVIE. DESCRIPTION: Multi-Award-Winning 20 Minute Mini-Feature, live-action with 3D and 2D VFX. A challenge to reality television, offering instead surreality television. Sir Real interviews his latest guest, formerly Gary and Reena, a couple who have chosen to merge body, mind, emotion and even gender to become the one entity – Gareena.

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront; for all 3D animation and elements. Matador + Photoshop; for textures/maps. Shake; for compositing, initial grade and steady tracking.

MY PERSONAL INVOLVEMENT: Concept, script, design, storyboards, animation, compositing, Director of entire production.

 BODY STORY (BLOOD CIRCULATION) – VFX TELEVISION SERIES

MY PERSONAL INVOLVEMENT: Dynamic’s solution; Particle animation for the blood cells as they course through the veins.

Pg 18 BREAKDOWN LIST – PRODUCTION RESPONSIBILITIES & INVOLVEMENT L M H – CG/VFX DI RECTOR & SUPERVISOR  L EA D 3 D/VFX GENERALIST

 MPC – PROMOTIONAL IDENT (CHINESE DRAGON AND TOWER)

VFX by MPC DESCRIPTION: A dragon based on mythical Chinese design, coils its way up a huge glassy tower to reveal the MPC logo at the top.

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront; for dragon creature and background. Matador; for textures. Shake; compositing. Special attention to ray traced reflections and refractions of dragon into tower. 3D particles for the magical fire effect.

MY PERSONAL INVOLVEMENT: Total responsibility for entire production. Concept, design, direction, 3D build, animation, shaders, lighting, textures and maps, compositing.

 REGENT MEDICAL – COMMERCIAL

VFX by Th1ng DESCRIPTION: 30 second corporate identity for Private Health Insurers; Regent Medical. 3D CG with 2D DFX compositing.

TREATMENT/SOFTWARE USED: Alias/Wavefront; Maya was used for all modelling and animation. Maya was used to create a sophisticated animatic. Lightwave was the master 3d software; lighting, modelling, textures, shaders and rendering, Photoshop was used for textural creation. After Effects was used to composite and grade all the elements and scenes together. And also to introduce 2D special effects and design nuances to blend the various shots together.

MY PERSONAL INVOLVEMENT: Director of entire production. Concept, script, design, storyboards, 3D style frames. Also, developing a sophisticated 3D animatic which the team of animator’s used as a gospel guide to the dynamic flow of the production.

 SLICED BREAD (TONGUE TIED) – PROMOTIONAL IDENT

VFX by MPC “TONGUE TIED” (featuring jester with huge tongue devouring loaf of “sliced bread”) 30 SECOND SPOT FOR THE MOVING PICTURE COMPANY DESCRIPTION: Tongue Tied - Pastiche on consumer madness in advertising, featuring a jester with a v. long (CG) tongue.

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront; for all 3D animation and elements Photoshop and Matador; for textures/maps. Inferno for the compositing. Cg bread, tongue and drool. Soft bodies used to control the ‘drool’ dynamics. Maya fur was used to add a fur coat to the creature, whilst ik was used to animate the lasso and bread. These elements were all composited over the live action (shot as blue screen)

MY PERSONAL INVOLVEMENT: VFX Supervisor (live-action with jester character and also inferno comp), design, 3D build, animation, shaders, lighting, drool, fur and 2D maps. Director of entire production.

Pg 19 BREAKDOWN LIST – PRODUCTION RESPONSIBILITIES & INVOLVEMENT L M H – CG/VFX DI RECTOR & SUPERVISOR  L EA D 3 D/VFX GENERALIST

 MABINOGI (excerpts from 2 sequences) – FEATURE FILM

VFX by MPC MOVIE DETAILING WELSH CELTIC (WARRIOR) FOLKLORE DESCRIPTION: 1. / The wickerman stalks a farming community 2. / A ‘dragon’ ship fleet sails upon the Welsh coast.

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront; for all 3D animation and elements, Renderman – shaders, Matador/Photoshop; for textures/maps.

MY PERSONAL INVOLVEMENT: 3D-supervisor for a team of animators. 3D build, animation, shaders, lighting, 2D map creation; of the Wickerman, the salmon-fish and the fortress. 3D build and initial shaders + animation for the ship-fleet. Master camera animation for the Great Hall.

 PLAYSTATION 2 (RATCHETT & CLANK) - COMMERCIAL

VFX by MPC & Piccasso Pictures DESCRIPTION: Commercial for Playstation 2, featuring the characters Ratchett and Clank. Combination of 3D environments and elements integrated with cell animation.

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront; for the modelling, shaders, animation. Photoshop and Matador; for textures. Inferno; compositing.

MY PERSONAL INVOLVEMENT: VFX-Supervisor for a team of three animators. Working closely with the director, designing the look of the 3D rooms, including a ‘cheese room’, a v. ikea theme room in 3 stages of destruction; stage one clean, the next with holes burnt into the carpet, the final one with all furnishings destroyed and holes in the walls, bricks and torn metal scattered over the floor. I also supervised the build of 3D weapons with shaders that would be in keeping with the cell-animated characters.

 FOXTEL (TV STATION ID) - IDENT

VFX by Conja DESCRIPTION: 30 second Opening Ident ‘ for Australian Television Station, Foxtel. 3D Cg integrated with live-action (a ‘miniature’ shoot) plates.

TREATMENT/SOFTWARE USED: Power-Animator Alias/Wavefront; for the CG flood light and light-beam effects.

MY PERSONAL INVOLVEMENT: Power-Animator Alias/Wavefront; for the CG flood light and light-beam effects. Matador; Texture painting. Fire; Master VFX Compositing.

 AMSTEL BEER - COMMERCIAL

VFX by MPC DESCRIPTION: One of a series of commercials for Heineken manufacturers, in this case for Amstel beer.

Pg 20 BREAKDOWN LIST – PRODUCTION RESPONSIBILITIES & INVOLVEMENT L M H – CG/VFX DI RECTOR & SUPERVISOR  L EA D 3 D/VFX GENERALIST

TREATMENT/SOFTWARE USED: Alias/Wavefront Maya; for 3D (ray traced) bottle, shaders and lighting. Photoshop and Matador; for seamless textures/maps. Inferno; compositing.

MY PERSONAL INVOLVEMENT: Setting up the initial job, working closely with the director as designer to develop the aesthetic feel to the piece. I then acted as Cg-supervisor for other animators to follow my lead in creating other follow-on commercials.

 BIOGEL ECLIPSE (FOR REGENT MEDICAL) – SPECIAL FORMAT COMMERCIAL

VFX by Th1ng DESCRIPTION: 1 minute HD-Resolution commercial advertising “medical gloves” (Biogel Eclipse brand) for Private Health Insurers; Regent Medical. The launch was special-format production at Madame Tussauds. 3D CG / 2D DFX

MY PERSONAL INVOLVEMENT: Director and VFX Supervisor for entire production. Concept, script, design, storyboards, 3D style frames. Also, developing a sophisticated 3D animatic, which the team of animator’s used as a gospel guide to the dynamic flow of the production.

 TE PAPA (BLASTBACK) (PREHISTORIC FISH SCENE) – IMAX THEME RIDE

VFX by Conja DESCRIPTION: Award nomination. Excerpt from 5 minute Imax theme ride; Blast back, for the Wellington N.Z museum; Te Papa. The whole scene is fully animated in 3D; the fish, the seaweed, coral, plankton floaters and bubbles. The final output was rendered in IMAX-Showscan resolution.

TREATMENT/SOFTWARE USED: Alias/Wavefront Poweranimator; for all 3D elements and animation. Matador; for the many detailed seamless maps.

MY PERSONAL INVOLVEMENT: CG supervisor for a team of animators. Total responsibility for entire 3D-CG production of this fishy sequence. Design, 3D build, animation, shaders, lighting, 2D map creation. 3D particle generation for the underwater bubbles and plankton. Attending, supervising live-action shoots (seaweed – for textures). The Director (Adam Strange, Silverscreen Productions) gave me a nearly 100% trust and creative licence to bring this animated sequence to the highly realistic, dynamic (award-nomination) final animation.

 SAMSUNG TELEVISION (BUTTERFLY) – COMMERCIAL SERIES

VFX by Conja DESCRIPTION: Excerpt from Samsung television, detailing the flight of a 3D butterfly interacting with a 3D TV screen.

TREATMENT/SOFTWARE USED: Alias/Wavefront Poweranimator; for 3D butterfly, TV screen and particle snow. The choreography of the dance/play of the TV screen with the 3D butterfly needed careful attention to detail, to achieve the delicate, subtle grace. The weight dynamics of the butterfly in relation to the wind/snow storm needed careful real-life, Slow-motion footage reference as observation for true lifelike dynamics. Matador; for seamless reflection maps.

Pg 21 BREAKDOWN LIST – PRODUCTION RESPONSIBILITIES & INVOLVEMENT L M H – CG/VFX DI RECTOR & SUPERVISOR  L EA D 3 D/VFX GENERALIST

MY PERSONAL INVOLVEMENT: Total responsibility for entire 3D-CG production. 3D build, animation, shaders, lighting, texture creation for the butterfly and TV screen and particle snow.

 BLOWFLY HEAVEN – PROMOTIONAL IDENT FOR MTV AUSTRALIA

VFX by Conja / Frankenskippy MTV SERIES (TALL SMALL STORIES) - 30 SECOND SPOT DESCRIPTION: Multi award winning series. This is a campaign series of three 30 second spots/promo idents for MTV entitled; Tall Small Stories.

BLOWFLY HEAVEN - outback Australian theme, bizarre characters and surreal environment. FRANKENSKIPPY - Frankenstein is reborn on the body of the Kangaroo road kill. FOOD FOR THOUGHT - a bizarre outer space romance.

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront and Alias/Wavefront Poweranimator; for all 3D animation and elements, Matador; for textures/maps.

MY PERSONAL INVOLVEMENT: Total responsibility for entire Design and CGI production. Concept, design, storyboards, direction, animation 3D build, shaders, lighting, particle fur, and 2D maps. Added sound chaos with my performance group Scratch My Nose on; spot 1. Blowfly Heaven.

 PETS LIFE – (DJ OCTOPUS (SCRATCH MIXING RECORDS) - SHORT MOVIE

VFX by MPC DESCRIPTION: Excerpt from the short movie Pets Life by Stephan Allender, where a DJ Octopus spins some trippy tunes.

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront; for all 3D animation and elements. Matador; for textures/maps.

MY PERSONAL INVOLVEMENT: Total responsibility for 3D-CG production. of octopus. 3D build, animation, shaders, lighting, and 2D maps.

 EyeBALL – IDENT FOR THE MOVING PICTURE COMPANY (MPC)

VFX by Conja / Frankenskippy Award winning ident DESCRIPTION: Always keep your eye on the ball in the eye. Ident for MPC where a character plays pool with his false eye.

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront; for all 3D animation and elements Matador; for textures/maps. CGI eyeballs, with inferno lens effects. Live action (digital camera) on location.

MY PERSONAL INVOLVEMENT: Total responsibility for entire Design and CGI production. Concept, design, storyboards, direction, 3D build, animation, shaders, lighting, and 2Dmaps.

Pg 22 BREAKDOWN LIST – PRODUCTION RESPONSIBILITIES & INVOLVEMENT L M H – CG/VFX DI RECTOR & SUPERVISOR  L EA D 3 D/VFX GENERALIST

 STARBURST – (FREAKY COW-THING) - IDENT

VFX by MPC DESCRIPTION: Pitch for starburst, designed and animated to the line: if a cow laughs, does milk come out of its nose

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront; for all 3D animation and elements. Matador; for textures/maps. Live action (blue screen elements)

MY PERSONAL INVOLVEMENT: Creative Director, Total responsibility for entire Design and 3D production. Concept, design, direction, 3D build, animation, shaders, lighting, and 2D maps. VFX Supervisor, overseeing the quality control of the master VFX Composite.

 CONJA NEWSPAPER – (EYEBALL-HEAD) - IDENT

VFX by Conja DESCRIPTION: Promo for Conja Pty Ltd. Live action shoot of person (me) reading CONJA newspaper to reveal 3D eyeball for the persons head.

TREATMENT/SOFTWARE USED: Maya - Alias/Wavefront for 3D eyeball, using soft body dynamics for eye-wobble, and blend-shape for pupil dilation. Matador; for seamless reflection maps.

MY PERSONAL INVOLVEMENT: Total responsibility for entire production. Concept, design, Director of live elements shoot, 3D build, animation, shaders, lighting, 2D map creation.

 FEDEX (FEVERISHLY EXAMINED) - COMMERCIAL

VFX by MPC DESCRIPTION: In this 30 second commercial, the words ‘Feverishly’ is feverishly examined. 30 second commercial-pitch for Fedex.

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront, Photoshop. Maya-Alias/Wavefront; for all 3D animation and elements. Matador + Photoshop; for textures/maps. Shake; for compositing.

MY PERSONAL INVOLVEMENT: Concept, script, design, storyboards, direction, animation, compositing.

 CHUM (DOG FOOD COMMERCIAL) - COMMERCIAL

VFX by Conja DESCRIPTION: 15 second commercial for Chum brand dog food, as it ‘hops’ and seals itself around some raw, healthy meat. 3D CG (utilising blend-shape morphing techniques).

Pg 23 BREAKDOWN LIST – PRODUCTION RESPONSIBILITIES & INVOLVEMENT L M H – CG/VFX DI RECTOR & SUPERVISOR  L EA D 3 D/VFX GENERALIST

TREATMENT/SOFTWARE USED: Alias/Wavefront Maya; for 3D pack shot morph transition, shaders and lighting. Photoshop and Matador; for seamless textures/maps.

MY PERSONAL INVOLVEMENT: Total responsibility for entire CG (post) production.

 ALICE IN FRANKENLAND (SHORT MOVIE)

VFX by Frankenskippy DESCRIPTION: What happens when Alice wakes up on the wrong side of the bed? Homage to the forefathers of surrealist film making.

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront; for all 3D animation and elements Matador; for textures/maps. Maya Fur used for the animated-living hair. Live action (blue screen)

MY PERSONAL INVOLVEMENT: Total responsibility for entire Design and CG production. Script, design, storyboards, direction, animation, shaders, lighting, particle hair, and 2D maps. Sound design by Lars Magnus Holmgren.

 TE PAPA / BLASTBACK - (MAORI GOD IN ROCK) – IMAX THEME RIDE

VFX by Conja DESCRIPTION: Excerpt from the 5 minute award nomination theme ride detailing Maori mythology. The God comes to life from the Rock face and brings the native forest to life.

TREATMENT/SOFTWARE USED: Alias/Wavefront Poweranimator; for 3D Maori God and surrounding fauna. Inverse Kinematics with Shapeshifter 3D morph for the fauna. Matador; for textures/maps.

MY PERSONAL INVOLVEMENT: 3D supervisor for a team of six 3D animators (for film as a whole). 3D animation refinement of head and fauna, shaders, lighting, 2D map creation. Falling rock animation, using collision detection dynamics.

 KALUHA – (KISSING LIPS) – COMMERCIAL SERIES

VFX by Conja DESCRIPTION: A totally 3D production, camera following 3D kissing lips descending on a bottle of Kaluha.

TREATMENT/SOFTWARE USED: Alias/Wavefront-Poweranimator; for all 3D animation and elements.

MY PERSONAL INVOLVEMENT: 3D Supervisor for a team of animators, build, shaders, lighting, 2D maps for bottle. Build, shaders, lighting, 2D maps for building interior stage and floor interior and exterior. Master lighting control on all shots.

Pg 24 BREAKDOWN LIST – PRODUCTION RESPONSIBILITIES & INVOLVEMENT L M H – CG/VFX DI RECTOR & SUPERVISOR  L EA D 3 D/VFX GENERALIST

 CHANNEL TWO (SPECIAL PRESENTATION) - IDENT

VFX by Conja DESCRIPTION: 3D/VFX production, camera following raytraced glass panes refracting and reflecting famous actor’s..

TREATMENT/SOFTWARE USED: Alias/Wavefront-Poweranimator; for all 3D animation and elements. Fire; master VFX compositing

MY PERSONAL INVOLVEMENT: Total responsibility for entire3D-CG (post) production, working closely with the designer/fire-compositor.

 SBS SOCCER - COMMERCIAL

VFX by Conja DESCRIPTION: 3D elements and animated layers integrated with live-action plates. 3D includes soccer-ball, ancient monastery, ‘fog’ environmental effects, marble sphinx and golden trophy.

TREATMENT/SOFTWARE USED: Alias/Wavefront-Poweranimator; for all 3D animation and elements.

MY PERSONAL INVOLVEMENT: 3D Supervisor for a team of animators. Also partaking in the build, shaders, texture maps, shaders. Master lighting control on all shots.

 RANCAMAYA (VOICE DATA NETWORK) – COMMERCIAL

VFX by Conja DESCRIPTION: Excerpt from 30 second commercial for Rancamaya, detailing a ‘futuristic’ macro look at mobile communications technology.

TREATMENT/SOFTWARE USED: Maya - Alias/Wavefront for 3D elements and animation. Fire; for compositing.

MY PERSONAL INVOLVEMENT: CG Supervisor for a team of animator’s. Also partaking in the 3D build, animation, shaders, lighting, 2D map creation

 BEYOND FILMS (COORPORATE IDENTITY) – CINEMA COMMERCIAL

VFX by Conja 3D-CG CINEMA ADVERTISEMENT DESCRIPTION: Excerpt from 45 second cinema ID for Beyond Films, Sydney.

TREATMENT/SOFTWARE USED: Maya - Alias/Wavefront for 3D effects and animation. Fire; for compositing.

MY PERSONAL INVOLVEMENT: Lead Animator. Responsible for entire 3D production; build, animation, shaders, lighting, 2D map creation and particles.

Pg 25 BREAKDOWN LIST – PRODUCTION RESPONSIBILITIES & INVOLVEMENT L M H – CG/VFX DI RECTOR & SUPERVISOR  L EA D 3 D/VFX GENERALIST

 CAPTAIN SCARLET - (ANGEL INTERCEPTOR JET PLANE) – PITCH FOR FEATURE MOVIE

VFX by MPC 3D-CG CINEMA ADVERTISEMENT DESCRIPTION: Excerpt from a WIP pitch for the feature movie Captain Scarlet

TREATMENT/SOFTWARE USED: Maya - Alias/Wavefront for 3D effects and animation. Inferno; for compositing.

MY PERSONAL INVOLVEMENT: Responsible for 3D modelling of the Angel Interceptor jet.

 SAMSUNG TELEVISION (LIZARD) - COMMERCIAL

VFX by Conja DESCRIPTION: 2nd excerpt from Samsung television, detailing alive-action lizard interacting with a 3D TV screen.

TREATMENT/SOFTWARE USED: Alias/Wavefront Poweranimator; for TV screen. Raytracing was used to achieve the refraction and reflection detail. Fire for Compositing.

MY PERSONAL INVOLVEMENT: Lead-Animator and CG-Supervisor for a team of animators.

 JOURNEY TO THE CENTER OF THE EARTH – FEATURE LENGTH MOVIE FOR CABLE-TV

VFX by Photon VFX (DINOSAUR BEASTY) MOVIE - FEATURE LENGTH DESCRIPTION: The Dinosaur combines elements of Raptor, Tyrannosaur and Dragon qualities. The Dinosaur lures the actor/prey by putting on an I am a cute cuddly harmless beast routine.Then suddenly the nasty teeth, drool and cunning predatory eyes are seen as it launches an attack, and is eventually killed. TREATMENT/SOFTWARE USED: Maya - Alias/Wavefront; build, shaders and character animation, Cy-Slice to aid 3D build, Photoshop – textures.

MY PERSONAL INVOLVEMENT: 3D Head Of Production, 3D build, animation, shaders, lighting, soft body drool development. The animation was one minute in total. I have cut in only a portion of the sequence as snippets.

 PAWS (RABID DOG) - FEATURE LENGTH FILM

VFX by Conja DESCRIPTION: Excerpt from Paws, a Cinema release film starring Billy Connolly as the (rabid/monster) talking dog.

TREATMENT/SOFTWARE USED: Alias/Wavefront Poweranimator; for 3D monster-dog teeth and eyes. Elastic Reality; for the morph from nice doggy into rabid-monster doggy.

MY PERSONAL INVOLVEMENT: Design, 3D build, animation, shaders, lighting for teeth and eyeballs of dog. Elastic Reality morph into monster dog.

Pg 26 BREAKDOWN LIST – PRODUCTION RESPONSIBILITIES & INVOLVEMENT L M H – CG/VFX DI RECTOR & SUPERVISOR  L EA D 3 D/VFX GENERALIST

 KUNG-FU GUMBI - 30 SECONDS.

VFX by Conja DESCRIPTION: A 30 second animation of Gumbi, in Kung-Fu madness.

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront; for 3D Gumbi and background.

MY PERSONAL INVOLVEMENT: Total responsibility for entire production. Concept, design, 3D build, animation, shaders, lighting, 2D map creation.

 HONDA DYLAN (RACING HELMET) – VIRAL COMMERCIAL

VFX by MPC DESCRIPTION Animated helmet, complete with a set of gnashers, chomping in time with the revving of the engine as it Races about the screen. This is designed to work as an interactive animated element to a website for Honda Dylan.

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront; for all 3D animation and elements. Procedural maps and cartoon shaders + Matador for certain textures. 3D tails and monstrous heads, morphed in with live-action bodies.

MY PERSONAL INVOLVEMENT: Director, co-design, 3D build, animation, shaders, lighting, and maps. Liasing with Flash designers to convert the final animated sequence and loops into suitable format for the website.

 BBC (TALKING HEAD) – IDENT

VFX by MPC 30 SECOND SPOT FEATURING JACK D Pitch for BBC, designed and animated as a 3D talking head, A caricature of the comedian Jack D, as part of a series of proposed spots.

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront; for all 3D animation and elements. Matador; for textures/maps. Live action (blue-screen elements)

MY PERSONAL INVOLVEMENT: Total responsibility for entire Design and CGI production. Concept, design, direction, 3D build, animation, shaders, lighting, and 2D maps.

 FOOD FOR THOUGHT – IDENT FOR MTV AUSTRALIA

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront for all 3D animation and elements Matador; for textures/maps.

Pg 27 BREAKDOWN LIST – PRODUCTION RESPONSIBILITIES & INVOLVEMENT L M H – CG/VFX DI RECTOR & SUPERVISOR  L EA D 3 D/VFX GENERALIST

 SKI YOGHURT (TALKING SPOON) – COMMERCIAL

VFX by Conja DESCRIPTION: Award nomination. The mischievous ‘talking’ ever hyperactive 3D spoon, introduces us to Ski yoghurt.

TREATMENT/SOFTWARE USED: Alias/Wavefront Poweranimator; for 3D spoon and shadow passes. Matador; for seamless reflection maps.

MY PERSONAL INVOLVEMENT: 3D build, animation, shaders, lighting, 2D map creation of the spoon. Lip sync animation using shapeshifter 3D morph.

 ROUNDUP (DRUNKEN WEEDS) - COMMERCIAL

VFX by Conja DESCRIPTION: Award nomination. The 3D drunken weeds talk about the new weed-killer Roundup and how loaded it gets them.

TREATMENT/SOFTWARE USED: Alias/Wavefront Poweranimator; for 3D weeds and bee. Shapeshifter animation for the lip sync. Particle fur for the bee. Matador; for seamless textures/maps.

MY PERSONAL INVOLVEMENT: Shaders and lighting for weeds and bee in all shots. 3D animation for skinny weed in certain shots. 3D build, animation, shaders, lighting, particle fur generation, 2D map creation of bee.

 NRL (NATIONAL RUGBY LEAGUE) - COMMERCIAL

VFX by Conja DESCRIPTION: Excerpt from NRL with 3D foundry setting.

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront; for 3D foundry setting. Tricky particle animation for the molten metal flowing down pipes into vats/cauldrons Matador; for seamless reflection maps.

MY PERSONAL INVOLVEMENT: Total responsibility for entire 3D-CG production. 3D build, animation, shaders, lighting, particle generation, 2D map creation.

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 CHANNEL SEVEN (COMEDY) - IDENT

VFX by Conja DESCRIPTION: PROMAX AWARD WINNING promo/spot for CHNL 7, COMEDY featuring the 3D jumping jelly over live action set.

TREATMENT/SOFTWARE USED: Alias/Wavefront Poweranimator; for 3D jelly, and shadow runs. Matador; for seamless reflection maps.

MY PERSONAL INVOLVEMENT: Total responsibility for entire 3D-CG production. 3D build, animation, shaders, lighting, 2D map creation.

 ANNLEE, YOU PROPOSES – SHORT FILM

VFX by Conja 3 MINUTE SHORT FILM FOR THE TATE-BRITAIN GALLERY. Award winning film short. DESCRIPTION: Annlee was commissioned by theTate-Britain. I worked closely with Artist Liam Gillick on this project. Liam created the initial storyboards and script after brainstorming up some preliminary ideas with me. I then acted as director and animator bringing Annlee to life in this new incarnation. I empowered the Japanese Manga character Annlee as enchantress with powers echoing magic-ritual, with animated scratchy textures and pulsing light-glow passes to offset the perfection of the typical Manga look. Annlee is part of an ongoing installation showing in the Tate gardens area.

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront; for all 3D animation and elements Matador; for textures/maps. CGI eyeballs, with inferno lens effects. Live action (digital camera) on location.

MY PERSONAL INVOLVEMENT: Total responsibility for entire Design, Direction and CGI production. Concept, design, storyboards, direction, 3D build, animation, shaders, lighting, and 2Dmaps.

 FRANKENSKIPPY – IDENT FOR MTV AUSTRALIA

VFX by Conja MTV SERIES (TALL SMALL STORIES) - 30 SECOND SPOT DESCRIPTION: Multi award winning series. This is a campaign series of three 30 second spots/promo ident’s for MTV entitled; Tall Small Stories.

BLOWFLY HEAVEN - outback Australian theme, bizarre characters and surreal environment. FRANKENSKIPPY - Frankenstein is reborn on the body of the Kangaroo road-kill. FOOD FOR THOUGHT - a bizarre outer space romance.

TREATMENT/SOFTWARE USED: Maya-Alias/Wavefront; for all 3D animation and elements Matador; for textures/maps.

MY PERSONAL INVOLVEMENT: Total responsibility for entire Design and CGI production. Concept, design, storyboards, direction, animation shaders, lighting, particle fur, and 2D maps. Added sound chaos with my performance group Scratch My Nose on; spot 1. Blowfly Heaven.

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