Breakdown:

1-2. "The Greatest Showman", Brainstorm Digital, August 2017. I simulated snow for this feature film using particles in Houdini. These three shots are a snippet of a larger scene of 13 snow shots. Each shot contains seven to nine different layers of snow particles to create the illusion of depth.

3. "The Greatest Showman", Brainstorm Digital, August 2017. I shaded, re-lit, and rendered the cloth in Maya using Arnold.  

4-6. "Sour Patch Kids & Swedish Fish", Vayner Media, August 2017. I simulated the falling gummy candies using Rigid-Body Dynamics in Houdini. I simulated the sugar spray using copy-stamped particles. I also rotoscoped and composited these shots using Nuke.

 

7. "The Greatest Showman", Brainstorm Digital, August 2017. I simulated coins spraying out of a small elephant-shaped bank in the background of this shot using Rigid-Body Dynamics in Houdini.

8. "The Greatest Showman", Brainstorm Digital, August 2017. I simulated this stage snow to match a practical snow-machine used in another shot in the sequence. The snow was created using particles in Houdini. This show is a snippet from a larger sequence of 4 snow shots.

9-10. "Time After Time", Alkemy X, November 2016. I simulated sparks and smoke for this television show using Houdini, and I packaged the spark simulation into a digital asset to allow other artists to build sparks. The sparks are a particle system with controlled motion blur. The smoke system was built to match a small amount of practical smoke in the footage.

11. “Revolution”, A Plus Filmz, April 2017. I simulated the shattering mirror effect in this Snoop Dogg music video. All simulations done in Houdini, passes rendered in Mantra.

12-13. "The Gardener", Student Film, March 2016. These are selected shots from my thesis film, "The Gardener". The first shot is the is the beginning shot of my thesis film. I layered an RBD simulation on my animated, deforming character and triggered it using hidden, scaling geometry in the areas I wanted to shatter. The shatters then triggered particle debris, and I copy-stamped geometry onto this. In addition to the simulation, I also modeled the character using Maya, Zbrush, and Marvelous Designer. I then created a character rig with IK / FK switching and snapping, stretchy IK and FK, and space switching on the arms, head, and eyeglasses prop using Maya, python scripting, and MEL scripting. The facial rig is blendshape based. Additionally, I textured the background drawers using Photoshop and Mudbox, rendered the shot using Arnold, and composited it all using Nuke. In the following shots, I created the vine rigs using flow paths, point on curve constraints, and point on poly constraints, to have a growing vines that move along with the animation of the body. I automated many of these processes using Python scripting. I also created the flow animation using a Houdini POP Particle system. The particles are confined to surface of the moving vine, their motion determined by a custom noise I create using VOPs. The particles were then converted to VDBs and refined into a fluid-like effect, then converted into a polygon cache. The leaf and flower growth simulations was created by copying stamping alembic caches onto the points of curves along the vines with time, scale, and rotation offsets.

14. “MIR No More”, student film, October 2014. For this short film, I modeled the center module of the satellite using Maya.

15. “Knight”, student project, November 2014. I created this model using Maya. It is based on a concept by Denis Zilbert.

16. “Crabby TV”, student film, May 2014. I composited this and other shots from the film Crabby TV using After Effects and Nuke. For these shots, I tracked footage onto the televisions, rotopainted out tracking markers, and color graded the television footage.

 

Music: "Awake" by Tycho