Showreel Breakdown

00:0300:14: Pyro Explosion, MSc Computer Animation and Visual Effects Group Project. I created all the explosion elements in Houdini, using a combination of the pyro solver, microsolvers, and particles. I also filmed the background using the Sony EX3 and composited the scene in Nuke. Fuel was introduced to the simulation by the use of high speed particles. The explosion was done in two passes. In the first pass vorticles and collision geometry was used to generate divergence. Particles were emitted from the lowest density areas (outer edges), then reintroduced to the explosion in the second pass, advecting the explosion and amplifying the divergence, curvature and movement of the explosion. Lighting of the scene was done by emitting particles from the explosion’s high temperature areas, and their intensity was defined by the temperature. Passes from the Pyro Shader were used to generate the final look in comp.

00:1400:31: VEX Based Lightning, MSc Computer Animation and Visual Effects CGIT project. I created an artist friendly Houdini Digital Asset Lightning tool. The lightning curves were generated in VEX based on the fractal Brownian motion method. Branching was done in a sop solver, which allowed for the density and probability of branching to be dynamically altered. VEX scripts were used to control the length of the branches along the main curve, sub branches along the branches, the propagation of the lightning, dampening/amplifying the lightning noise along the curve, width turbulence at render time and point cloud based targeting of the lightning. The latter feature allows for users to color an object they wish the lightning to target, with the intensity of the color and proximity of the point determining the probability of lightning targeting it procedurally. This would then deplete once targeted and the lightning will then target the next closest point with a ‘charge’.

00:3100:35: Dynamic Color Diffusion. I created all the elements. Fluids were generated using Houdini’s voxel fluid solver. Color data was fed in using three SDF volumes, representing R, G, and B respectively. This was then advected by the motion of the fluid and diffused within the container. Caustics were then generated, rendered in Mantra PBR, and composited in Nuke.

00:3500:39: PRman Orange Shader, MSc Computer Animation and Visual Effects CGIT project. I created the shader, scene and rendered the final sequence. A combination of the Blinn and Phong BRDF models were used to shade the surface. A combination of noise methods were used to fake the variance of color on the surface. I generated the pores in the displacement shader by squaring a high density noise, then adding a fraction of the former noise to this. A combination of environment maps, ambient occlusion and color bleed gave the orange its final shaded look. Shadow maps were generated using the depth map method, and depth of field to soften the final image. RIB sequence was generated using the Python API.

00:3900:43: Nobles Properties, Blackstone Studios Dubai. I created and rendered all the fluid elements of the scene. Simulation was done in Realflow. Points were exported to Houdini and turned into a Mesh. A slightly altered liquid shader was used to exaggerate the fluids density build-up. Rendering was done in Mantra.

00:4300:49: MBC Ice, MBC Television Network Riyadh. Created as part of the Ba(Hons) Computer Visualisation and Animation Master Class project. I created a modified VEX ICE shader that switches between two shaders depending on proximity to an edge. I modelled and textured all the foreground scene elements, and created the particle effects. Rendering done in Mantra.

00:4901:00: Real Time Particle Engine MSc Computer Animation and Visual Effects ASD project. I designed and created a C++/OpenGl/GLSL particle engine with a toolset specifically for creating effects suitable for use in a game engine. Euler and Verlet integration methods (users choice) were used for calculating the new position/velocity of the particles. The emitter created was based on Jeff Landers method (Lander, 1998). GLSL used to create the point sprite shaders, and UV coordinate generation for rotating sprites. QT used to create the interface, saving/loading. Doxygen used to document the classes and methods. The system allowed for 100,000 shaded sprites at ~45fps on an Intel Core2 Duo processor, with 2gb of ram.

01:0001:04: Disney G-Force Multi-Platform Video Game, Eurocom Developments Ltd. Derby. I created the effects and lighting in Maya for the FMVs. Rendering was done in Mental Ray, in Steroscopic. Compositing of effects was done in Nuke.

01:0401:10: Maya Dynamism, MSc Computer Animation and Visual Effects Still Image project. I created all the textures for the scene geometry, modelled everything, lit and rendered the project in Mental Ray, and composited the final sequence in Nuke. The look of the building was achieved through the use of Mental Ray’s physical sun and sky, in combination with FG/GI/Mia Exposure Photographic lens shader. All the objects were shaded using the Mia Material X shader.

01:1001:17: Baglioni Islands, Blackstone Studios Dubai. I tracked the first shot in Boujou. I modelled the scene in Maya (excluding foliage), and rendered it in Mental Ray. Final result achieved using physical sun and sky, the Mia Exposure Photographic lens shader, and a variety of Maya/Mentalray shaders.

01:1701:26: GoldenEye 007 AAA Wii Video Game, Eurocom Developments Ltd. Derby. I worked on Bond for 8 months, and was involved in the creation and placement of effects and effects related props throughout the game and in cut scenes. I created many of the animated texture sequences used for the effects in Nuke. I created and setup the triggering of RBD scene destruction effects throughout the game (Maya, PullDownIt), and baked lighting on objects using the Turtle renderer.

01:2601:37: Dead Space Extraction Wii Video Game, Eurocom Developments Ltd. Derby. I created many of the effects/assets later placed by other artists throughout the game. I was tasked with writing up a list of effects needed for a number of the levels. I worked on the effects for several of the games levels almost exclusively.

01:3701:49: Rio Multiplatform Video Game, Eurocom Developments Ltd. Derby. I created, placed and triggered effects for Rio using the company’s proprietary next gen engine. I was also involved in creating the textures for effects.

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