Demo Reel Shot Breakdowns: 

 

"The Amazing Spider-Man" (Sony Pictures Imageworks)
Used Katana and Arnold to light shots and match to plates. Worked mainly on the high school sequence where Spider-man and Lizard fight. When the fighting breaks out into the hallway once Spider-man is fully in costume, there are no plates--the entire image is photoreal CG. Helped to develop the look of the fully CG hallway and make sure it matched the real-life set.

"Green Lantern" (Sony Pictures Imageworks)
Used Katana and Nuke to light and composite shots. Also helped with some lookdev. Had to match lighting of CG superhero suit to practical lighting of actor's head and marry them together seamlessly. Sequences on the planet Oa with the various aliens, caverns, and cityscapes were fully CG, lit and composited to look photoreal.

"Cloudy With A Chance of Meatballs" (Sony Pictures Imageworks)
Followed the art direction of multiple sequences to light and composite shots utilizing Katana for both lighting and compositing. Also responsible for producing elements necessary to create stereoscopic version of each of my shots.

"Cats & Dogs 2" (Sony Pictures Imageworks)
Used Shake, Katana, and Renderman for lighting and compositing. Shots included a fully CG dog and cat integrated into plates. Also included face replacement shots that used a combination of projections and CG to replace select parts of the dog, such as the jaw, eyes, and upper face.

"W" (Method)
Part of team to add upper tier stadium extension.  Look developed photoreal textures and performed some modeling enhancements to existing stadium model.  Lit to match plates of existing stadium.

“Pirates of the Caribbean: At World's End" (Method)
Used camera projections on animated geometry to cover Q-Tip eyeline rigging on Johnny Depp's shoulder.  Worked on tracking and roto-animating life-size beads for the tiny Jack Sparrow sequence. Modeled, textured, and pre-lit the spectacles used in the 'Mystic Bowl' sequence.

Miller Lite - "Break From the Crowd" (Method)
Helped to R&D use of Mayaman to interface with Maya and render in Air using Renderman shaders. Lots of troubleshooting for getting desired results including a good global illumination pass, reflection passes, and ambient occlusion passes. Worked on lighting, rendering and pre-comps of all passes for five different shots throughout the spot.

Vizio - "Forge Interactive" (Psyop)
Used Maya and Mental Ray to light and render shots for superbowl commercial.  Modified existing lighting rig and positioned various reflector cards to get optimal results.

Bridgestone - "Scream" (Method)
Modeled the front half of the cricket, and textured using projections of the cricket in the live plate.  Rendered also with AO and shadow passes.  Animated the cricket "screaming."

Pepsi - "Pinball" (Method)
Performed look development for giant pinball.  Experimented in Mental Ray with different appearances of the pinball, from fully Metallic to the final look which has more saturated colors. Developed shaders, lighting rig setup, and render passes to be used by 3D team.  This set-up made it easier for the 3D team to quickly work through the large number of shots. Personally did lighting for all the stadium shots, shots near the Coit tower, and several city shots.

Toyota Tundra - "Ramp" (Method)
Entire commercial is done practically except for one shot. It was impossible for them to get inside the brake to show it engaging, so the entire shot is 3D (and only lasts half a second). CAD models were used for the parts and I developed the look and photorealistically lit the brake using a custom created HDRI and light set-up.

Lenovo - "Rollcage" (Motion Theory)
Modeled laptop and rollcage elements. Animated the last shot where all of the rollcage hardware folds into the laptop as it settles to the floor. Did additional matchmoving and animation of two top braces connecting the laptop to the rollcage. Also animated some of the rollcage hardware close-ups. All elements lit to match plates and rendered with Mental Ray. 

EA - "Mech Warriors" (Motion Theory)
Roto-animated proxy character climbing inside Mech for accurate lighting and shadows.  Modeled player’s digital jersey to match real-life jersey. Matchmoved robotic parts with player footage.

PlayStation PSP - "Evil Knows No Boundaries" (Method)
Dog actor could only perform with a partial mask when the commercial was shot. Modeled the missing parts including the nose piece and the eyes. Textured and lit to match existing mask piece.

Toyota Tacoma - "Robosaurus" (Method)
Animated the arms and claws breaking as head explodes. Used rigid body dynamics in Maya for claw pieces hitting ground. Mostly textured using camera projections. Also created sparks using particles as head starts to malfunction.

Xbox Halo 3 - "Ammo" (Method)
Leg piece worn by actor was replaced with geometry of a robotic leg. Matchmoved leg movement. Textured the leg and lit using a custom painted HDRI. Rendered using Mental Ray.