Breakdown

A Wrinkle in Time: Forest Monster Ground Destruction: I took over the the early base ground destruction sim from a lead. Because the sim was so heavy to run, I chose to meet the majority of the creative notes by developing an advanced post processing system. By using CHOPs for trigger events and motion filtering, and VOPs for the matrix math to control transforms, I was able to give the ground a more chaotic nature with near real-time feedback. I was responsible for the base ground sim in every shot of the sequence and ran another TD’s setup for the falling dust and debris for many of these shots.

The Dark Tower: House Demon Impulse Debris: The impulse debris is the loose debris which emits out of the core of the monster. I created the system by computing the difference in velocities between frames and using that attribute to trigger emission when a random threshold within a given range is hit.

Hotel Transylvania 3: Scuba Bubbles: I was solely responsible for developing the scuba bubbles rig for the show. It is a combination of a meshed pyro sim and advected particles. The meshing of the pyro was fine tuned by using power law on the density combined with a pre and post multiplier.

Hotel Transylvania 3: Friendly Kraken: This setup was adapted from a pre-built rig intended for a boat. I was responsible for developing the “friendly kraken” look which involved heavy manipulation of velocities to keep the water relatively calm and backfilling the water as kraken moves to reduce a recoil splash.

Ghostbusters: Crowd Ghost Trails: I customized an existing ghost trail rig to meet the requirements of random attributes per agent id with art directability.

Ghostbusters: Proton Streams and Ghost Trails: On these 4 shots, I was responsible for running an existing proton stream setup, ran my modified crowd ghost trails from the earlier shot, and co-developed the blue party ghosts trails which are on the car. The party ghosts trails were done in Flowline.

Stranger Things 2: Floating Spores and Vines: I developed the floating spore motes system and procedural Mantra shader. The vines were a joint effort of which I developed the animated growth and the meshing with uv’s and attributes for lookdev.

Hotel Transylvania 3: Falling Blobby: This is a one off effect I developed to transition from my meshed falling particle sim to an animated dancing Blobby character. The impact puddle was heavily art directed which I created by squishing and stretching the blobby character in place, using a magnet SOP with metaballs attached to the falling particles to influence that shape, and a jiggle CHOP on that result to give it a feel of outward force from the impact and jelly.

Hotel Transylvania 3: Zing: I was tasked with redeveloping this effect which was originally created in comp for the first movies but needed to be modernized with more detail in the third. The effect was developed on circles by creating a geometry which wipes across and then swirls around the circle. A slider controlled the stage of the animation by utilizing a catmull interpolation spline VOP on a few key frames. That geometry was noise deformed and then used to emit particles. This was then point deformed into the eyes. The final render is both geometry and particles.

The Dark Tower: Shotgun Impact Dust: I developed the dust sim rig by creating a velocity trail vdb cloud from particles that represented the debris and used that as a source for the pyro solver.

The Dark Tower: Tail Impact Dust and Debris: The debris was scattered on the ground plane and simmed as particles which then had geometry instanced onto them. The dust was sourced from these same particles.

Credits