I painted the Empire State Building, for the wide shots as Will Smith does his time travel fall, as well as a close-up section that had to blend with a live action set built in New York (the section seen on my reel). The practical set had to blend into the CG model during the pullback to reveal the whole building and surrounding city.

          Cinema4D, Maya, Photoshop 

       I painted three of the alien Green Lantern Corps ( it was one of the first things we painted on the show;  to be used as mid-ground characters in a number of scenes ).

       I painted all the ships on OA, the interior of Abin Sur's ship, as well as the specular treatment for the outside of the ship.

       I painted maps for the Wakeroom and Training Platform environments. Both were originally planned as procedural renders, but to achieve the desired look, it became necessary to paint maps that defined the inner & outer surfaces (so a different look could be applied to each, wrapping around the surfaces & blending). Also, on some surfaces we were asked to create a look based on the undulation and specularity of abalone shell; I painted a combination of iso, spec and bump maps, again to enhance procedural shading.  Effects were very lighting-dependant; we spent a great deal of time placing them to make the best use of them..

              Cinema4D, Maya, Photoshop 

         I painted the Guinea Pig used in the test animation, and began the painting for all the Guinea pigs on the show, Eventually each creature was assigned it's own texture painter; I finished Blaster (the black one). I also painted a variety of props, and the terrarium environment. 

              Cinema4D, Maya, Photoshop  

        I painted a number of props, and some of the beach environment. 

                Cinema4D, Maya, Photoshop  

        I painted all wolves, and the fox.  The lead wolf (Maugrim) had to intercut with a real animal, CG when speaking, real for all other shots. I also painted some of the Ice Castle environment.

                Cinema4D, Maya, Photoshop 

        I painted the plane that Superman rescues.

                 Cinema4D, Maya, Photoshop  

         I painted the construction building used in the final battle sequence, as well as some of the props used to decorate the building & surrounding construction site. I also painted some of the Sandman maps.

                 Cinema4D, Maya, Photoshop

         I painted an aged version of Julianne Moore. I began by painting a single frame - once we received approval from production, I used Elastic Reality to warp that frame to make keyframes to match her motion in the shot.  Those keyframes were then blended & composited using optical flow. 

                Elastic Reality, Photoshop 

          As texture lead, I painted the Hero Boy, Conductor, Hobo, Dad, Santa, Elves, Waiters, Elk, and Wolves. I also helped build, test and photograph characters and props using a six camera & lighting synchronization system for texture acquisition.

              Studiopaint, Maya, Photoshop

        As lead texture painter, I spent a month in New York with production shooting all building textures. I painted a number of buildings, and oversaw the painting of all buildings and characters. In the final shot, I also painted the skydome, and added the World Trade Center back into the skyline. 

                Studiopaint, Maya, Photoshop 

           I lit & composited Stuart for a number of shots. For the shot of Stuart being thrown into the washing machine, I painted individual frames to simulate motion blur (because he breaks frame, rendered blur didn’t work). For the shot on the bed, I used Elastic Reality to animate a still frame of the bed cover, to match Stuart's animation. 

                Birps (Imageworks' lighting package), Composer, Elastic Reality, Photoshop

           I did mostly animated paint work and plate extensions on Forrest Gump. The Kennedy/Gump handshake needed to be painted to wrap Gump's hand around Kennedy's, after Gump's arm was repositioned to match Kennedy's motion. I painted a number of shots to remove the effect of Lt. Dan's leg shadows on the BG. I also painted the BG for the archival shots of Johnson and Nixon. The original newsreel footage was 16mm; I was asked to paint the backgrounds to conform to 2:35, and to remove the original characters (grain was added in the comps to match the look of the original footage). 

              Matador, Elastic Reality 

        I painted the basketball stadium. It was somewhat unusual in that, unlike most texture painting, because it was mostly a stationary object, I painted fixed lighting & spotlights into many surfaces to decrease render times. 

         This was my introduction to texture painting - prior to this I'd worked in computer graphics doing animated paint work and compositing. I painted Jabba using Viewpaint, which was in early development at ILM at the time. I also painted the Speeder & the characters in it, the Cycle & Cyclist, the Ronto (because it was a slightly modified version of the brontasaurus from Jurassic Park) and the Jawas riding it. I was the third texture painter at ILM.  

            Viewpaint, Matador