Directed by Patrick Osborne, Pearl is Google Spotlight Stories' first foray into full VR. I developed the non-photorealistic look. Pearl has won an Emmy Award, three Annie Awards, and was nominated for an Academy Award for Best Animated Short.
I spent twenty years learning the craft of character animation at PDI and DreamWorks. Here is a selection of my shots from some of the more recent films.
I was part of the core team of animators that created the spec and guided the development of DreamWorks' next generation PREMO animation software.
My first animated short film. I modeled, rigged, and animated the characters, and developed a computer-generated sloppy ink rendering style which could change with the characters' emotions.
I developed and executed the watercolor look for David Gainey's award-winning short, Fishing.
A simulation of watercolor painting, including translucent glazing effects, pigment transport through shallow fluid across textured paper, and edge darkening due to evaporation.
A technique for automatically rendering any 3D scene as loose ink lines with personality and style.
A kinematic system for creating art-directed wrinkles on costumes for CG characters. I developed the first iteration of this system while working in the rigging department on Shrek.
In 1997 and 1998, I taught the University of Washington's Capstone Animation class, an interdisciplinary course in computer animation production that brought together students from the Art, Music, and Computer Science departments to collaboratively create a short film.
A project that documents the way graffiti-covered walls change over time, using interactive timelapse collage.
An optical sculpture that increases the distance between the viewer's eyes. Originally built for the Burning Man art event in 2000.
A short film that explains the miracle of reproduction using stop-motion animation and a lot of hot air. Photographed over a period of nine months in our home in San Francisco.
An interactive web app designed to help neurotypical people understand what it's like to have synaesthesia, and how my own synaesthesia interacts with attention and memory.
Some excerpts from an abstract animation using synthesized light caustics, made using an AfterEffects plugin I created in 2002, and a real-time interactive Processing sketch I wrote in 2013.
Various experiments using the particle systems and image processing software I developed while at Xaos and R/Greenberg Associates.