Mary and The Monster HD

Associate Technical Director/Creative Technologist

This 2D, Remastered version of Mary and the Monster was created and rendered in Unreal. Using the same mocap animation as the original, we created new assets, lighting, and effects.

From pre-production to rendering I focused on:

Compositing scenes with 3D assets, virtual cameras and motion capture animation
Visual Development of materials, color spaces and post-processing profiles
Editing scenes and rendering out exports
Pipeline Development for Unreal, Blender, Maya, and Substance Painter

Premiered Internationally at the Tribeca Virtual Arcade @ Cannes XR 2020 by Parallux

Directed by Kris Layng, Executive Produced by Ken Perlin

Duncan Studio's Nature's End

Virtual Production Creative Technologist

I was part of the Virtual Production team for Ken Duncan's fantasy, science fiction film in development. With an ecological ticking clock, the hero transforms her world without using violence or imitating her male counterparts. The film will combine live-action, animation and gaming.

With Duncan Studio's CG Supervisor, I used Unreal for multiple aspects of pre-production for Nature's End:

Compositing scenes with 3D assets, virtual cameras and motion capture animation
Visual Development of materials, color spaces and post-processing profiles
Editing scenes and rendering out exports
Pipeline Development for Unreal, Blender, Maya, and Substance Painter

Fulfilled contract in Winter 2021 with Parallux and Duncan Studios

Netflix's Escape From Hat

Virtual Production Creative Technologist

I was part of the Virtual Production team for this upcoming animated fantasy film, directed by Mark Osborne. It's based on the children’s book of the same name by Adam Kline.

For the pre-visualization of Escape From Hat, I was focused on a few aspects:

Visual Development of environments and scene compositions in Unreal
Pipeline Development for Unreal, Quill, Shotgun, and DragonFly

Fulfilled contract in Winter 2020 with Parallux and Netflix

Come Back to Me

Lead Unreal Developer and Operator

Come Back to Me is a live dance and tech art performance created for the final project of the class Dancing in Digital Spaces. This unique ITP program featured a combination of dance studies, Unreal development courses, and motion capture training. The video presented is a final dress rehearsal, not the more polished final performance.

Using Unreal, Motive, Optitrack, and Maya I developed and operated the:

Motion Capture Setup and Live Streaming Pipeline
Levels & Environments
FX
Avatars
Live Camera Compositing
Narrative

Presented in ITP's 2018 Dancing in Digital Spaces class with Katie, Orlando, ‘Chaery, and Kristen

Children At Play!

Sole Creator

This short is inspired by how me and my sister grew up together. We have always been about as close as can be, and the support, comfort, and most importantly, fun, that defines our relationship is what's expressed here.

In Harmony and After Effects I handled the:

Animation
Editing
Rendering

Presented in Jeff Scher's 2017 Intro to Animation class

Late For A Very Important (Brunch) Date

Co-creator

A pixelation piece, this uses stop motion to add some magic to the morning routine. This set was actually my dorm room, fixed up with lighting, and my socks make up Ezra's supporting cast.

For this short I:

Co-directed the shoot
Composited and Edited Footage in Premiere
Shot Photography on a Canon Rebel

Presented in Jeff Scher's 2017 Intro to Animation class with Ezra Posner and Livia Camperi

Closet

Co-creator

The assignment prompt for this piece was to transport the viewer to a new place or point of view, and I interpreted that in the vein of "Virtual Reality, The Empathy Machine". For a 360 video piece I began by thinking about the idea of claustrophobia and how you have this small, maneuverable camera that can place people into spaces humans cannot fit in.

This short was:

Composited and Edited in After Effects
Shot on a Ricoh Theta

Originally I wanted to film in crowded subways, packed elevators, and similar spaces that make people uncomfortable to be in physically. From this I could attempt to replicate discomfort, despite the viewer lacking a physical presence to worry about.

I was probably looking for a more narrative path when my brainstorming made the leap to being trapped in the closet. The resulting film has the viewer inside a small closet while Robbi, its owner, recounts his experiences with embracing his sexuality. We also recorded a segment about how his clothes relate to his identity, which I would include in a longer version of this piece. Additionally, I would like to feature a variety of people’s stories as the viewer inhabits their closets, because the LGBTQ+ community features a very wide range of experiences with expression and acceptance.

Presented in Gabe Barcia-Colombo's 2017 Hypercinema class ft. Robbi Sy