These are design frames I created at Prologue for the X-Men Days of Future Past opening.

I used Maya for the modeling, shading and lighting. Then rendered a plethora of layers with V-Ray to do the final look development in Nuke

It worked out well, because after the look was approved much of the same lighting and comp elements were able to be re-used for the final animation.

Star wars toy commercial - Zoic. 

I worked on looked development and compositing for this spot at Zoic

First using some raw CG renders I created a style frame in Nuke.   For the main shot built from the style frame I experimented a lot with 2.5 lighting based on the lasers position in space. I also built a dust and volumetric light scene in nuke 3d space that incorporated the xyz position of the CG renders.

Jordan - We Are Royale

I worked on the compositing for this extended shot at We Are Royale. My task was creating the atmospheric effects around the Jordan statue and layering in the 2d galaxy elements and clouds along with 3d renders into the statue giving it depth. Then making them appear to distort as the camera moves around the statue.

Xbox One Reveal - Logan

Stills from a sequence that was a part of reveal footage Microsoft wanted to create for the Xbox One. I worked on this project as the lighting/shading/comp lead.

Oculus Rift - We are Royale

I worked as compositor/matte painter on this spot for the Oculus Rift. I was first tasked with developing the look of the 3D climb scene and its live action segments. I also created a matte painting used at the end of the 3D climb scene. Then I comped a few scenes from the live action frozen and grass growing sections. Included are stills from the shots I worked on.

Working at with a talented 3d team at Wolf and Crow I composited this shot in Nuke.

First was marrying a few different takes together. The practically crushed car and different plates of people running away.  I used stock footage elements to help bring them together and did some animation to extend the movement of actors who ran behind the original, un-crushed van.

Then  the CG robot and CG FX passes were brought into the plate.  I mixed in some more practical dust and smoke elements on top, and in the BG.  Also added a turbulent particle system in nuke to add to the chaos

I helped out at We Are Royale on the Nike Basketball shoe reveal for the summer of 2015.  I created the atmospheric effects using stock footage and nuke particle systems.  Then was assigned the comp work for the red Lebron shoe as well as lending a hand on the purple Kobe shoe. Finally did the final comp for the end lockup frames on all shoes.

This is an animated adventure short created at Gentleman Scholar.

I worked with the 3d team on look development and compositing the space and cloud scenes.  For the clouds we used red green and blue light passes for lighting.  This gave us a lot of control to really dial in the desired painterly look.

A Toshiba Kira laptop commercial done at Logan. I was lead comp on this spot first arriving at a look with the director and helping setup the comps for the rest of the spot. Then creating the time lapse effect and particle systems in Nuke for the atmospherics used throughout the spot.

Model created for a short and some render tests created in the process.

Made to practice VRAY and architectural rendering.  Comped in Nuke.

For this spot there were filmed plates of an actor in a green suit wearing the Champs clothes.  I was a part of the comp team. Using Nuke the background was recreated, and the inside of the clothing was warped in. Then to top it off we added back 3d renders of the headphones. The stills are from the shots I worked on.

My first job was for a project called "7 Signs of the Apocolypse". It was such a small production that many of the shots were just "hey this would be cool" shots. Here's a couple asteroid shots I made for the show. The 3d and particles were done in Lightwave and Nuke used to composite. 

Honda campaign - Logan
I was the compositor for this part of a 2 part ad campaign. I worked closely with the 3d department and creative director to come up with the look and then composite all the shots in this spot. 

Skull Crusher - Gentleman Scholar

On this spot I worked with the art director to develop the look and comp.  We used a combination of pre-rendered 3d elements, stock footage, and shot specific 3d to create the effect.  

For this project I got to work with director Bruno Miotto to create an apocalyptic look to footage for this Diesel spot

This included some matte painting and 2.5d projections of texture, smoke and sparks elements, and also an overall color grade.  On top of that we had just one weekend to finish, with myself and one other compositor, so it was an interesting fun time.

Nike Oblivion - Logan

I worked with the 3D team and creative director for the first part of this spot. First setting a look the director was happy with and then compositing the shots in the ice world for this Nike commericial