resume

PROFESSIONAL HIGHLIGHTS:

  • Fifteen years combined experience as an Architect and 3D Graphics Artist.

  • Experience in, rigging, modeling, surfacing, lighting, layout, previsualization, matchmoving.

  • Technical knowledge: Maya, Zbrush, Nuke, Photoshop, PFTrack, PFmatchit, Fusion.

  • Advanced knowledge of python scripting.

  • Ability to build tools with user interface using PySide and PyQt.

  • Experience in illustration and concept design using 3D and 2D digital techniques.

PROFESSIONAL EXPERIENCE:

—Asset and sequence developer / Technical Director for the Previs department | The Nut Job 2 and 3 (Feature Film) | ToonBox entertainment, Toronto | July 2015 – current

In Charge of prepparing sets and sequences for the previs department. It involves designing and creating new assets from modeling to rigging. Developer of new tools for the previs department. Also in charge of the troubleshooting task for each artist on the previs department. Currently developing the previs character rigs for the Nut Job 3

—Layout artist | Bubble Guppies (TV series) | Nelvana Studios, Toronto | May 2014 – July 2015

—Previsualization artist / lighter  |  Paw Patrol (TV series) | Guru Studios, Toronto |  Apr 2014 – May 2014

Created a previsualization of each episode using Maya’s camera sequencer.

—Character/prop/set  Rigger  |  The nut job (feature film),  Spark  (feature film) | ToonBox Entertainment, Toronto |  Oct 2012 – Nov 2013

Prop rigger for the nut job. Character, prop and set rigger for Spark.  All rigs were programmed in python. Characters rigs included: full rig with fk/ik switches, follow, eye tweakers, mouth tweakers, face squash, corrective blendShapes and Permanent Pose deformer. Also participated in the creation of vehicle models and character model fixes.

—Character/prop/set  Rigger  |  Barbie in a pony tale (feature film) | Arc productions, Toronto |  May – Oct 2012

Character, prop and set rigger. The main task was the creation of two quadruped rigs (one for horses and one for dogs) . Characters rigs included: full rig with fk/ik switches, follow, eye tweakers, mouth tweakers, face squash and corrective blendShapes. Participated in the creation of characters and prop models. I also  developed tools in mel scripting to make the face rigging process faster.

—3D generalist (modeling, rigging and texturing)  |  Nelvana (Corus Entertainment), Toronto | Babar  |  Feb 2011 – Apr 2012

In charge of cleaning designs in the modeling stage. Model and rigs were created for each assigned asset. I also did surfacing for a few assets. The most frequent rigging technique when facing assets that simulated ropes, cables and cloth were: custom ribbon spines setup, wire deformers and floating joints. Generally this assets were rigged at origin and then those changes blend Shaped to the final mesh.

—Concept designer  |  March Entertainment, Toronto |   Dex    |  Sept – Dec 2011

In charge of the set designs for the movie. Mainly, the control center, the bug tank, the theater, the exhibit hall, the interview room, the control room’s door, the staff chairs in the control room, the theater’s chairs and the control room’s screens. You can see the designs here. Please find the image with the corresponding title.

—3D generalist  |  Starz Animation, Toronto |  Camelot   |   Aug 2010 – Feb 2011

Each shot was undistorted  and tracked using a combination of  PFTrack and  PFmatchit. Then the model for the set was brought in into Maya with the tracked camera so the tracking can be cleaned up and then light the shot. The shadow, and color passes were then rendered and delivered to a matte painting artist. Finally, the camera was imported into Nuke setting up a 3D environment with cards, or a projection into a 3D model and creating the preliminary comp file to be used by the final compositor.

—Layout Finaler / Scene Prep  | Starz Animation, Toronto |  Gnomeo and Juliet   |  May 2009 – Sept 2010

Created the set dressing for each shot inside of a full sequence. Ensuring continuity and proper camera movement. Big shots often had to be divided into multiple layers, rendering each pass in the render farm. Each shot was comped together for approval using Fusion or Nuke.

—Lead  Lighter, texturing supervision   and Compositor  |  Red Rover Studios, Toronto  |  Ollie and the Baked Halibut   |   Sept 2008 –  March 2009

This show was rendered using Mental ray and final gathering. The shots were rendered in passes and then finalized with maya composite.

—Match Moving and Layout Artist  |  C.O.R.E. Digital Pictures, Toronto |  Splice  |   Apr – Aug 2008

Shots were undistorted and tracked using pftrack for both camera and geometry track. Then the shot was put together in houdini for the face transformation of the main character. Finally the shot was pre-comped in Shake.

—3D Layout Artist | C.O.R.E. Digital Pictures, Toronto |  Chop Socky  Chooks | Jun 2007 – Feb 2008

Created staging, character placing and camera movement for full sequences making sure the shots match the director’s storyboard, continuity and composition.

—Previous experience as an Architect and drafter.

 

EDUCATION:

Computer Animation  |  Sheridan College, Oakville  |    2007

Bachelor of Architecture  |  Universidad José María Vargas, Caracas, Venezuela  |    2001