I was responsible for rigging and simulating the destruction of the space shuttle. The rig was made from a skeleton of constrained rigid bodies, using Framestore's custom version of the Bullet rigid solver. The space shuttle model was extremely high resolution, and large portions of it's internal components were modeled. These were all skinned to the rigid body rig, and the rigs constraints allowed for deformation of the render model.
For the final tower fight sequence, I was heavily involved in a large variety of FX tasks. This included deforming and bending of the main crane arms as they collapsed using a constrained rigid bodies system, concrete pillar fracturing, falling debris, dust trails, impact plumes and sparks.
Much of the work done on the crane collapse was a mix of simulation added on top of animation done by the animation department.
In a sequence where the Apes attack the Human colony, I worked on several shots adding debris litter and dust that interacted with the apes. This was a mix of rigid bodies, and maya ncloth for things like paper.
For this train tunnel explosion, I added large amounts of ground debris that gets blown away by the explosion fireball. I also added dust layers and a concussion shockwave that bounces around the tunnels, and disrupts the debris.
In this sequence were Legolas battles Bolg on a wedged stone tower, I did a large amount of testing to see how the destruction events might play out across the sequence. There was a lot of rigid body interaction as the characters battle it out and smash sections of the tower. This was again a large mix of simulation work done in FX, combined with the animation department who mapped out the broad motions of the tower as it wedges in to place.
In this sequence where the Dwarves fortify Erabor, I did the simulations and fracturing of the giant stone statue that collapses and smashes the entrance bridge. This involved pre-cutting the model, detailing fracture edges and ultimately getting the simulation to match the broad motions of the pre vis. The head and the hand of the statue had to land in a very specific rest position to match continuity with later shots.
In this sequence where the Joker blows up a Hospital, I augmented the real building demolition event with CG debris. This involved filling in the 2 top levels of the building with window panes, and syncing up their explosion events with mortar canons places in the windows. I also added window blinds, crumpling window frames, some paper and generic debris. Simulations were done with Maya Ncloth. This was a full screen IMAX shot and it was very satisfying to see the final result!
For this sequence, I added a lot of rope rigging to the ship, tied up to wooden scaffolding that gets pulled over as the ship slides back in to the river. The ropes and scaffolding were driven with Ncloth. Barrels and scrap wood were simulated as Bullet solver rigid bodies.
The giant ship chain was done as an Ncloth ribbon, with a curve skinned to it, and then chain links were evenly distributed along the curve.
I also did various secondary debris simulations and splintering wooden boards as the chain spools from its housing.
This commercial required the formation of a car from jig saw puzzle pieces that mechanically fly around and slot in to place.
After we received a CAD model of the car, I re-meshed it and cut its surface panels into puzzle shaped pieces using a projected texture map and the Blastcode plugin for Maya. Those pieces were then instanced onto particles. I created large NURBS patches, which acted as pathways for the particles to travel along. Shots were simulated in reverse, using particle expressions, the particles would use the NURBS as a goal and would travel from one end of the patch to the other, eventually settling into their rest position on the car surface. Variation was added in the expressions to give the sense that the puzzle pieces were "changing lanes" and arranging themselves as they travel through the air.
These kids television idents were used between show breaks. I did all the character animation on 2, 30 second idents.
These were a small series of promo ads I did for the Gadget Show. Given a pretty open brief for show themes like "Valentines Day" or "Christmas" I did all 3D aspects of the ads including modeling, rigging, animation, FX, lighting and rendering.
For these commercials featuring the tireless Energizer battery I modeled the stack of photos and simulated the flying photos he kicks off the top while running.
The photo tower was generated with a Maya MEL script with controls for height, photo size, stack randomization and rotation, and also UV randomization so that each photo had a unique image on it.
The flying photos were done as instanced Maya particles. The end logo resolve was done as a mix of instanced particles and texture projection.
This spot for Sony required the creation of a "Media Monster" - A formation of Justin Timberlake's out of control collection of CD's, records, cassette tapes etc.
My job was to fill the body of the monster with 1000's of media objects. This was done as instanced Ncloth particles that would self collide and partially stick to the body of the animated character. Holes were cut in the model to allow for regions of particles to spill out.
Zombies vs a helicopter.
The Zombies were animated as ragdolls using the Novodex solver, which was a very early version of Nvidia's PhysX. Blood splatter and guts was simulated as explosions of instanced Maya particles
I was the FX Lead for this show. The main work I did involved the creation of a cloudscape that covers the floor in the throne room of the Gods.
Using Maya fluids to generate blobby/noisy cloud shapes, I converted the fluid volumes to polygons and arranged them into cloud formations. These formations were then distributed across the entire floor, and rendered with a volumetric shader in Renderman. Some small fluid simulations were done for character interaction.
After her plane explodes, Jessica Biel's character falls to Earth still strapped to her ejection seat. I was involved in this sequence from the pre-vis phase, and carried on doing final work on many smoke trail simulations and debris pieces.