My friends at Creative Mammals (now https://www.mammal.agency/) brought me on to create graphics used at the launch event for Coca-Cola Spiced. The event space, named the Spiced Shop, was “a first-of-its-kind, taste-powered art experience built to introduce the new Coca-Cola Spiced — a Coke flavor so unique it can’t be described with words alone.”
My final deliverables included 3 loops: 2 square “it’s this” loops used in a collage with other artists’ “it’s this” interpretations, and one full-screen spice explosion featuring the Coca-Cola Spiced can.
An experimental viscous smoke simulation created in Houdini.
I was contacted by TOGETHXR to tackle the motion design for a Nike campaign celebrating Megan Rapinoe’s career and a farewell during her final home game. I was responsible for animating several digital billboards on display at Circa LA’s screens in Los Angeles and Nike’s W34th street billboard in NYC. I also animated the slides for an Instagram carousel on Nike’s Instagram account.
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ROLE: Motion Design
Experimenting with Cinema 4D’s new simulation system, I began the scene with only the large spheres. At first, I couldn’t get them to behave how I wanted using the new sim system—I was originally going for a squishy glass kind of look rather than something liquidy. Applying a Bullet tag and using the old sim system, I was able to achieve what I was after.
I wanted to add more detail by throwing in a bunch of tiny spheres, but I was battling simulation times and wanted to take advantage of the new sim system’s speed. I worked around this by baking the original simulation of the large spheres, then applying a collider tag from the new system. I then threw all the smaller spheres into the new system and used the same gravity and rotation as the large spheres. The collider tag on the baked sim worked perfectly for knocking around the smaller spheres and achieving interaction.
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ROLE:
Concept, Design, Animation, Compositing
Pushing myself to get more comfortable in Houdini, this was a self-initiated project using the velocity field generated from a pyro sim and feeding it into a popnet with around 4 million particles.
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ROLE:
Design, Simulation, Shading, Lighting, Compositing
This began with a need to scratch the creative itch, then I ended up pushing it further than I’d originally planned. I used this project as an excuse to dive into Redshift and learn some of the newer features in Cinema 4D that had come out with the latest releases.
Conceptually, the project was an exploration of paradoxes. A nautical theme seemed fitting for the “loose lips sink ships” lettering, but then placing it in the vacuum of space with bubbles and underwater lighting proved to be a visual dichotomy I found quite fun to play with. Hope you enjoy.
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ROLE:
Concept, Design, Modeling, Texturing, Lighting, Animation, Compositing
Partnering with my close friend Gage Lozano, the two of us were brought on to the team at New Moon to create the motion graphics for the ScaleUp: AI conference in New York City. With speakers from industry-leading organizations including Adobe, Goldman Sachs, Google, IBM, and more, ScaleUp: AI is a gathering for entrepreneurs, investors, and executives hoping to spearhead the artificial intelligence revolution.
Running with the concept of “old to new”, we leaned into a weathered marble bust in the mood boards provided. I gathered 20 different 3D models and created a procedural system in Houdini to add the weathered effect and different hues of vaporwave lighting to each.
Gage’s After Effects chops and sharp eye for design, combined with my 3D skillset, created a perfect synergy which brought everything together like a well-oiled machine.
Our biggest challenge was rendering and delivering the final files, especially with last minute changes to the schedule which effected multiple deliverables. The main “ribbon” screen at the venue consisted of 3 separate screens connected together to make one long, seamless screen with a total resolution of 38,400 x 2,160. On top of this, everything needed to be rendered at 60 FPS. This was slow process even on my bleeding edge PC, and the final set of deliverables weighed in at nearly 4 terabytes and needed to be delivered on a physical hard drive. It took quite a bit of thought and planning, but ultimately everything paid off and this was one of my favorite projects to date.
While working at FoxFuel Creative, I was tasked with creating something eye-catching and on-brand to put on a vertically mounted TV in their office. Using FoxFuel’s mission statement, “Dream Big, Have Fun, Get Shit Done”, I designed and animated this fun loop to show off our creative chops to visitors and potential clients.
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ROLE:
Design, Animation
Partnering with my friends at Sketch Creative, I designed and animated visuals for multiple large-scale LED screens at a conference for their client OMNIA Partners. With less than 2 weeks from start to finish, and multiple last minute client requests, the turnaround was tight. The final result incorporated OMNIA Partners’ logo in the center of the scene, which rotated throughout the animation in a way that only hinted at their logo, then coming to rest on their logo at the end for the grand reveal. The audio-reactive waves throughout were created using CHOPs in Houdini, which emitted the particles based on the wave’s velocity.
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ROLE:Art Direction, Design, Animation, Compositing
Self initiated project / Personal branding.
Modeled and animated in Cinema 4d and rendered with Arnold.
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ROLE:
Design, Modeling, Lighting, Texturing/Shading, Animation, Rendering, Editing
Planar held a contest for conceptual uses of their new transparent touchscreen technology. This was the concept devised up by the team at Fivestone Studios. It went on to win the contest.
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ROLE:
2D User Interface Animation
I got to work on a pitch for the 13th season of It’s Always Sunny in Philadelphia with my friends at thisiselevation.com
Playing off the grimey, vulgar nature of the show, we decided to go with sharpie in a dirty bathroom stall.
I designed these styleframes in photoshop using mostly stock images. I couldn’t find an image of the handicap bar from the angle needed, so I modeled, lit, and rendered one out of Cinema 4D.
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ROLE:
Concept, Design
I designed these styleframes for the iHeart Radio Music Awards while working with my friends at Creative Mammals. Designed in Cinema 4D and rendered with the standard renderer.
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ROLE:
Concept, Design
I worked with the team at Fivestone Studios on a massive 21-foot interactive display for the lobby at Samtec's main headquarters. This was an ambient product loop that played on repeat until someone came up and touched it.
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ROLE:
Camera Animation, Lighting
After freelancing in Nashville for a year, I had an opportunity to move to Atlanta.
I had wanted to try some 3D lettering for a while and thought this would be a fun way to announce my move on social media.
Modelled and animated in C4D and rendered with Octane.
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ROLE:
Design, Modeling, Lighting, Texturing/Shading, Animation, Rendering
My personal "Research & Development".
Random one-off renders for practice and fun, dating back to the beginning of my 3D journey in 2016. I dump the newest stuff at the top.
