REEL BREAKDOWN

[1] CG LEAD - WHAT WE DO IN THE SHADOWS S1 - EXPLOSION DEBRIS (HOUDINI)
Simulated blast debris and secondary material. RBD workflows were used to control fracture, motion and interaction with the surrounding environment. 

[2] CG LEAD - WHAT WE DO IN THE SHADOWS S1 - VOMIT (3DSMAX)
Supervised the development of the vomit effect. Fluid and particle systems were used to create and control the final motion. 

[3] CG LEAD - THE BOYS S1E5 - CAPE (HOUDINI)
Simulated the cape and its interaction with the surrounding crowd. Vellum cloth and character collisions were used to drive the secondary motion. 

[4] CG LEAD - NOS4A2 S1 - SNOWFALL (HOUDINI)
Created environmental snowfall around the vehicle. Geometry and sprites were combined to build atmospheric depth and integrate the vehicle into the winter environment. 

[5] CG LEAD - NOS4A2 S1 - CAR CRASH (HOUDINI)
Developed vehicle deformation and secondary effects for the impact. Simulation work included deformation, debris, steam and smoke. 

[6] CG LEAD - THE EXPANSE S4 - GLASS SHATTER (HOUDINI)
Created the glass destruction and controlled its breakup through the shot. RBD fracture and simulation timing were used to shape the final shatter. 

[7] CG LEAD - COLOSSAL - BUILDING DESTRUCTION (MAYA)
Developed building destruction across multiple materials and structural scales. DMM simulations were used to create the primary destruction and breakup.  

[8] CG LEAD - THE HANDMAID'S TALE - CROWDS (MAYA/HOUDINI)
Built crowd populations across foreground and deep-background formations. MASH handled background crowds, with Houdini agents used for controlled foreground placement. 

[9] CG LEAD - TRADES - PIGEONS (HOUDINI)
Created the pigeon crowd system and populated the environment with animated agents. Houdini crowds were driven by animation cycles developed in Blender.  

[10] VFX SUPERVISOR - WELCOME, ADDICTS - WINGS (MAYA/HOUDINI)
Developed the wing asset and its integration with the vampire performance, including modeling, rigging, animation and texturing. XGen was used for fur, with Vellum driving secondary skin deformation. 

[11] FX ARTIST - THE PUNISHER: ONE LAST KILL - HVAC UNIT (HOUDINI)
Developed the HVAC deformation around the Punisher's impact onto the unit. Simulation was used to create the buckling and metal response by the stunt performance.