Thanks to Marcin Ignac for pointing out that the below project grid is not working properly on OS X Safari. The long horizontal line of items is not intended ;). Please use another browser to view this until i get it fixed in the next 1-2 days. Happy Holidays!
Another project with Gmunk, I did an AutoTrader spot at Black
Swan that featured a generative neuron network. I got to
write a voxel volume exporter for closed geometry (using
even-odd ray casting), and more importantly, I started
exporting my art to OBJ and FBX so that it could be
rendered in a 3d app. It was amazing to see my work with glass
refraction. I also got to implement mouse-selection for the
nucleii, and discovered a novel way to generate a circle with
even segments along a straight axis using no trig functions
(more on that later). Black Swan was an amazing new company
to work at because it was a dream-team made from all the
beloved members of our previous projects. I hope they do
really really well. Proper respect to Matt Winkel, Nick Losq,
Jake Sargeant, Chris Clyne, and Jacob Glaser.
CHARLEX requested different kinds of wormhole animations for a
TV commercial about Verizon FiOS. Video elements would be
placed inside the wormhole as it progressed towards the O in
FiOS. As I worked remotely, my on-site counterpart was Fabian
Tejada who learned to tweak the app and produce renders from
it. Fabian was wonderful to work with.
I worked with yU+Co on this spot featuring a globe of dots
connecting up. I was very happy to see how creatively they
composited the renders - using my simulation in ways I never
expected. The system was easy to write since it resembled
older work. It was great to collaborate online with yU+Co for
the first time. I appreciate how tech-savvy everyone was, and
I think that made the pipeline pleasant. I'm also grateful
that everyone understood and was sympathetic to me being at
Watch the video at yU+Co's website
This project required a lot of research demo programs. The
job holds the new record for most code artists (8) hired on
one MTh job. Our apps began receiving animated curves from
maya, we introduced a new speed-optimized OBJ sequence file
format, and we continued to accumulate maya export
scripts. At the request of director Kaan Atilla, I managed
to write a bunch of C++ After Effects plugins with names
like [FishBall, Stripes, SchizoPath, MeshSpikes,
CurveConnector], but in the end I settled back into
OpenFrameworks and wxWidgets because when you compete with
an Adobe app for internal resources, the Adobe app wins. I'm
also disappointed in Adobe's quality of documentation and
examples. I was put in a 'lead code artist' position and I
feel like I handled myself better this time. We learned a
whole lot! Shout outs to new algo-collaborators Jeremy
Rotsztain and Tim Stutts.
Watch the video at Motion Theory's website
Stillshot from the TV commercial
For this project, we tried a handful of intelligent particle
techniques. One of the approaches was to have me write a
renderable simulator in OpenFrameworks that could fuse our
specific mix of generative diagrams, numbers, shapes, and
line-art into a magical fantasy breeze. The app was able to
work with Motion Theory's special rotoscope and compositing
pipeline, and this was really the first time I started using
wxWidgets there. Because of that, the app featured enough
user interface that a non-programmer could be
productive with it. Four Adobe-savvy designers were able to
run my app and art direct their own shots.
Watch the video at Motion Theory's website
Commissioned work that deals with the browser as a medium in promotion of Google Chrome browser.
I chose to port Balldroppings to processing.js
and I made PopupPong -- pong that uses the brower windows as interactive game elements.
BallDroppings was able to happen because of the native Canvas tag included in Chrome, and because
the js engine runs so fast. PopupPong actually proved to be a bit difficult because of a bug in the window
resizing and placement functions.
I worked at Mekanism in San Francisco for a couple months mostly programming in Actionscript3 Papervision
for a few things. The front page of "Need for Speed Undercover" is a papervision panorama with interactive elements.
I'm impressed with papervision but it still has all the eccentricities of flash-based anything. It was
easy to get into from having been so into OpenGL all this time. There were plenty of example apps to show the art director.
Visit Need for Speed Undercover
My part in this project was inspired by a piece "pinch" which i had been emailing around at the time.
I worked with Jake Seargeant, 3D artists, and director Carl Erik Rinsch at Digital Domain to create the light effects for this
commercial about little robots who have a party while the owner is away.
I was able to write several OpenGL applications in C++ which allowed Jake to
tweak parameters and render the frames. Giving Jake this amount of control
made my life more convenient and gave us more creative options.
Watch the video at digitaldomain.com
Watch the video
Download Rings Fullscreen App for Mac
Download Rings Fullscreen App for Win32
Watch this spot on motiontheory.com
For this rich scene of what's going on inside an athlete's head, Mark Kudsi had me writing C++ code to generate slowly growing neurons into a stretched screen 'topiary'.
An adhoc rendering cluster was used to quickly render random seeded versions as we evolved the style into the fantasy vision
For Paulo, finger trails of personal photos dissipate like horse hair
underwater. My C++ JImage object is born - something that allows pixel
addressing that can also update its display list cached textured unit
rect. I later based a hair style on this aesthetic. It was a pleasure
to collaborate on this spot because everything was so warm and
Download interactive mouse toy (Mac)
Download interactive mouse toy (Windows)
screenshot of mouse toy stretching a woman's back