• Distributed, parallel, and SIMD system design, and implementation in a fast-paced highly collaborative environment including novice users
• System development in Python, C++, Lua, MySQL, PostgreSQL, Elasticsearch, NumPy
• Image processing, shaders, and rendering in OpenImageIO, OSL, ShaderFX, CGFX
• Code and Project management in Git, Stash, Jira, Agile
• Patient, clear communication with artistic, nontechnical, or novice users
• UK / USA dual citizen for flexible working locations

Pipeline Developer, Shader Writer, and Render Supervisor: Member of a 1-4 person team maintaining a rendering pipeline based on Katana and RenderMan and DNeg's proprietary OSL interpreter and shading library. Additional pipeline tools and integration in Python, C++, and Lua. I create utilities to debug renders, report vendor issues, and measure and visualize renderfarm resource usage. I also advise my shows' supervisors and about how to achieve the client's vision, and supervise rendering to make sure the pipeline is being used efficiently and effectively.
• "Ron's Gone Wrong" (February 2021)
• "A Cure for Wellness" (February 2017)
• "Ant-Man" (July 2015)
Shader Writer and ender Supervisor: Helped implement "V4" and "V5", two major rewrties of our Monte Carlo integration and physically based RSL shading system. Taught classes for artists on using tools and self-diagnosing problems. Supervision of lighting artists and technical directors.
• "Thor: The Dark World" (October 2013)
• "Man of Steel" (June 2013)
• "Total Recall" (August 2012)
• "The Dark Knight Rises" (July 2012)

Shader Development Group / Arnold C++ & OSL: Imageworks has been developing a custom branch of "Arnold," the commercially available global illumination raytracer. Our group has been developing the base shading node library in both C++ and OSL, the open source shading language.

Shader Development Group / Renderman RSL: Shaders and development were changed from being a show's responsibility to being facility software production asset. I participated in the production-agnostic group's consolidation of dozens of legacy shaders from previous shows into a stable and consistent "best of" feature set. A show-agnostic shader department helped avoid knowledge loss and effort duplication, allowing a single developer to serve several productions simultaneously. I created tools for managing SVN repositories, and handled testing and releases for Renderman shaders. All shows included providing support for show supervisors and troubleshooting of individual shots.

• Cats & Dogs 2 (2010), The Zookeeper (2011): Reprojection shader allowing for Pref-based warping, shadowmap or direct camera input, "visibility shadowing" for partial plate replacement, and other useful features.
• Watchmen (2009): Eye and skin shader development for "Dr. Manhattan." Tension-variable displacement maps with intuitive controls.
• G-Force (2009): Eye/skin shader, implemented the RSL side of the new texture mapping system.

I Am Legend (2007): Look development & asset management. Updated car shaders and pipeline for new lighting system. Established consistent photorealistic look for "digital weathering" of car assets. Some trailer shot layout. Shader writing and look development for all "Hemocyte" clothing.

Spider-Man 3 (2007): Lighting, shot production. (credited)

Superman Returns (2006): Senior TD, Virtual Buildings team. Designed and evaluated possible rendering requirements and approaches. Maintained and extended existing shaders, wrote new shaders as-needed and provided shader support to the rest of the VB team. Coordinated new multistream rendering standards with other shader writers and compositors who would use its results. Attended weekly "town council" meetings to coordinate our requests and workflow with other departments and productions. Updated crowds and cars pipelines, animated and rendered CG people particle systems and procedural CG car animation for the "Metropolis Disaster" sequence.

Fantastic Four (2005): Lead TD for "Fantastic Four." Wrote their ambient occlusion and HDR global illumination pipeline with custom shaders and templates in Slim, including extensive caching optimizations to avoid the high rendering expense traditionally associated with that technique. Supervised 'bb' sequence lighting, spotted and fixed rendering problems and production complications.

Polar Express 3D: Rendering and compositing right-eye views for 3D production of a previously 2D movie. PEX IMAX presented a host of technical challenges beyond regular C&L duties: shot asset restoration, verification and re-use, debugging previous artists' shots, exactly replicating old renders with a constantly evolving tool set, debugging new types of stereo on an accelerated sproduction schedule.

Spider-Man 2: Lighting, rendering, and compositing within the CG Building team. Responsibilities included diagnosing and fixing render errors within Renderman and Mental Ray and compositing lighting layers for photorealistic all-CG cityscapes and CG scene extensions to match live action sets.

Lit and rendered shots for the "Trinity Falls" (tf) sequence on Matrix Reloaded and the "Super Burly Brawl" (sbb) sequence for Matrix Revolutions. Wrote several new programs to increase flexibility and efficiency in a very new and untested production pipeline.

I worked in the technical directors' department covering a wide variety of issues:

• R&D: Worked with sequence leads planning technical aspects of the "how can we accomplish this?" problem.
• Lighting Support: Maintained the software and scripts used to assemble and render shots for several deparments, and stayed on on call for emergency bugfixes and "one-off" scripting projects.
• Shader Writing: I maintained existing shaders and designed new shaders for Maya and RenderMan.
• Programming: Projects included MEL and C++ modules for Maya, Perl, Csh, Python shell scripts, and many of the tools in the TD production pipeline.
• Diplomacy: Experience with artistic and technical projects allows me to effectively resolve interdepartmental priorities and clarify communication.
  

Credits: Blade II, The One, Evolution, Cats and Dogs, The Haunting, Hollow Man

Uncredited: Bicentennial Man, Komodo, Mission to Mars

The Computer Security Technology Center provides software and support for various government agencies, including the Department of Energy and the Department of Defense. I worked on the Network Intrusion Detector (NID) project, a network sniffer with advanced pattern matching, selective traffic capture and playback features. Duties include user training, Solaris and Linux-specific porting, and new feature integration.

Duties included network administration of a medium-sized 10/100-baseT Ethernet network of Irix, MacOS, FreeBSD, and Windows NT machines.

Projects: The Truman Show, Wag the Dog, Titanic

Worked in the ISPK development group. ISPK is Xaos's compiled scripting language, combining the speed of C with the objects of C++ and the flexibility of PERL. Time mostly spent optimizing ISPK's memory manager and developing a suite of corruption and leak detection tools.

TA for three consecutive semesters under Stuart Reges. I introduced previously nontechnical students to the technical challenges of computer programming, debugging, and good program design. Students ranged from the casually interested to BSCS-seeking undergrads. TA duties included organizing and presenting secondary lectures and providing outside tutoring.

Siggraph 2014, "Raytracers and workflow: a production perspective": Course with Jesse Andrewartha (Imageworks) and Paul Beilby (Framestore) presenting a snapshot of the evolving DNeg rendering pipeline with emphasis on the difficulties of implementing Monte Carlo integration in RSL.

Siggraph 2005, "Stupid RAT Tricks": Hybrid Ambient Occlusion, a method for drastically reducing ambient occlusion render times by combining cached contributions from static scene elements with live values from moving elements.

Bachelor of Science, University of Arizona