I created various background enhancements and lights, including adding the LAX spider building in this night time race sequence.

I created some detailing on the pavement including paint and weathering.

In this shot, I added some road barriers and extended the race track, painted a blending patch for the plate and cg, and painted the race stadium in the background horizon. I also created the projections and set up.

In this Candy Shop shot, I was in charge of creating all of the matte painting and cg enhancements. Most of the cg was plain and I added all the details including: sky, background city, side walk and road details such as trash, weathering, oil spills, manhole covers, paint, cracks, as well all of the bricks on the buildings were replaced with my matte painting, most ottoman details such as weathering and bird droppings, details on parked cars, shop windows etc. There were also guidelines to change the cityscape to New York in the 1970’s and some research was needed to ensure this was respected.

I was also responsible for the technical aspects of preparing the cg and projecting the matte painting which needed various layers of holdouts and model clean up to work.

On the screen right hand corner of this still, you can see details I’ve added on the side walk as well as dirt and grunge in the shop opening and hints of the rest of the shot’s details that were added.

In this Candy Shop shot, I was in charge of creating all of the matte painting and cg enhancements. Most of the cg was plain and I added all the details including: sky, background city, side walk and road details such as trash, weathering, oil spills, an holes, paint, cracks, as well all of the bricks on the buildings were replaced with my matte painting, most ottoman details such as weathering and bird droppings, details on parked cars, shop windows etc. There were also guidelines to change the cityscape to New York in the 1970’s and some research was needed to ensure this was respected.

I was also responsible for the technical aspects of preparing the cg and projecting the matte painting which needed various layers of holdouts and model clean up to work.

In this city shot, I was in charge of creating all of the matte painting and cg enhancements. Most of the cg was plain and I added all the details including: sky, horizon city, all of the detailing in the buildings including signs of life, graffiti, old paint advertising, weathering, the bricks were all replaced with my matte painting, water towers, etc . There were also guidelines to respect the 1970’s New York cityscape.

I was also responsible for the technical aspects of preparing the cg and projecting the matte painting which needed various layers of holdouts and model clean up to work successfully.

The Kitchen Trailer 2019

I created the matte painting over top a basic cg base and projected it in Nuke. My matte painting includes: the whole ground (gravel and grass), detailing on the various elements such as barrels and crates, all of the detailing on the buildings including cg breakup of edges, wall textures, roofs, etc. I was lead dmp on this project and the junior artist helped me break up the cg model to prepare it for camera projections, and helped with a few rooftop textures.

For this sequence, I was in charge of planning out the various views of the characters and using one plate that would be turned into 2 different views for front and back, and then meticulously integrated with the plate. On these far away shots, I helped lead a junior artist and did some final touches on the matte painting.

For this sequence, I was in charge of planning out the various views of the characters and using one plate that would be turned into 2 different views for front and back, and then meticulously integrated with the plate. On these close up shots, I created both detailed views based on the far away shots and keeping in mind the plate integration.

I created the matte painting for this establishing shot with a cg base. We had many details that were lost in the shot darkness, but my matte painting details included: all of the vegetation in the foreground and background, horizon sky and mountains, mist in the horizon trees, camp site ground and camp building details along with lights, etc.

AMC’s The Terror: Infamy Season 2 (2019)

For these oil rig shots, I created the background mountain matte paintings and some sky & plate integration. On the oil rig, we were three matte painters working together and we each agreed on a part of the rig to matte paint. My work was on the last frames when we see the oil rig from above. The matte painting I created for the oil rig included creating the landing pad for the helicopter and projecting it with movement as it opens up, as well as adding some realism to the cg all around the landing pad including weathering, details, and the feeling of being worked in. I created my projection set up ich involved a lot of masking due to all the parallax.

On this view and the next few images you can see the part I was in charge of matte painting on the oil rig. This included adding all of the lines and information on the landing pad including aging and oil, texture and movement to go with the animation of the pad opening up. I also added touches to all the elements around that including the deck, the vents, deck accessories such as the barrels, the crates, added hoses and junk, etc. I also matte painted what we see under the landing pad before it opens. In order to make it all work, I used geometry to mask out elements during the projection setup due to all of the parallax.

On these shots I helped with some matte painting details and development, along with some look development as the shot was evolving.

I helped create these underwater shots by projecting details and elements on the rocks and the structure. I was also in charge of painting and placing the projections of the search lights. These were then turned on and off in compositing.

On this shot I painted some details on the canon and had to project it with animated movement to match the canon’s rotation.

I added some matte painting details on the osprey and projected it with movement to match the animation of the vehicle.

In this shot, I added the deer in the grass along with a few details here and there.

I helped the main artist on this shot by adding a few details and projection support.

On this shot I painted some detailing on the concrete wall and projected it.

On these shots I helped with some matte painting details and development. I helped with creating the feel of the shot as it was developing as well as doing matte painting set ups and tests.

On these shots I helped with some matte painting details and development. I helped with creating the feel of the shot as it was developing as well as doing matte painting set ups and tests.

On these shots I helped with some matte painting details and development. I helped with creating the feel of the shot as it was developing as well as doing matte painting set ups and tests.

Godzilla: King of the Monsters Final Trailer (2019)

On this establishing shot, I created concept art to help with the look development of the final city once it’s overgrown with vegetation. I created a few concept art on this shot to help develop and drive this shot specifically, as well as the whole end sequence. As well, I created the matte painting set up and tests to make sure it was technically sound.

I created concept art to help drive the look of these final shots as well as the matte painting and projections of the jungle life onto buildings.

By creating concept art, I helped develop the look of the alien plants for the end sequence of Justice League.

I helped develop the look of the lava by creating concept art & paint overs. I also painted the lava on the asset for the final shots in this sequence.

Justice League (2017) official trailer

I created the matte painting and did the projection set up of the whole sky and clouds for this entire sequence. I also helped develop the look of the bird flock by creating various concept art.

I created the matte painting for this shot to extend the plate and add pyramids and sand dunes, as well as set removal elements.

I developed different looks for the infection spread by creating concept art and then created the final matte painting passes and projections on the face once approved.

I helped developed the look of Sargent Vail and his various phases of decay by creating concept art. I also created the final matte painting for the digital makeup of the character throughout the whole movie. I was in charge of developing three looks for his three phases of decay. That included the white in his eyes, the wounds, the veins, grunge and skeleton look, etc. I was in charge of projecting these in order to send to comp.

I developed the look of the wound by creating concept art and then created the final matte painting and projection of the wound.

I created the matte painting of the top view attic by adding details, matching plate, adding boxes, gifts, cards, and destruction to make the shot possible.

Fantastic Beasts and Where to Find Them (2016) final trailer

I created the matte paintings for new signs and projected them for this whole sequence.

I created three matte paintings for three different lighting passes in the hallway as the character approaches the camera. I created and rendered light passes and used them for my matte painting. I also projected them and prepared them for compositing to use them.

I did matte painting of the foreground environment and road as well as adjustments on certain buildings. For the foreground road, I did some painting to create a clean plate, and added cars and grunge to show destruction and chaos. I also separated all of it into layers to project and was in charge of that set up.

I added some graffitis on the screen right walls, and also added some background details like the ship screen left, as well as a few fixes here and there. Someone also worked on the background matte painting.

I created matte paintings of the sings and projected them for this whole sequence.

I created the matte painting in the background. This included details such as adding a hint of city with lights and buildings, some details in the water such as a buoy and some moon reflections, as well as bringing out lights the pier on the left to add some background details.

Suicide Squad (2016) Trailer

I created the matte paintings and projections for this shot. i added the sky, some details and weathering to some of the cg elements in foreground and added details to the cityscape in the background areas to break up the horizon line.

I added some detailing in some areas with a CG base and assisted my Lead who worked the bigger details of this shot.

I added some detailing in some areas with a CG base and assisted my Lead who worked the bigger details of this shot.

Working with a team, I added some of the field and trees extensions and the projections and setup for it. I did this for every sequence that had this racetrack environment throughout the movie.

Plate (“before”)

Final comp (“after”)

Plate (“before”)

Final comp (“after”)

Working with a team, I added some of the field and trees extensions and the projections and setup for it. I did this for every sequence that had this racetrack environment throughout the movie.

Race Official Trailer (2016)

I assisted my DMP Lead with the Versailles Castle shots in the whole show. I helped with creating matte painting, the projections and setup, setting up and creating lighting passes (diffuse, shadow, ambient, AO, spec, etc) the rendering of the passes and final shot, as well as creating the trees surrounding the castle with a 3D program.

I created and rendered all the light passes necessary for this shot, did the matte painting of the castle and the extension of the ground, and then created the projection set up and projected the matte painting. The original plate was simply the cliff - I added the little hills and trees, and the whole castle and hill it lies on.

I created the entire matte painting in which the character is located. This matte painting was then adjusted and stylized to create a dream sequence feel to it. See both of these scenes below.

I created the matte painting for the whole background using light passes I made from the CG base, as well as set photography and other. I also created the projection layers and set up, and prepared it all for compositing.

I created the matte painting and the projections for this shot which was a background set extension.

I created the matte painting and projectoins for this shot which included some set extensions as well as some added elements to the ground to make it look used up and aged.

Versailles Season 1 (2015) trailer

I created parts of the matte painting on this shot, which also included other matte painting artists. I created the sky and adjusted plate elements like the mountains, added details in the fishing village, as well as in the background villages and vegetation, and made sure the projections were working properly for the final delivery.

I created the matte painting in the door opening.

I created the set extension in the outdoor window view including the roof, extension of the wall and creating the village and vegetation in the back of the wall.

I created set extensions to remove habitable structures in the background.

In these shots I created burning tent assets in matte painting so that they could be used by the compositing department throughout this sequence. I provided an extra pass with embers they could light up and animate to go with the fire.

Outcast (2015) Trailer