2001 Filmography

The Painting

As yet unreleased

Spy Kids

March 30, 2001

Swordfish

June, 8, 2001

Dr. Dolittle 2

June 22, 2001
This movie was a very unique situation for me and the company in that we weren't hired by 20th Century Fox to do the work, we were instead subcontracted though Rhythm & Hues.  That said I can now divulge the cluster fuck that this entire situation was.  Not  only does R&H have the most fucked up production heirarchy known to mankind but their ethics are a little something  to be questioned too.  We were hired to do approximately 60 shots in the film because due to their convoluted production pipeline they were incapable of doing to work.  Over 50% of the shots were one-offs.  Meaning the shots required that a modeler/set-up/animator spend time creating all the work necessary for a character to look good but for that character to only be in the movie for no more than 3 seconds and never again seen.  This type of work is ridiculously expensive and usually requires that someone come up with more simplistic creative solutions to the work instead of doing all the typical set up necessary.  We couldn't because R&H insisted that we do it full on 3D.  The other 50% of the work consited of multiple shots of characters.  This helped because setups and configurations could be reused again and again without having to recreate the model and set-up for the character.  Sounds fine so far, right?  Unbeknownst to us early on in the project
 

Rollerball

June, 8, 2001

Point of Origin

This was one of the last shows I ended up working on over at VisionArt/D.A.M Fx. The Visual Effects Supervisor on the film was a guy named Pat Clancey. Awesome, personable, fantastic discreet operator. The thing about this show was not only was D.A.M. Fx going through a corporate restructioning -- read closing its doors due to an unfortunate co-financing with and indian company which has since gyped me out of $30k plus grand and all of my coworkers out that and more -- but the company Pat was working for as well. I think at the time The Post Group was being bought out by 4MC or something like that. Well all the while this was going on Pat and Linda McDonnell (visual effects producer) were trying to deliver the show. The work was complex and inventive and ended up getting a nomination for 2003 Emmy for Outstanding Special Visual Effects for a Miniseries, Movie or a Special.

To End All Wars

Great cast.