2001 to Present, Industrial Light & Magic, San Rafael and San Francisco, CA
Digital Matte Artist
One of a handful of specialized artists responsible for delivering fully realized digital matte paintings. Responsible for delivering concept and background artwork as well as fully developed 3D environments complete with modeling, rendering, compositing and animation elements. Experienced as both an artist as well as a Matte Painting Lead. Effective in coordinating with Visual Effects Supervisors, Art Directors, Technical Directors, and Compositors to complete the work on schedule as a team. Nominated for four VES awards for Outstanding Matte Painting in a Motion Picture for Gangs of New York and Hulk, Outstanding Created Environment in a Live Action Motion Picture for Star Wars Episode III, and Outstanding Supporting Visual Effects in a Motion Picture for Jarhead.
1996 to 2001, Matte World Digital, Novato, CA
Digital Matte Artist
Has five years experience creating digital matte paintings for eighteen motion pictures and commercials with Matte World Digital. One of two Matte Artists responsible for the evolution of digital artwork from the initial concept phase through shot completion. Experience in traditional and digital painting, photographing reference, assisting plate photography, and building practical and CG models. Also provided animations, 3D texture painting and complete effects shots from the preliminary design to the final composite. Supervised others toward making a shot work artistically, efficiently, and realistically.
1996 to Present, Freelance Illustrator and Designer
Has created multiple illustrations for major print advertisements. Employed CG and digital painting into final print artwork. Provided hand drawn set designs for a children's television program produced in San Francisco.
School of the Art Institute of Chicago, Chicago, IL
9/92-12/95
Major: Painting
Degree Received: Bachelor of Fine Arts, Painting
Savannah College of Art and Design, Savannah, GA
9/91-5/92
Major: Painting
Highly developed digital and traditional painting skills, as well as a proficiency in computer graphics applications: Adobe Photoshop, 3DS Max, Splutterfish Brazil Render Engine, Adobe After Effects, Electric Image, FormZ, Amazon Paint, and Maya Composer. Accomplished drawing and design skills.
Pirates of the Caribbean: Dead Man's Chest (2006)
Created several matte paintings and environments including the establishing shot of the Turkish Prison. Worked with Production Designer Rick Heinrichs to design and execute the organ chamber of the Flying Dutchman.
Jarhead (2005)
Lead Matte Artist on this Sam Mendes film about a Marine's experiences up to and during Operation Desert Storm. Created many invisible style matte paintings of the Highway of Death, military camps, and an Iraqi airfield. Executed and led the work on the Saudi Airport sequence where existing planes and environments were replaced. Also designed and created the 3D environment outside the window in the film's final shot. Brett Northcutt was nominated for the 2006 VES Award for Outstanding Supporting Visual Effects in a Motion Picture for his contribution to this film.
Star Wars Episode III: Revenge of the Sith (2005)
Lead Digital Matte Artist on this final installment of the Star Wars saga. Created many 3D establishing shots for the film including aerial shots of Utapau, the sinkhole world, the Rehabilitation Center on the city planet of Coruscant, and the utopian capital of Alderaan. Was responsible for both leading the matte painting work as well as executing shots of Mustafar, the lava planet. Nominated for the 2006 VES Award for Outstanding Created Environment in a Live Action Motion Picture for his contribution to this film.
Van Helsing (2004)
Acted as Lead Digital Matte Artist for ILM and also produced much of the work. Was responsible for creating and overseeing the Notre Dame Rooftop Environment where Van Helsing battles Mr. Hyde. Also, lead a team in the creation of the thrilling Coach Chase sequence in which we created a 3D gorge environment.
Hulk (2003)
Contributed a 3D cloud environment shot for this film by Ang Lee. The shot depicts David Banner, after absorbing electricity, carrying Hulk to their final battle high in the Sierras. Created not only a believable cloud environment but was also responsible for painting and animating interactive lighting and integrating provided poses of the Hulk and his electric father illuminating the night sky. Brett Northcutt was nominated for the 2004 VES award for Outstanding Matte Painting in a Motion Picture for this shot.
Pirates of the Caribbean: The Curse of the Black Pearl (2003)
Created a dynamic, animated moon reveal to expose the pirates for what they really are. Also developed preliminary 3D elements for shots of Port Royal.
Harry Potter and the Chamber of Secrets (2002)
Contributed several 3D environment shots to the film's Quidditch match. The environment included dimensional mountains and trees and represented a 360-degree panorama. Worked with a team of individuals to ensure a consistent aesthetic and quick turnaround.
The Gangs of New York (2002)
Created matte paintings of the New York skyline representing 1910s, the 1940s, and 2001. These paintings were then cross-dissolved to show modern Manhattan growing out of the ashes in this dramatic closing shot. Brett Northcutt was nominated for the 2003 VES award for Best Matte Painting in a Motion Picture for his contribution to this film.
Men in Black II (2002)
Created a 3D cityscape background of New York City at night. Also animated lights and cars for ultimate realism.
Star Wars Episode II: Attack of the Clones (2002)
Developed multiple 3D-terrain environments of Geonosis including shots of Jango Fett and Obi-Wan approaching the planet's surface at night and at dawn. Created a daytime establishing shot of the Execution Arena complete with animated steam, moving clouds, and cloud shadows. Also created a 3D canyon environment for ships to race through near the film's finale.
Murder by Numbers (2002)
Produced concept art for some of the film's matte paintings.
Jay and Silent Bob Strike Back (2001)
Produced concept art for some of the film's matte paintings.
The Majestic (2001)
Art directed and completed an establishing shot of the fictitious HHS movie studios in this period 1950's Frank Darabont film. Also assisted plate photography of the Grauman's Chinese Theatre and the northern California coast.
Cats & Dogs (2001)
Designed and completed three matte paintings as well as sun elements that were animated into the opening sunrise sequence. Supervised plate photography for this shot. Also delivered a complete 3D establishing shot of Mr. Tinkle's house at night with animated lightning.
The Mummy Returns (2001)
Designed and created three matte paintings of a perilous chasm dropping hundreds of feet to a river below. Provided versions of the chasm with and without firelight to accommodate a dynamite explosion.
AntiTrust (2001)
Created six shots of a computer mogul's house during midday, sunset, as well as night. Worked with the Production Designer to achieve aesthetically pleasing building details and landscaping. Also composited rain and interactive lightning effects for a night shot of the house in a storm.
X-Men (2000)
Art directed a variety of shots including Magneto's island and the X-Jet hanger. Worked with others to complete several 3D matte paintings of New York City, Ellis Island, and the Statue of Liberty at night. Created all texture maps for the shots and built much of the 3D geometry for the scenes.
Dr. T and the Women (2000)
Painted, animated, and composited several storm effects shots, complete with animated lightning and rain.
Mission: Impossible 2 (2000)
Constructed an establishing matte painting of Seville, Spain at night. Painted versions with and without city lights so they could be animated into an explosion sequence.
The Green Mile (1999)
Painted and animated storm effects and lighting for an establishing shot of the prison. Also added brooding skies to heighten the mood of subsequent shots.
The Insider (1999)
Painted, designed, and delivered the final composite for an establishing p.o.v. matte painting of the Brown & Williamson building. Added moving cars and animated their reflections in the building's windows.
The Testaments (1999)
Created several shots of ancient Mayan cities for a privately funded 70mm film created by the Church of Mormon. In one shot I composited flames and animated smoke to create a burning city at night. Also built and photographed practical models for an establishing shot of an earthquake damaged city.
October Sky (1999)
Enhanced two plates of a railroad trestle with matte painted leaves and flowers to create a winter into spring transition.
Soldier (1998)
Art directed and produced several matte paintings establishing the garbage planet. Worked with a 3D modeler and a compositor to create a pull back shot of Kurt Russel on the planet's terrain. Also designed and fabricated a futuristic garbage trawler's interior as well as a matte painting of a galaxy.
Armageddon (1998)
Created a matte painting of destroyed Paris after it was struck by a meteor.
Mighty Joe Young (1998)
Painted and designed several shots of Los Angeles including views of and from the Hollywood sign.
The Newton Boys (1998)
Art directed and designed several matte paintings for this period 1920's film. Established a Chicago train yard at dusk and turned a plate shot in San Antonio, Texas into 1920's Toronto, Canada. Also assisted in plate photography for these shots.
Great Expectations (1998)
Painted a 3D model of a destroyed mansion for a set extension shot.
The Truman Show (1998)
Painted and designed an establishing shot of Seahaven Island at dusk. Also fabricated several building and set extensions as well as a traditionally painted cloud backing for Truman's escape sequence.
A Simple Wish (1997)
Created several matte paintings of Claudia's mansion under the Brooklyn Bridge.
Pontiac: "Steel Peaks" (2001)
Painted two CG extension matte paintings of a world made of saw blades.
Coca-Cola: "Caravan" (2000)
Created several shots of a winter wonderland coming to life as the Coca-Cola trucks arrive.
First Union Bank: "Cityscape" (2000)
Painted three shots of the daytime financial city. Developed a 3D solution to create the opening panning shot with 2D paintings and allow for a dimensional 180-degree pan. Also created the closing shot, depicting the First Union tower amid the chaos.
First Union Bank: "Noise" (1999)
Fabricated several shots of the financial city at night including a 3D environment of a street loaded with blinking signage.
First Union Bank: "Tenement" (1999)
Designed and created two establishing matte paintings of the First Union tower and the surrounding city of finance.
Cadillac Catera: "Wizard" (1996)
My first matte paintings are in this car commercial featuring Cindy Crawford befriending an animated duck.
See's Candies
Provided a painted background of a ski slope, which a skiing Mrs. See was later incorporated into.
Skills Village.com
Assembled a background cityscape for the job world of the future.
Foundry Systems
Created an entirely painted wind tunnel along with streams of blowing smoke for an ad depicting a new server.
MySAP
Completed a digital illustration of the "City of E" from painting and 3D geometry.
LSI Logic
Modified a previously built practical model of a city made up of computer chips and added a beautiful sunset sky.
Kangaroddy
Created three hand drawn set designs for this children's program produced in San Francisco.