Process & Collaboration

My work on Monsters at Work often began with evaluating a shot holistically—reviewing its animation, lighting, rendered elements, compositing, and technical status to determine what still needed to be addressed before final delivery. Depending on the shot, I moved between Maya and Nuke to resolve animation or scene issues, refine lighting and render output, work with AOVs, adjust color and compositing, and troubleshoot technical problems affecting the final image.

Because the role crossed several stages of the CG pipeline, I frequently worked at the intersection of artistic and technical concerns. A shot might require an animation retake in Maya, a rendering or shader adjustment, and additional compositing work in Nuke before reaching final quality. I collaborated with artists, production partners, supervisors, and external vendors to address notes, diagnose problems, and maintain continuity across episodic production.

Alongside shot work, I contributed to workflow and pipeline improvements through Python and PyQt tools, ShotGrid utilities, and technical documentation. These efforts supported artists in navigating recurring production tasks more efficiently while helping standardize workflows across the team.