Eric Wilson, demo reel breakdown
Demo reel is shown in reverse chronological order, with most recent work first.  See resume or video for individual company names.

2007-2008: Star Trek: Resistance is Futile
Type of project: Ride Film
Format: Monoscopic High Definition, 4 minutes (3 versions)
Job Title: Writer, Director & Hands on Artist.
Software: Maya, RealFlow, Shake, Particle Illusion
Selected Shots:
  	Cube: Did all animation, all lighting, all render passes (AO, spec, weapons, etc.) all compositing.
	Saturn: Oversaw creation of ring systems (maya particle instances), all rendering & compositing.
	Tornadoes: All rendering & compositing, clouds (maya fluids), camera animation. 
	Io: Camera animation, importing of realflow sims into scenes, all render layers and passes, all compositing.
	Exploding Spheres: All animation, lighting, compositing, explosions (fluids and particles) 			importing of realflow sims.
	MoonBase: Camera animation, Lighting, render passes & compositing.
	Cube Exploding: All animation, lighting, compositing, explosions (fluids and particles) importing of realflow sims.

2007-2008: El Cazador
Type of project: Museum Installation
Format: Monoscopic High Definition (3 minutes)
Job Title: CG Supervisor & Hands on Artist.
Software: Maya, Shake, Particle Illusion
  	Oversaw all element creation.  Responsible for all lighting, render passes (Z depth, water fog, AO, particulate matter, etc).  Many textures, some element creation, All compositing.

2006-2007, Sunmaid Commercial Campaign
Type of project: Various television commercials
Format: NTSC
Job Title: TD
Software: Maya, Shake, Shave
Overview: As TD & compositor for on going commercial campaign, I was responsible for the completion of many shots and several spots incorporating many techniques.

Selected Shots:
  	Hollywood Hills: lighting, all render passes (AO, fluids, shadows, etc.) all compositing. 
  	Vineyard: lighting, all render passes (AO, SSI, trees, etc.) all compositing. Many textures, layout, some hair modification, some animation modification.
  	Red Carpet: Did positioning and animation of papparazzi, applied set-up machine rig system to models, all lighting, all render passes (AO, spec, weapons, etc.) some element creation, all compositing.
  	Kitchen: lighting, all render passes (AO, SSI, raisins, etc.) all compositing. Many textures, some hair modification, some animation modification.

2006, Snakes on a Plane
Type of project: Feature Film
Format: 2K
Job Title: Compositor
Software: Digital Fusion

Selected Shots:
  	Exterior 1: Pull matte from very poor greenscreen set-up, roto difficult areas such as fire ladder, integrate CG plane behind live action of people milling about (hair, motion blur, etc.)
  	Interior: Combine elements (such as breaking glass, papers & giant snake with guy in mouth) with live action layers.
  	Exterior 2: Pull matte from very poor greenscreen set-up, roto difficult areas such as fire ladder, integrate CG plane behind live action of people milling about (hair, motion blur, etc.).

2006, X Men 3: The Last Stand
Type of project: Feature Film
Format: 2K
Job Title: Digital Artist & Compositor
Software: Maya, Shake
Overview: As digital artist I was responsible for most of the eye replacement on the show (she didn't want to wear contact lenses this time), as well as helping with the transformations when I had any time.  Some particularly difficult matchmove animation was involved in which I literally had to chop up and matchmove body parts individually to get it to work.

Selected Shots:
  	Mystique Transformation: Part of Transformation team.  Camera tracked in several shots (3D) for transformations, matchmove CG Mystique, render transformation passes (feathers, etc).  Pre-comps, dustbusting and cleanup.
  	Eye Replacement: Dozens of shots, track (2D) eye motion matching look ats, replace with yellow eye element and color, shadow, highlight and blur correct to integrate into scene.
  	Poison Dart: Two shots (shown as one), paint out prosthetic dart and targeting laser, add CG laser and dart hit.  Eye replacement, dustbusting and cleanup and compositing.

2005, Slither
Type of project: Feature Film
Format: 2K
Job Title: Digital Supervisor
Software: Maya, Shake
Overview: We were called in to take on the tentacle sequence (~15 shots) that the primary visual effects house was running out of time to do, but had started.  The sequence had been shot with rubber tentacles which had to be painted out.  We had blocking animation of the tentacles, and some look development had been started, and had to finish it from there. Also had to replace poor quality animatronic deer shots with a CG deer.

Selected Shots:
  	Tentacle 1: Lighting, animation using complex tentacle rig, all render passes (~15 layers with multiple spec passes, etc.) incorporated displacement passes, shadows passes, etc.  Pre comps with schematics for compositor in LA.
  	Deer 1: Animation of "posessed" deer.  Created fluid blood. Lighting, rendering all passes (fur, displacement, etc.) & final comps.  
  	Tentacle 2: Lighting, animation, all render passes (~15 layers with multiple spec passes, etc.) incorporated displacement passes, shadows passes, etc.  Pre comps with schematics for compositor in LA.
  	Deer 2: Animation of "posessed" deer.  Lighting, rendering all passes (fur, displacement, etc.) & final comps.

2005, Wild Seven
Type of project: Indie Feature Film
Format: 2K
Job Title: Digital Supervisor
Software: Maya, Shake
Overview: We did a 15-20 shot sequence in which the lead is bitten by a scorpion while he plays with a shotgun.  Did all dust busting & cleanup.  3D tracked in many shots (Maya Live).

Selected Shots:
  	CU 1: All texturing, lighting rendering and compositing.
  	MS 1: All texturing, lighting rendering and compositing.

2005, The Fantastic Four
Type of project: Feature Film
Format: 2K
Job Title: Digital Artist
Software: Maya, Shake

Selected Shots:
  	Bullet hit: Created sparks using partciles, created interactive lighting, final compositing.
  	Thing 1: Matchmoved a CG body (cyberscan) to match the backplates, smoothing out jitters and bumps.  Projected a cleaned up texture onto 1 frame of the model, converted to solid texture, used a surface shader, adjusted the texture map(s) in Photoshop to cover all geo throughout animation, and rendered the animation.
  	Dr. Doom Arm Transform: I painted a non-deformed version of the arm in photoshop, projected that onto a nurbs arm, sculpted a nurbs blendshape lit the scene for highlights, etc., and animated the transition of the skin sinking.  I comp’d the scene, color correcting the renders and blending the animation into the backplate.  
  	Thing 2: Matchmoved a CG body (cyberscan) to match the backplates, smoothed out jitters and bumps.  Projected a cleaned up texture onto 1 frame of the model, converted to solid texture, used a surface shader, adjusted the texture map(s) in Photoshop to cover all geo throughout animation, and rendered the animation.

 2004, Bermuda Triangle
Type of project: Stereoscopic Ride Film
Format: HD (4 minutes)
Job Title: Writer, Director, Hands on production. (Stereoscopic supervisor)
Software: Maya, Shake

Selected Shots:
  	Surface: Used maya ocean shader, rendered all in maya software. Did rendering and compositing.
  	Reef: Animated fish, all lighting, rendered passes (Z, paintFX, particulate, etc.) compositing.
  	Manta: Animated manta, all lighting, rendered passes (Z, paintFX, particulate, etc.) compositing.
  	Turtle: Animated turtle, all lighting, rendered passes (Z, paintFX, particulate, etc.) compositing.
  	Ugly: Animated ugly fish, all lighting, rendered passes (Z, paintFX, particulate, etc.) compositing.

2004, Excorcist: The Beginning
Type of project: Feature
Format: 2K
Job Title: Digital Artist
Software: Maya, Shake

Overview (all shots): Did matchmove animation and lighting of rigged & cyberscanned character, utilized projection of live action backplates and converting to solid texture, and non-linear blendshape tools developed for X-Men in which an animated ramp drives an object to blend to two different blendshapes (which I sculpted) based on rgb values, to create a distortion effect. Also did pre-comps.

2003, SolarCoaster
Type of project: Stereoscopic Ride Film
Format: HD (4 minutes, 2 versions)
Job Title: Writer, Director, Hands on production. (Stereoscopic supervisor)
Software: Lightwave, 3DS Max, Shake

Overview: Aside from directing and supervising all production, I created the dashboard and animated a small robot character.  I also created several textures (such as the sun) and assisted with compositing.  

2002, Seahawk: Battle for Iwo Jima
Type of project: Stereoscopic Ride Film
Format: NTSC (4 minutes)
Job Title: Producer, Director, Stereoscopic supervisor
Software: Maya, Shake

Overview: A low budget stereoscopic ride film, I was responsible for the creation of the pre-show (editing) as well.  

2002, Wild Africa
Type of project: Stereoscopic Ride Film
Format: NTSC (6 minutes)
Job Title: Producer, Director, Stereoscopic supervisor
Software: Maya, Lightwave, Shake

Overview: A low budget stereoscopic ride film, I was responsible for the creation of the pre-show (editing) as well.  

2002, A TinkerDoodle Christmas
Type of project: Stereoscopic Theater Film
Format: HD (6 minutes)
Job Title: Writer, Director, Stereoscopic supervisor
Software: Maya, Lightwave, Shake

Overview: Combining stop motion animation, headed up by Tom Gasek, with computer graphic animation, I was responsible for all creative efforts, editing, sound and stereoscopy. 

2001, Radio City Music Hall Christmas Spectacular
Type of project: Stereoscopic Theater Film
Format: 2K (3 minutes)
Job Title: CG Supervisor
Software: Maya, Shake

Overview: As CG Supervisor I was responsible for overseeing the re-creation of New York city in story book style, as well as ensuring that all parts of the stereoscopic production fit together and produced the creative result the directors were after. We had roughly 30 people on the project.  I minimally helped out with some texturing of buildings and some light compositing as well.

2001, Pootie Tang
Type of project: Feature
Format: 2K 
Job Title: DVFX Supervisor
Software: 3DMax, Inferno

Overview: As VFX Supervisor I was on set during filming, and then created, lit and added elements such as flying bullets and sparks.  I supervised compositing, but did not do it.

2000, Crouching Tiger, Hidden Dragon
Type of project: Feature
Format: 2K 
Job Title: DVFX Producer
Software: Inferno

Overview: While I was a commercial producer at Blue Sky Studios, we were asked to step in and help with some final effects on the film.  Cleanup and wire & rig removal was done by John Siczewicz. 

1999, Hallmark Campaign
Type of project: TV Commercials
Format: NTSC :30 (x 4)
Job Title: Producer
Software: 3DSMax

Overview: While producing 4 stop motion animated Christmas commercials for Hallmark cards, I also added various minor CG enhancements, such as snow, logos, cleanup, etc.

1998, The Matrix
Type of project: Feature
Format: 2K
Job Title: Assistant Visual Effects Supervisor (during R&D and early production only)
Software: Maya

Overview: I worked closely with VFX Supervisor (John Gaeta) and producers to establish the processes, approaches, and techniques, as well as the schedules and bid for the show.  In developing the visual effects approaches during R&D, I was one of the first actual people to be shot on stage and then recreated for the now famous bullet time sequences. 

1997, What Dreams May Come
Type of project: Feature
Format: 2K
Job Title: Visual Effects Coordinator
Software: NA

Overview: I worked with visual effects supervisor Joel Hynek and Nick Brooks by going out to San Francisco and getting visual effects direction, which I would then bring back to Massachusetts and convey to the team who was working on the falling bodies shots, the albert blur effects and developing tools for the painted world. 

1997, Starship Troopers
Type of project: Feature
Format: 2K
Job Title: Previsualization Artist
Software: SoftImage

Overview: I worked with Softimage to create previsualizations that would then drive the motion control gantry to shoot the spaceship models.

1993, The Secrets of the Luxor Pyramid (In Search of the Obelisk)
Type of project: Imax based ride & attraction
Format: 2K
Job Title: Image Engineer
Software: Alias

Overview: I worked on translating fantasy building designs from blueprints into files that could be visualized in 3d, and then used to cut pieces for the models out of plexiglass using a laser cutter.  I also visualized the timing for the elevator sequence.

Ending: Montage wrap-up.