The first few shots are from the trailer for the Disney animated feature Meet The Robinsons. I worked on the eye, hair and cloth shaders and contributed to the skin shading for this film. I also worked on the occlusion and indirect diffuse modules for the next film, Bolt (a.k.a. American Dog). All shaders were written in Renderman.

The beaver is from Dr. Doolittle 2. I did the color and lighting at Rhythm and Hues, using their proprietary paint, rendering and compositing software.

On Buckbeak, the hippogriff, from the 3rd Harry Potter film, I worked on the shaders for the eyes, the beak and the inside of his mouth at Framestore in London. These shaders were written in RenderMan.

I wrote the shader for the water and the foam in Peter Pan at Digital Domain. The displacement uses Martian Labs Hydrous Tools. These shaders were written in VEX and rendered in Houdini's vmanta.

Fluffy, the three headed dog, from the first Harry Potter movie, was done at Sony Imageworks. I worked on the RenderMan shaders used for his nose, the pads on his feet, his tongue, the teeth and the rest of the inside his mouth. Most of these shaders were also used for the Troll in the bathroom.

These are some of the shots I worked on from X-Men 2 at Cinesite. I wrote the shaders for both the "clean" and the "dark" Cerebros. These are both RenderMan shaders. For Cyclops, I wrote the detailed patterning in the beam. In the shot with the Dr. Pepper, I wrote and animated the frosting of the bottle. In the final shot of the movie, I replaced the lake and the background. These shaders were written in VEX and rendered in Houdini's vmanta.

These three shots are from Terminator 2, done at ILM. I did the modeling and animation in Alias2. The head was a Cyberware scan, which was heavily massaged into a surface. This was used as the basis for the intermediate and final faces of the file interpolation. The color was a texture map made from the plate. I wrote the RenderMan shaders, did the animation, the lighting, some pipeline scripting, and the composite.

The Harrier jet series is from True Lies, which was done at Digital Domain. I wrote a RenderMan shader for the jet heat signature in most of the Harrier shots. I also did some pipeline scripting to help their Maya and Houdini animators utilize the shaders and composite the shots with their proprietary compositor, Nuke.

The helicopter crash series is from Sum Of All Fears done at Rhythm and Hues. I generated the dust using Houdini for the particle animation and Jig, a volumetric renderer.

"The Wind Test" is a scene set up at Oddworld Inhabitants to test a pipeline we wrote in Perl. It enhanced an early version of MTOR, introducing the concept of static objects as RIB archives. It was also used to test what was then the new cloth functionality. The billowing bushes and trees test the replacement of Maya locators with objects imported from other packages. The flying debris covered the particle systems translation as well as replacing the particles with models, and finally atmospheric fog. I was the designer/supervisor and trained the cinematics group in the RenderMan shading language and the RenderMan Artist Tools.

Also from Imageworks is this shot from Anaconda. It started out as a locked plate of an empty barn. I did the lighting for the snake, the shadow generation for both the snake and the stunt man, and the holdout mattes in RenderMan, using their proprietary Maya wire file to rib converter. I used Composer to add the stunt man, the snake, their shadows, the leaves, the dust, and the camera move to the plate.

These shots from HBO's From the Earth to the Moon were done at Hollywood Digital. We used Houdini for modeling and tracking. I setup the initial pipeline for 10 shots and wrote the RenderMan shaders for the lunar surfaces. Most of the displacement was created with texture maps pieced together from the Clementine photos enhanced with Photoshop and procedurally generated craters. A lot more craters were desired than the actual landing site had.

These shots from Demolition Man were done at VIFX, using their proprietary particle system. I attached cone shaped objects to the particles which were replaced by a reveal of the shader on the wall object at impact. The electrical current was hand animated by Peter Crossman. I did the color, lighting and composite.

This shot for Batman 3 was done at Warner Bros. The background plate is a tall rectangular matte painting with false perspective. Edie Paul did the mattes for the live action police cars. I incorporated the tilt down, the flashing light effect, the roving police spotlight, the bridge in the background, the graffiti painted on the wall, and some color correction to the plate, using WaveFront's Composer.

For the MCA Funtastic World of Hanna-Barbera ride film at deGraf/Wharman, The modeling was done on Symbolics' S-Model. I did all of the layout, the camera work and shaders for the Flintstone sequences. I did the lighting and wrote the shaders using RenderMan for the launch sequence on the reel and two other transitional scenes not shown.

The Interscope film logo was done at Rez.N.8 using Houdini (then Prisms). I did all of the layout, camera work, shading and lighting. VEX was used for shading and lighting. This was rendered all of a piece, without compositing.

Desmond the Dog was done at Lost in Space in London using Houidni (then Prisms). It is a theatrical commercial for the Lucuzade NRG drink (a UK version of Red Bull). I did most of the modeling and some of the animation. I wrote all the RenderMan shaders. I also supervised the database, wrote pipeline scripts and did much of the compositing in Houidni's Ice.

That's it.
Please don't hesitate with any questions.
Thank you for your attention.

Sincerely,

Elizabeth Keith
128 Park Place
Venice, CA 90291
+1-310-452-1907

lizakeith@earthlink.net
   www.empyric.com