I specialize in creating production ready pipelines and assets.  My knowledge as a technician and artistic background sets me apart from the pack.  I am a true 3d generalist with high level skills in all areas of production.  
I lead the 3d animation team at Furious FX  for the defrosting sequences.  For this defrosting shot I match moved the parents, textured and created the cracking effect pipeline.  The shot was animated by myself and another artist  using rigid body animation techniques I developed for the shot.  The director Michael Lembeck was able to call out specific sections and times for the shattering using my system.
I lead the 3d animation team at Furious FX  for the defrosting sequences.  For all of the defrosting shots I match moved, textured and created the cracking effect pipeline.  The shots were then distributed to other artists who would create final animation sequences using the animation techniques I developed for the shots.
The capsize  graphic was done for Deadliest Catch.  High resolution photographs of the boats engine room were an asset given to me by production.  I used matte paintings and camera projections on geometry to create a look that was sellable in a ultra fast turnaround.  This technique cut down on shading and modeling the entire engine room which is what was first presented by the show director.  This matte painted and projected geometry engine room is then part of a digital scene that takes the camera down the propeller shaft, into the ocean, and then above water to boat level.   
Picture
Satellite plate image used as reference to create a 3d environment.
This graphic I referenced a satellite image to build a 3d environment.  I worked with a 2d compositing artist to match a 2d plate and 3d world seamlessly,   In this case no DEM information was used.  Instead I created the world procedurally in World Machine and Vue, then linked it into my Maya scene and rendered in Mental Ray.  This mill was revisited throughout the season in many shots.
This is a graphic done for the show Black Gold. Bryan used a markerless motion capture software to capture all three characters on a rig that he setup.  The 6 camera system he setup captured video footage at 60fps which he then analyzed, saved as a BVH file and transferred to the character rig.  This was an inexpensive way to expand a studios animation capabilities for character animation on a modest budget.     
This is a graphic that was done for AXMEN season 4.  Some of the techniques Bryan used in this shot include a custom Vue environment.  Real Flow water simulations that react with the shoreline and pontoon boat.  Maya fur rendered as grass that reacts dynamically to the tire wheels rolling over the grass.  
This Model was created strictly for 3d printing and for printed renders.  The software used was 3dCoat.  It was modeled in voxels and then output as an STL file at print scale.
This breakdown highlights the hard surface and organic models I made when working on the film Midnight Meat Train.  The train was built to precision using reference images and measurements from the actual train on set.  The cadavers were an exact digital replica of on set practical silicon corpses.