Written by 1. Throughout my career, I’ve extensively used node-based tools such as Maya and Houdini for procedural effects and simulations, Unreal Engine Blueprints for vehicle setup, Blender Geometry Nodes for procedural modeling, Substance Designer for procedural textures, Massive and Golaem for crowd control, Gaea for terrain building and Nuke and Fusion for node-based compositing. Additionally, I’ve worked with Cinema 4D’s XPresso for procedural VFX animations and node-based workflows in render engines like Arnold, V-Ray, and Renderman. These tools have been integral to my work in 3D visual effects, animation, and compositing.
2. To creatively engage my teenage daughter and to introduce her to the world of augmented reality (AR), I developed a simple yet interactive color correction filter using Snapchat Lens Studio. Leveraging its node-based visual scripting system, I created a filter that dynamically adjusts color tones based on user interactions.
3. When designing clean logic in node-based tools like Houdini, I focus on modularity, optimization, and scalability. For example, when creating a scalable explosion effect for a film scene, I:
Break it into modules: Separate nodes for shockwaves, debris, and fire, each reusable across shots.
Parameterize controls: Expose key settings (e.g., explosion size, intensity) for easy adjustments.
Optimize performance: Use level-of-detail (LOD) techniques to reduce complexity for distant shots.
Test iteratively: Simulate at lower resolutions first, then scale up for final renders.
4. I’ve collaborated with creative team of designers, motion graphics artists, and producers on this BMW commercial, where I created 3D particle effects in Houdini and Maya. The CGI footage was then projected onto real cars and recorded with real cameras to achieve seamless integration. By closely aligning with the cinematography and compositing teams, we ensured a perfect blend of CGI and live-action, delivering a polished product on a tight deadline. This experience highlights my ability to collaborate effectively and bring complex visions to life.
5. I have extensive experience troubleshooting and debugging in node-based environments like Houdini
Isolate the issue by testing individual nodes or subgraphs.
Use debugging tools like breakpoints, watch windows, or console logs to track data flow.
Simplify and iterate by breaking down complex logic into smaller, testable parts.
Leverage documentation and communities for solutions to common problems.
6. My approach is methodical: I start at the base of the node tree, checking for bugs or infinite loops, and work my way up, disconnecting and testing individual node connections to isolate issues.
For example, while building a terrain in Gaea, the node wasn’t rendering correctly. I:
Started at the base, or go back a few nodes: Checked input nodes to ensure data was flowing correctly.
Disconnected sections: Tested each part of the node tree separately to identify the faulty connection.
Found the issue: A misplaced node was causing a loop, disrupting the data flow.
7. With over a decade of experience in CGI and VFX, I’ve worked extensively in Los Angeles on feature films, commercials, game cinematics, movie titles, and motion graphics, using tools like Maya, Houdini, and Cinema 4D among many other programs – After Effects, Nuke, Da Vinci resolve, Fusion.. i t.c. I’ve also adapted seamlessly across industries, including:
3 years at Ford Motor Company: Using Maya and Unreal Engine for vehicle rendering, animation, and interactive visualization.
2 years at Rendered.ai: Creating 3D scenes and simulations in Blender for machine learning applications.
This versatility has allowed me to master 3D tools and workflows across entertainment, automotive, and tech industries.
8. I stay up-to-date with trends in interactive media, AR filters, and social media effects by actively engaging with the entertainment arts community. I follow industry leaders and innovators on LinkedIn, test new AI tools and scripts, and experiment with emerging technologies like AR platforms (e.g., TikTok Effect House, Spark AR). This hands-on approach, combined with a passion for creative innovation, keeps me at the forefront of industry developments.
9. I’ve often worked with developing software tools that lacked resources or documentation, requiring creative problem-solving. Especially early on my CGI career. Even before the Youtube tutorials became available I learned Softimage on VHS 420p!
Understanding other languages comes in handy. My first 3D software 3ds Max I learned using a Russian-language book borrowed from a friend. I mastered Spark AR by studying tutorials on a Brazilian website in Portuguese. Also when documentation was scarce, I adapted by exploring similar tools, reverse-engineering code, and experimenting with trial and error. These experiences taught me to be resourceful and persistent, turning limitations into opportunities for growth.
10. Right now I’m taking it a bit further on my free time developing a 3D car racing game for TikTok using Effects House. I built quite a few race track simulations in Unreal Engine while working at Ford and this simplified project is a creative way to learn while inspiring my kids to explore 3D art and game development.