Very Old Showreel! From 2002! PAL format! Gasp!!! Oh boy, this will bring me and a few colleagues way back. At the time I was deeply involved in problem solving/technical tasks. For example in the animated feature "Help! I'm a Fish!", in the last minute of the video, I had to develop many scripts to duplicate the models of the fish and the crabs, their rigs, add randomness to their sizes, proportions, distributions in space, animation and colors. And this was at a time when software like Softimage didn't have scripting capabilities at all. Instead, I used a third-party plugin, SoftWish, that gave access to the Softimage SDK through TCL scripts and figured things out step by step. By the end of the project, the biggest scenes got so heavy (even for the beefy SGI Indigo2 Impact I had available) that sometimes I'd wait 20 minutes to open the scene, 20 minutes to do -one- change and 20 minutes to save the scene! Earlier in the reel I show some of the work and the technical went through for the SciFi project "Ice Planet". I was working on a cloaking/distorting effect around a Star Destroyer-sized spaceship. By that time I was working in Maya and used the built-in MEL scripting language to duplicate, randomize and animate the fragments that would then distort the image at compositing time. In the process I quickly exceeded Maya's separate objects limit (around 4000 at the time) and I had to rethink everything in terms of one single object containing all the fragments, animating the vertices of each fragment via scripts. Nowadays both Houdini and Maya would allow me to accomplish the same tasks in a matter of minutes or hours instead of days and weeks. At the beginning of the reel there is some modelling work that at the time was good enough and now is really not up to scratch. I do fondly remember modelling in Maya the Playmobil car for a Playmobil commercial though. I was able to keep the physical ty car I used as a reference and I have it in sight on one of my shelves as a type. =) Interestingly enough, as embarrassingly obsolete as it currently is, this reel did land me an FX artist job in the Moving Picture Company, where I worked from 2003 to 2006.