Ken Faiman ─ Technical Artist for VFX, Feature Animation, and Gaming
- Character Simulation Development ( cloth / skin / hair / feathers )
- Tools/GUI Development ( Python / MEL / C# / API )
- Rigging ( joints / facial blends / creature mo-cap )
- Performance Capture ( facial universal capture / mo-cap for Massive )
- FX ( particle / fluid / soft+rigid body )
2005-present / Dreamworks Animation / Glendale, CA
Character FX Lead/Developer/Animator
Home, Penguins of Madagascar, Kung Fu Panda: Secret of the Scrolls, Turbo, Me & My Shadow, Puss in Boots, How to Train Your Dragon, Kung Fu Panda, Bee Movie, Over the Hedge
- Senior cloth developer for hero characters (e.g. Stoick, Puss) using Maya-based solvers.
- Instituted department’s first hair simulation using untested proprietary solver on Bee Movie.
- Feather grooming of Crow in Houdini and overlap simulation of Mama Goose in Puss in Boots.
- Pioneered a cloth-based skin solver that resolves all rigging interpenetration during animation.
- Approved all crowds cloth and oversaw related setups and pipeline for How to Train Your Dragon.
- Scripted tools and GUIs for Maya deformers, wind, hair/fur, skin, bubbles, and cloth.
- Completed over 1,000 shots ranging from simulation, surface finaling, rigging, to animation.
- Collaborated with R&D to implement proprietary solvers into Character FX.
- Supervised commercial work for various clients including McDonalds and Youtube.
- Assisted with supervisory duties and mentored incoming artists.
2004-2005 / Rhythm & Hues / Los Angeles, CA
Motion Capture Technical Director
Chronicles of Narnia: The Lion, the Witch, and the Wardrobe
- Human/creature motion-editing in Nuance for Massive crowd simulations using Weta-based workflow.
- Built centaur and gryphon rigs for motion retargeting and scripted GUI tools in Tcl/Tk.
2002-2004 / ESC Entertainment / Alameda, CA
Facial Capture/Virtual Backgrounds/FX Technical Director
Matrix: Reloaded/Revolutions, Ladykillers, Catwoman
- Academy Award & VES award-winning CG recreation of live-facial performances (aka UCap).
- Workflow involved facial rigging, sculpting, match-moving, texture projection and compositing.
- Responsible for training of new artists.
- Virtual background reconstruction through HDR nodal photography, photogrammetry, camera reconstruction, photo stitching, compositing, cityscape layout, lighting and Mental Ray passes.
- Animated splash and simulated dynamic rain collisions for ‘Superpunch’ sequence.
2000-2001 / Activision, Inc. / Santa Monica, CA
Civilization: Call to Power 2
- Modeling, surfacing, and rendering of objects and landscapes in Maya and Softimage.
2000-2001 / Gnomon School of Visual Effects / Maya & Studio Arts
1996-2000 / UCLA / B.A., Film, TV & Animation
2003 / Academy Award Contributor / “Universal Capture at ESC”
Contributed to work that won the Oscar in Technical Achievement for the Universal Capture facial system used in The Matrix sequels.
2004 / Matrix Trilogy: Boxed Set / “Matrix Revisited Documentary”
Interviewed for work on facial capture and the impact of virtual humans on cinema.
2004 / Siggraph Electronic Theater / “Making of the Superpunch”
Responsible for all facial universal capture and assisted with splash animation for the Superpunch sequence in Matrix: Reloaded.
2003 / VES Award Contributor / “Outstanding Visual Effects Photography in a Motion Picture”
Contributed to work that won the VES Award for Outstanding Visual Effects Photography in a Motion Picture for the Universal Capture facial system in The Matrix sequels.
Maya, Houdini, nCloth, nHair, Qualoth, Unity, Python, MEL, Maya API, C#, UNIX