Experience

Senior FX Artist

The Embassy VFX - Vancouver

Feb 2025 — Present

Part of a small, specialized team working on a foreign feature film with heavy magical simulations. Responsible for developing complex FX using Houdini to bring supernatural elements to life. While details are confidential for now, more information will be shared once the movie is released.

FX Dev Artist

Digital Domain - Vancouver

June 2024 — Nov 2024

Worked on Venom: The Last Dance, contributing to the development of the Xeno Vision effect and the intricate process of building Codex, which involved the merging of human and symbiote energies. Responsible for creating and refining complex simulations and visual effects to bring these elements to life, collaborating closely with the team to push the boundaries of realism and imagination.

Additionally, contributed to a high-stakes battle sequence in Captain America: Brave New World, involving oceans, clouds, and missile impacts. Played a key role in creating and refining dynamic simulations that enhanced the intensity of the scene, helping deliver visually stunning and immersive effects that elevated the action.

Senior CG FX Artist

Atomic Cartoons - Vancouver

Worked with a small, talented team on a Lego-based animated project involving magical adventures. Responsible for designing and creating dynamic effects, including the transformation of Lego brick structures into intricate castles, and developing magical superpower effects used by the heroes to defeat evil forces. This project combined creativity with technical expertise, pushing the boundaries of simulation to create visually stunning, action-packed sequences.

April 2024 — June 2024

Senior FX Artist (Staff)

Luma Pictures - Vancouver

Feb 2022 — Jan 2024

Contributed to a variety of FX assets, including:

• Doctor Strange in the Multiverse of Madness: Helped run Wong’s rope dart effect across different shots, occasionally modifying the setup based on scene needs. Also, developed the Doctor Strange suit transformation effect.

• Thor: Love and Thunder: Created car window destruction and Thor's hammer impacts during a fight sequence.

• Mother (Netflix): Developed Vellum-based snow explosions.

• I Am Groot (Disney+): Built a procedural egg crack with an explosion to reveal the baby bird creature.

• Citadel (Amazon Prime): Created bullet fire impacts.

• The Boys (Season 4): Designed fire muppet impact, confetti effects, and breathing effects.

• Ahsoka (Disney+): Created sparks impact during a fight sequence.

• Halo (Paramount - Season 2): Developed plasma bullet impacts.

Collaborated with the creative team, using Houdini and Nuke to seamlessly integrate and refine effects. Constantly explored new techniques to elevate the visual quality of FX work.

Senior FX Artist

DNEG - Vancouver

Nov 2020 — Feb 2022

Developed a diverse range of FX assets tailored to each project’s specific needs. Key contributions included:

• Venom: Let There Be Carnage: Created scaffolding and orchestrated pillar destruction during intense fight sequences between Venom and Carnage.

• Uncharted: Choreographed ship impact explosions for thrilling chase sequences, including a chopper on fire, hit by a cannonball.

• Slumberland: Built a procedural octopus tentacle motion setup and managed the procedural growth of trees and plants, adding intricate detail to the environment.

Beyond asset development, responsible for implementing, running, and executing effects during production. Once the look was approved, ensured smooth asset transfer to other departments, preparing assets for lighting (exporting in Alembic or VDB) and providing slap comps and contact sheets for compositing with all necessary AOVs.

Senior FX Artist

Scanline VFX - Vancouver

Nov 2019 — Oct 2020

Primary responsibilities included developing the accretion disk of a black hole for The Eternals, combining both particle and volumetric components. Initially tasked with testing galaxy collisions, this concept was later revised.

As the studio transitioned and integrated Houdini into its pipeline, contributed to testing new tools and providing feedback for optimized results.

Key contributions to other projects included:

• Zack Snyder's Justice League: Crafted destruction effects for massive towers.

• Reminiscence: Developed vellum-based magical string curtains.

• Godzilla Vs. Kong: Simulated Kong's hair interaction with debris and orchestrated factory destruction impacted by Godzilla's fire-breathing beam.

• Kong Vs. Godzilla: Managed large-scale destruction simulations.

Documented setups on the studio’s centralized server to ensure continuity and ease of access. Assisted artists both in person and remotely, troubleshooting setups and issues. Provided documentation to junior artists, guiding them to meet project standards and deliver high-quality results

FX TD

Method Studios- Vancouver

Feb 2019 — June 2019

FX TD

FX TD

FX Artist

FX TD

Blur Studios - Los Angeles

Electric Theater Creative - Los Angeles

Method Studios- Vancouver

ILM - Vancouver

ILM - Vancouver

Oct 2016 — Nov 2016

Oct 2017 — Apr 2018

June 2019 — Sept 2019

Apr 2018 — Jan 2019

2016 Dec — Oct 2017

June 2016 — Aug 2016

FX Artist

FX Artist (Staff)

MPC - Los Angeles

FX Artist

FX Internship

FX Artist

Developed and integrated look development for Rev9's interaction with fire and secondary elements in Terminator: Dark Fate. While the primary fire look development had been established, I was responsible for seamlessly integrating these looks into shots and creating custom setups for moments where Rev9 interacted with environmental assets.

Collaborating with the lead and other team members, I ensured that my work aligned with the project’s established visual style while enhancing the interaction between Rev9 and the environment.

Developed and integrated the nebula-based alien look for Men in Black: International, working with files provided by another studio. The responsibility involved replacing broken or proprietary nodes with functional elements in Houdini, ensuring compatibility with the studio’s pipeline. Once operational, ensured the consistent replication of the look across various shots, handling different levels of complexity, and rendering shots with the necessary AOVs for the comp department, while also accommodating additional AOV requests as needed.

Additionally, developed the hoverbike thruster dust FX setup for the same show. With a high workload, delegated this task to junior artists, providing training and oversight to ensure the effective use of the setup across multiple shots while maintaining the project’s quality standards.

Designed and developed a modular effects setup for Captain Marvel’s binary fist shockwave, used in both the film and its trailer. This flexible setup was shared across multiple shots and facilities. Additionally, I contributed to implementing the anti-gravity effect and helped run Captain Marvel’s flying energy effect, facilitating its use in several shots. I also supported the execution of energy beam effects, including lightning elements, across various scenes.

For Aquaman, I led the development of key setups, including:

• A procedural trigger-based pyro explosion setup for the underwater end-fighting sequence.

• A motion/speed-based underwater creature particle trails FX setup.

• An impact-based destruction setup, including shockwave volumes and secondary elements.

• A cluster-based underwater ground silt simulation, utilizing crowd data for expansive environments.

• Assistance in running environmental and atmospheric particulates across multiple shots.

• Support in executing laser beam blasts and trailing particles in shots of varying complexity.

• Collaboration on fluid trails emanating from the trident during underwater combat sequences.

This role involved close collaboration with the FX team to ensure the successful implementation and execution of a wide range of complex effects.

Developed a noise-based Cymatic blast FX setup for Black Panther, triggered by spears and Shuri’s gauntlet. This setup was designed to be automated under specific conditions and was shared with multiple artists for implementation across various shots, allowing flexibility for further modifications.

Created a range of key FX assets, including blood splatters, gore, spray, sparks, and mist. These assets played a crucial role in enhancing the visual impact of key scenes, contributing to the immersive experience of the film. Through close collaboration with the creative team, ensured smooth integration of these effects into the final shots, maintaining consistency and high quality throughout production.

Responsible for creating a variety of FX setups for several TV commercials, each with its own unique challenges and creative opportunities. These included dust interactions, a starling murmuration based on Reynolds’ boids flocking rules, a bat swarm following a curve in the Disneyland commercial, glass shattering, fur grooming simulations, waterfall effects, and sword fire effects. After developing these setups, they were handed off to fellow and junior artists, with guidance provided to ensure successful implementation across multiple shots.

Projects:

• Audi Sports Car

• Disneyland Halloween

• Shadow of War – Friend and Foe

These projects focused on delivering visually captivating and technically complex FX that enhanced the storytelling and impact of the commercials.

Responsible for creating effects setups for dust, debris, and sparks simulations for the Jose Cuervo "Last Days" commercial. This included ensuring proper lighting, rendering, and the delivery of approved assets to the relevant departments, ensuring seamless integration across various shots.

The Mill - Los Angeles

Aug 2016 — Oct 2016

Responsible for constructing effects setups for TV commercials, including a swarm of bees attached to a CG arm for the Super Bowl. Additionally, developed a setup for a swarm of balloons interacting with buildings, which later flew in a line over New York City, forming a heart shape. These setups were created using Houdini to enhance the visual storytelling of the commercials.

Projects:

• Old Spice NFL

• Apple iPhone

Psyop - Los Angeles

Nov 2016 — Oct 2016

Responsible for creating particle-based snowstorm effects, along with a carrot on fire and smoke for Aldi's Christmas commercial. Additionally, developed the effect of the carrot being grated against a grater, leaving behind soft, shredded carrot pieces as part of the visual storytelling for the commercial.

Tasked with crafting various FX setups, including magical electrical gun blasts, volumetric effects, and sand/grain simulations for game cinematics.

Projects:

• Destiny 2 (Game Cinematic)

• Call of Duty (Game Cinematic)

SideFX Softwares - Los Angeles

Sept 2015 — Mar 2016

During the pursuit of a master's in visual effects at SCAD, an internship at SideFX was secured as part of the course requirements. In this role, beta tools in Houdini were tested under various conditions, providing valuable feedback to the development team before the release of the next version.

Mentorship was provided by both SideFX and Method Studios, tackling a variety of challenging tasks. A notable project involved leading the creation of a beanstalk that dynamically grew and broke through the ground using a custom growth solver. This solver also interacted with a wire solver and worked with rigid bodies and secondary elements.

Lecturer - Visiting Faculty

Iqra University - Karachi

2012 -2014

As a Visiting Faculty Lecturer at Iqra University, responsibilities included teaching 3D Camera, Lighting, Shading, and Texturing in Maya, as well as instructing students in the basics of compositing using Nuke and After Effects. The role focused on providing students with a comprehensive understanding of visual effects techniques and software, helping them build a solid foundation for their future careers in the industry.

FX Lead / Artist / Technical Director

ICE Animations - Karachi

2010 -2014

Started as a Junior TD at Ice Animations, where responsibilities included developing character rigs in Maya. Expanded skillset to include cloth simulations using Maya nCloth and later transitioned to effects, creating water and fluid simulations for commercials. Further developed expertise in fire, water and destruction setups using 3ds Max, Fume FX, and RealFlow for various shows. Took on leadership responsibilities by leading shows and providing mentorship to junior artists, supporting their growth and project success. Over time, learned Houdini and developed a workflow to integrate it into the studio's pipeline for handling more complex FX work.