Uploaded March 2011 | Updated September 2026, 2 weeks ago
These are some of the shots I supervised for the Big Fat Kill segment of Sin City, in 2005, at CafeFX. I also did animation, lighting, effects, & tracking for several shots, as well as a little compositing. There were approximately 550 'digital backlot' FX shots in The Big Fat Kill segment that were mostly rendered in Lightwave 7.5, and composited in Digital Fusion 4. The CG Dwight flying thru the air, and the car crash shot were handled in Maya. Explosions were created using Afterburn in Max. RealFlow was used for liquids.
I was a fan of the first graphic novel and had thought about how to realize it as a movie since the early 90s. Rodriguez was a great client to work for as he was wide open to ideas. I had the freedom to invent compositions and add my own details. I would rather have worked on the Marv story, but I knew the material well and lucked into an opportunity to contribute to a unique project.
Sin City was nominated for Palme d'Or at Cannes.
These are some of the shots I supervised for the Big Fat Kill segment of Sin City, in 2005, at CafeFX. I also did animation, lighting, effects, & tracking for several shots, as well as a little compositing. There were approximately 550 'digital backlot' FX shots in The Big Fat Kill segment that were mostly rendered in Lightwave 7.5, and composited in Digital Fusion 4. The CG Dwight flying thru the air, and the car crash shot were handled in Maya. Explosions were created using Afterburn in Max. RealFlow was used for liquids.
I was a fan of the first graphic novel and had thought about how to realize it as a movie since the early 90s. Rodriguez was a great client to work for as he was wide open to ideas. I had the freedom to invent compositions and add my own details. I would rather have worked on the Marv story, but I knew the material well and lucked into an opportunity to contribute to a unique project.
Sin City was nominated for Palme d'Or at Cannes.
