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Special Effects Animation | Bill Konersman

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Shelter Insurance
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2005 - General Idea Productions
I started out as on-set VFX supervisor and went on to do the modeling, lighting and animation of plates, house, and piano, using Houdini. Everything else was real.

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h5>Eraser Notice: Undefined index: title_h in /home/content/81/6037381/html/wordpress/wp-content/themes/nvisionc/core/functions.php on line 1005
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1996 - Warner Brothers Digital
I deleloped this effect in Dynamation and lead a crew of 4 to produce the shots. It was based on a technique I had developed for an Imax nature film, after observing the glowing plankton in Tahiti.

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h5>Gone in 60 Seconds Notice: Undefined index: title_h in /home/content/81/6037381/html/wordpress/wp-content/themes/nvisionc/core/functions.php on line 1005
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2000 - Walt Disney Corporation
This clip features a gas exhaust setup I designed in Houdini, using Rev Lebaridians Jag volume renderer. This was before gas simulations were available, and was done with metaballs instanced onto a particle system. I co-lead a team of 6 for this sequence, at The Secret Lab (Disney) in Burbank.

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h5>Mars Attacks Notice: Undefined index: title_h in /home/content/81/6037381/html/wordpress/wp-content/themes/nvisionc/core/functions.php on line 1005
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1996 - Warner Brothers
I did a lot of saucer animation, shader development, lighting and compositing - back in the day when one artist was expected to do it all. And, it was done in Wavefront and Composer. The ramp unrolling was a procedural script. .

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2007 - Walt Disney Studios
My role on this show was more tool designer than production artist. Although I did produce a few shots, my biggest contribution was to develop the look and technique for the transition from "bad future world" to "good future world", playing off the bubble theme found elsewhere in the movie. I based the technique on some boolean CSG functions embedded in Renderman, but seldom used. I also worked in Houdini to construct an easy to use smokestack smoke generator. The rendering technique involved using about 100 metaballs, and their animation was based on path animation along a triplet of splines, which proved to be much more responsive and directable than gas simulations.