During my time at Amazon DBS (Device Brand Studio) I had the pleasure to create Amazon’s Prime day renders which was used for amazon home page banner. Aiming for engaging realism but holding true to Amazons identity we really wanted to raise the bar to keep customers engaged and excited for one of amazons largest events.

3D Artist: Jason M. Diaz

Software: Cinema 4D - Redshift

Had lots of fun helping Goldsky create a video for their product launch. Illustrating how they help customers process large and complicated amount of on chain data into organized streams of flow.

Director / 3D Artist: Jason M. Diaz

Executive Producer: Michael Leng

Software: Cinema 4D Octane Xparticles

Had the pleasure of working with the ribbon team in creating their first major video for ribbon platform.

Client: Ribbon Finance 3D/Animator: Jason M. Diaz Producer: Michael Leng

Client: DoClasse Director/ECD: Jon Noorlander

DoClasse’s Creative Director Koji Hokari re-teamed with Jon Noorlander and Method team to create a fun spot that shows off their new magical thermal reversible coat.

DoClasse Creative Director: Koji Hokari

FX Supervisor: Tomas Slancik

Animatiors: Chris Devito & Goran Ognjanovic

Tracking: Brian DiNoto

Texture/Lighting/Comp: Jason M. Diaz

FX Artist: Jeongyeon Son

Flame Artists: Jared Pollack, Philana Dias

Executive Producer: Nicholas Dziekonski

VFX Producer: Alyssa Giuliano & Billy McMillen

The launch video for Cash App's new apparel brand, Cash By Cash App. Worked with inhouse team to create, animate, and render some of the clothes and environments.

https://shop.cash.app/

Produced at method studios I had the pleasure on working on the endtag for dark alliance cinematic under director jon noorlander.

software:

cinema4d

octane

turbulancefd

nuke

A New Dimension of Imagination.

--

In the late 50’s and 60’s, the original Twilight Zone featured an opening sequence that showed people something they had never seen before. It was engaging, mystifying, and truly iconic.

In 2019, CBS decided to reboot the series. Of course, bringing back the classic show meant figuring out what to do with the classic opening.

Working with Jordan Peele and his production team at Monkey Paw, we explored a lot of different ideas up front. We all fully realized how important it was to get this right. We knew we had to pay homage to the timeless original sequence, but at the same time we owed it to ourselves to explore ideas within that space. We thought, in true Rod Serling fashion, we would try something completely different, really out there. Something surprising, something that people wouldn’t expect. After visually developing a few different concepts, it quickly became apparent that with The Twilight Zone, it had to be a perfect modernization of the original. Serling created something so timeless in the original series opener that replacing it with anything else just wouldn’t be right for the show.

It was a real honor to reimagine and modernize a title sequence that holds such a special place in American television history.

--

Method Studios Credits

Director: John Likens

Art Director: Wesley Ebelhar

Design and Animation: John Likens, Jason Diaz, Kevin Sanchez

FX Artists: Ehsan Parizi, Jeongyeon Son

CG Artists: Ivan Girard, Da Suel Kim, David Derwin, Sari Rodrig

Executive Producer: Adrienne Mitchell

Producer: Emily Schaeberle

Coordinator: Billy McMillen

Music: Marco Beltrami, Brandon Roberts

Produced at Methods studios

Software: C4D, Houdini,Octane, AE

DoClasse’s Creative Director Koji Hokari approached Method Studios to help them create a spot to show off their magical thermo coat which is as warm as down without the puff! Director Jon Noorlander and the team at Method brought initial design character style frames to life by using motion capture, marvelous designer, Houdini, Cinema 4D and Octane rendering. The CG characters were created by working with choreographer Tricia Miranda and dancers Jessica Castro and Nataly Santiago at Silver Spoon motion capture studio. The live action model was captured on stage in Tokyo. The team of talented Method FX artist, animators, riggers, compositors and designers at Method brought all of the pieces together with The Elements Music team to create the spots.

Client: DoClasse
DoClasse Creative Director: Koji Hokari

Production Company: Standard Production
Executive Producer: Christopher Gabello
On Set Producer: Ryan Hansel
Tokyo Line Producer: Janie Chaartier
Assistant Producer: Kateb Habib
DOP: Matt Noll
DIT: Kyle Mc
Wardrobe: Makoto Fukuda
Makeup/ Hair : Ken Kobayashi
Gaffer: Vincent Paul

Editor: Bernardo Revilla

Visual Effects by: Method Studios

Directed by: Jon Noorlander

Executive Producer: Adrienne Mitchell
Producer: Emily Schaeberle
Executive Creative Director: Jon Noorlander
Sr FX Supervisor: Tomas Slancik
Coordinator: Billy McMillen
FX artists: Jeongyeon Son, Danyl Krivoruchko, Santosh Sallesh, Vraja Parra, Tomas Slancik
Compositing: Scott Minter, Mark Woit, Jared Pollack, Philana Dias, Stephen Morris, Andrew Paulus
Designers: Jason Diaz, Anton Woll- Soder
Tracking: Ohad Bracha
Flame Artist: Jared Pollack, Philana Dias
Rigging/ Animator: Goran Ognjanovic , Ohad Bracha

Music & SFX by: The Elements Music

Color by: Company 3
Colorist: Stefan Sonnenfeld
Producer: Garbiel Wakeman

Produced at method studios

Software: houdini, octane, nuke

Roll: 3D Animator / Designer

Produced at methos

software: C4D, Octane, AE

Sekani Solomon and I worked tirelessly along side Hammer and Chisel to create the opening cinematic for their new game Fates Forever.

Director: Brandon Kitkouski
Technical Director / Lead 3D Artist: Jason M. Diaz
Art Director / Compositor: Sekani Solomon
Animator: Rod Love
Character Art: Joel Byington
Environment Art: Raul Aparicio
Score: Sam Hulick
SFX: Cooper Skinner

Cinema 4D
Vray 1.8
VFX: TurbulenceFD
Character Animation: Maya

Some of my frames done at The Mill for Powerade

C4D - Arnold

After riding the Vray and Arnold render train, I've decided to try this octane train. Here are some quick renders during my endeavor. 

Rather impressed of the power and scalability of Octane Renderer. Has become my main render engine at the moment. 

Roll: 3D Animator / Designer

Creative Director: Alan Williams
Executive Producer: Gabriel Marquez
Producer: Kacie Barton
Designer/Animator: Jason M. Diaz
Coordinator: Tess Sitzmann

Produced at Imaginary Forces

At Strange & Wonderful, Will Hyde came up with an idea to push table top shoots to another level. He wanted to build a box of monitors to place objects in a live video environment.

Working with one TV, two LG Ultrawide monitors, and a 24in monitor in the back, we were able to build a box that had pixels extending wall to wall, floor to ceiling. After the templates in After Effects and Cinema 4D were built out, we worked towards making the video splits display in sync on all of the monitors. The finished product was a mix of clean and simple design, computer animation, and seamless technology.

Studio: Strange & Wonderful

Creative Director: Will Hyde

Technical Director / Animator: Jake Wegesin

Lead 3D Artist / Designer: Jason M. Diaz

Designer/Animator: Austin Hochstatter

Editor/Camera Op: Ryan Hills

At Strange & Wonderful, Will Hyde came up with an idea to push table top shoots to another level. He wanted to build a box of monitors to place objects in a live video environment.

Working with one TV, two LG Ultrawide monitors, and a 24in monitor in the back, we were able to build a box that had pixels extending wall to wall, floor to ceiling. After the templates in After Effects and Cinema 4D were built out, we worked towards making the video splits display in sync on all of the monitors. The finished product was a mix of clean and simple design, computer animation, and seamless technology.

Studio: Strange & Wonderful

Creative Director: Will Hyde

Technical Director / Animator: Jake Wegesin

Lead 3D Artist / Designer: Jason M. Diaz

Designer/Animator: Austin Hochstatter

Editor/Camera Op: Ryan Hills

Art Director:

Sekani Solomon

Technical Director:

Jason M. Diaz

Producer:

Rainy Fu

Lead Designer:

Chris Shane

Rick Kuan

Designers:

Rainy Fu

Chase Hochstatter

Jason M. Diaz

Concept Artist:

Daryl Tan

Ken Tan

Dolby Cinema™ combines the most powerful image and sound technologies with inspired cinema design to transform your visit into a completely captivating cinematic event.

http://www.dolby.com/us/en/platforms/dolby-cinema.html

Following the title Lotto Plus we wanted to highlight the plus component by adding a sense of dynamism and power to the lotto ball.

Animation: Sekani Solomon, Jason Diaz

Sound: Cooper Skinner
Music Composer: Jessil Moore

What can I say, we love watches. Sekani Solomon and I were apart of conceptualizing and designing for FOX Sports Super Bowl XLVIII 2014 show open. Our final phase included creating content for the screens in the digital time square. With a very small time frame, we created the Cleatus watch.

Soundtracks: 
Grandfather - Lorn
Come Back (Lorn Remix) - Eskmo

Vray 1.8.1
Cinema 4D

Watch these and other great tutorials at cineversity.com!

In this presentation, Jason Diaz and Sekani Solomon discuss how students at Savannah College of Art and Design helped FOX Sports develop concepts for the opening title sequence of Super Bowl XLVIII. The students developed several pitches, involving style frames and motion tests created in Cinema 4D. Sekani explains aspects of the preproduction process, while Jason demonstrates how motion capture was applied to Cletus using the Retarget Tag and Motion Clips.

Sekani also demonstrates several powerful aspects of the Cinema 4D workflow in other projects completed at SCAD. In Seasons, Sekani developed a flexible rig to animate leaves using deformers, User Data and Xpresso. In a Coca-Cola spec commercial, Sekani used the Inheritance Effector to easily copy animation to multiple clones.

03:27Super Bowl Preproduction
10:27Super Bowl Motion Capture
16:23Retarget Tag
17:59Motion System
25:15Additional Clones
26:01Seasons: leaf rig
38:20Coca-Cola: Inheritance Effector
48:24Q & A

Recorded live at NAB 2014 in Las Vegas, Nevada.

Sempiternal is a short film reflecting on society's programed fait for ourselves. As the human race advances its easy to lose ourselves, adding a type of layer and hiding what makes us human. We follow the path of what we believe is our purpose in life although pursuing it for "society" benefit instead for the benefit the human race. We accept the path we walk even though conscious of the corruption our progress causes.

Some frames depicting Facebooks lovely temptations. 

Role: Lead 3D Animator / Designer for Projection Mapping content at Klip Collective

Agency: Synergy

Launch Date: August, 2013

Production Company: Klip Collective

Director: Ricardo Rivera

Animation, CGI, Editorial & Grading: Monogram