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Adam Gaige ’07
Our EMAC graduates have careers across the spectrum in multimedia design. The interdisciplinary curriculum provides a strong background in communication, art, design, music, and technology that prepares them for creative positions in
- major animation studios
- video, music, and entertainment industries
- graphic design and website/mobile design companies
- advertising and marketing firms
Some graduates start their own companies and do independent consulting. The possibilities are endless!
Below is a list of some of our graduates. Click on their names to see what they're doing now and how EMAC helped them achieve their professional goals.
Adam Gaige ’07
Technical Director, DreamWorks Animation
I had the opportunity to work with feature animation right through graduation. During my last semester at RPI, I worked as a Technical Artist with a small production on campus called 'The Molecularium Project,' focusing on procedural tools for the molecular simulations that would be used, and helping to develop the pipeline for how shot work would be done during that production. After graduation, I continued to work on their IMAX film Molecules to the Max, where I was able to work on many different pieces of the film. I continued to do tool development, while working on the procedural animation for the complex molecules in the shots. This experience propelled my fascination with CG film making and led me to where I am today. The EMAC major was a great experience for me at RPI, and I'm glad to see it evolve with our rapidly evolving industry!
Digital Storytelling with a dual major in Computer Science and EMAC.
I am currently a Technical Director at DreamWorks Animation, working in the Northern California location in the San Francisco Bay Area. My skills from undergraduate EMAC classes have evolved into a strong sense for creating animated CG films. I've grown into a more experienced artist and a leader within my department.
My work mainly consists of problem-solving complex shots, developing artist tools and workflows for our production pipeline, and mentoring my peers in these skills. The organic nature of a production keeps these tasks changing day to day. An example of a large problem that I worked on for our recent film Megamind was finding a way to render the city elements within our time and resource limits. This involved creating a workflow to procedurally divide up the scenes, but still gave us the flexibility of lighting a non-divided scene. Another problem on Megamind was figuring out how to get an electric plasma effect onto a crowd of brain bots. For this I wrote a small program to generate this effect on each crowd character. For artist tools, I've been tasked with creating tools for artists to procedurally create lights/effects onto given elements in a scene.
I'm currently working on Madagascar 3. I've worked as a Technical Director with lighting, compositing, special FX, and as a generalist for the animated movies:
- Madagascar 2
- Monsters vs. Aliens
- How to Train Your Dragon