Paul DiLorenzo's (PhD, Computer Science, ’08) interest in computers and computer graphics took root at a young age. This early interest continued to build momentum as he pursued undergraduate and graduate degrees in computer science at the Marlan and Rosemary Bourns College of Engineering (BCOE). Spurred on by internships at a computer graphics lab and an animation studio, faculty mentorship, and a research interest in making animated characters move and look more realistic — plus the success of smash 2001 blockbuster Shrek — DiLorenzo continued to pursue his passion. Starting out as a software engineer at DreamWorks Animation, he went on to lead a team that deployed a new animation platform that was used for How to Train Your Dragon 2 — which later won a Scientific Achievement Award in 2018 from the Academy of Motion Picture Arts and Sciences. In this exclusive Q&A, the current DreamWorks vice president of production software, DiLorenzo, shares what he learned as a BCOE student about the value of graduate education and immersion in research, and why he feels applying engineering knowledge to animated storytelling for films creates “good out in the world.”
What motivated you to pursue an undergraduate degree in computer science?
When I was a child, I got an Atari that allowed me to play games and do basic programming. It was at that moment that my interest in computers began. Given my interest, my parents upgraded the computers we had at home to allow me to continue programming. At the same time, I grew up in the era of arcades and video game consoles, thus introducing me to computer graphics. When it came time to choose a college major, it was clear that I would study computer science.
What motivated you to pursue a Ph.D. in computer science?
As an undergraduate student at UCR, I was part of the honors program. During my sophomore year, the honors director introduced me to a new program called UC LEADS. UC LEADS helps students from disadvantaged backgrounds by educating them about graduate school and advanced degrees and, as well as providing them with research experience. At the encouragement of the honors director, I applied to the program and found it to be an invaluable experience. I had the opportunity to participate in undergraduate research at UCR and UC Irvine and was also provided with academic support by mentors.
When I enrolled at UCR, graduate school was not on my radar. However, by the end of the UC LEADS program, I knew that I wanted to pursue a Ph.D. in computer science so that I could delve deeper into the variety of topics in the field.
Where did your interest in computer animation and animated features develop?
As a UC LEADS scholar, I participated in a summer internship at a computer graphics lab at UCI. During this internship, I got hands-on experience conducting research in the areas of geometry and visualization. I loved the experience. I learned about computer graphics at a deeper level, and it was rewarding to see the results of the research we were conducting.
After graduating with a BS in computer science, I continued at UCR as a graduate student in the computer science Ph.D. program. I was fortunate to join Dr. Victor Zordan’s research lab, where I was introduced to computer animation. It was exciting to see not only the results of our research but also where I was introduced to computer animation. It was exciting to see not only the results of our research but also those results in motion.
Are there any examples of computer animation or full-length animated feature films that made a big impression on you when you were younger?
There are three animated films that stand out because they had a significant impact on me. The release of Shrek coincided with the beginning of my interest in computer graphics, which allowed me to understand all of the hard work and research that went into animated films. It also helped that I enjoyed the Shrek movie and all of its sequels. Shameless plug: Shrek 5 will be in theaters near you in the summer of 2026. Monsters, Inc. was impressive due to the fur and cloth simulations. And, finally, the How to Train Your Dragon series had beautiful animation and really pushed the art form and industry forward.
Your dissertation examines techniques in which animated characters can look and move more realistically through acts such as breathing and laughing and the importance of the human torso in achieving these ends. Why did this topic interest you, and why is looking at such anatomical details important for animators and filmmakers?
Like many others, I wanted to be a medical doctor when I was a child. Although that goal was replaced by my goal to pursue a career in computer animation, my interest in human anatomy remained. My dissertation allowed me to pair my interests in human anatomy and computer animation.
In my dissertation research, Dr. Zordan and I used simulations of rigid and soft bodies to create the skin model and muscle activation to create the animation. When we worked on animating laughing, we added a fun twist where we used the audio of someone laughing to drive the simulation using a search-based technique. Because it was so compute-intensive, I would run the search in the computer lab at night and on the weekend. These techniques are more useful for VFX [visual effects] and medical visualizations. For computer-animated films, animators want (and need) more control over their animation than this technique could provide.
What motivated you to pursue a career with DreamWorks?
I was fortunate that this happened quite organically. As I was starting my fourth year of graduate school, I attended SIGGRAPH [Special Interest Group on Computer Graphics and Interactive Techniques], a computer graphics conference. I was searching for internships to gain industry experience, so I handed out my resume to companies and government agencies. Not long after that, I got a call from DreamWorks Animation about an internship opportunity. After interviewing with them, I joined their fall internship program.
I immediately fell in love with DreamWorks Animation. The campus was beautiful, the people were supportive and collaborative, and most importantly, the artistic and technical work was cutting edge. I stayed on as an intern for the entire year, working on their new rigging tool. At the end of the year, I had to leave the internship to focus on completing my dissertation. To my surprise, DreamWorks Animation allowed me to continue to come to campus once a week to use their tools and models. Their generosity was incredibly helpful for my dissertation.
Based on my positive experiences at DreamWorks Animation, I knew I wanted to work there.
You cited your dissertation committee members, Department of Computer Science and Engineering Distinguished Professor Eamonn Keogh, department chair and professor Christian Shelton, and Victor Zordan, for their advice and support as a graduate student. How would you describe your experiences with them and the role they played in your research and successes?
Dr. Victor Zordan was my advisor and mentor for six years. I owe so much to him. He taught me about computer graphics and computer animation. His emphasis on the importance of characters in computer animation has been vital to my success at DreamWorks. He also taught me how to think like a researcher and provided me with the skills necessary to conduct strong research. He truly changed the course of my career.
I have known Drs. Eamonn Keogh and Christian Shelton for almost 20 years. I took their courses at UCR both as an undergraduate and graduate student. They are fantastic professors who are experts in their fields. Dr. Keogh infused so much passion and energy into his research. Whenever I would visit him in his office or lab to chat, he would talk about his research with enthusiasm and excitement, that was infectious. At one point, I volunteered for one of his research projects, and he also volunteered for mine. For my project, he watched stand-up comedy while I recorded him in a motion capture suit. Dr. Shelton taught me much about research, AI, software engineering practices, and more. He elevated my abilities in a number of ways. He also provided me with valuable feedback on my research and dissertation. Currently, I work with Dr. Shelton on the Board of Advisors for the Department of Computer Science and Engineering.
Was participating in the UC LEADS program impactful or helpful in your educational and/or professional goals?
Absolutely! Going to UCR already changed the course of my life, but participating in the UC LEADS program put me on a new trajectory. The program introduced me to computer graphics and taught me about the world of research. It was a life-changing experience because I would not be where I am today without it. I also want to thank the director of the program at the time, Marie Steward. Ms. Steward provided me with the support I needed to be successful. I am so appreciative of all that she did for me, and we are friends to this day.
Was your experience in earning a doctoral degree in computer science helpful to your career?
This is a great question I get asked often when I talk to students. My experience in graduate school definitely helped me in my career. It provided me with a strong research background that allows me to see things critically and think about things in creative and innovative ways. It also taught me the importance of staying current with academic research. Additionally, working on my dissertation provided me with countless skills that are extremely helpful when it comes to project and product management, time management, coding, oral and written communication, delegation, and managing up, among other things. Also, there is something special about working on a research project and exploring an area no one else has. Not being able to look up solutions taught me the importance of experimentation and pushing boundaries.
Altogether, my experiences in the doctoral program have allowed me to make better, more informed, decisions at DreamWorks Animation.
Your LinkedIn profile mentions your role in planning and executing Premo, a next-gen animation tool that debuted in 2012 and earned an Academy Award in 2018. Can you tell us a little about your involvement in this and why this tool is so revolutionary?
Premo changed the game regarding film production-level animation. Previously, animation was a slower, more painstaking process. Now, Premo allows animators to work faster, more efficiently, and more fluidly. They can either finish a shot quicker or iterate on a shot much more, thus increasing the beauty of the animation for the audience. With Premo, animators sometimes say they can now animate as fast as they can think.
My initial involvement with Premo was managing an amazing team of engineers that led to its successful deployment and adoption onto How to Train Your Dragon 2. It was a daunting task, but also one that was very rewarding. Since then, I have overseen the development and deployment of Premo onto all subsequent films (16 total so far), making it even better over the years. In addition, we have been working on making it a rigging tool that is currently being deployed to an upcoming film.
You’ve had a successful career at DreamWorks — from a software engineer to your current VP role. What have you found rewarding working at DreamWorks for the past 15 years?
Three main things have stood out to me over the years.
First is the type of engineering work we are doing. We are building world-class software that allows world-class artists to create amazing films that touch people’s lives. There are only a few companies in the world that do what we do on the same level. Working closely with artists and building the software that allows that level of achievement is extremely rewarding.
Second is the type of product that we are building. I truly believe that our films create good out in the world. People connect with our characters, and our films make them happy. It is rewarding to be a part of that.
Third, and finally, the people at DreamWorks Animation are incredible. It is enjoyable and enriching getting to work with an exceptional group of people. It is the people that make DreamWorks Animation a special place to work.
What advice would you give computer science/engineering students who are thinking about careers in the animation field?
The animation field is vast and requires a wide array of engineers. For example, at DreamWorks Animation, we have hundreds of engineers working on various technical aspects to keep the studio running. We have engineers who build tools for the artists, build and deploy microservices for the pipeline, build and deploy computers that are used by the artists, run and manage the render farm, and work on a single show, helping the artists with their specific issues. Each of these engineers has special skills and experiences.
I advise students to take computer graphics and computer animation classes to better understand the field. They should learn about the animation pipeline from layout to lighting. If they want to build tools for the artists, learning a programming language (e.g., C++ or Python) is crucial. Finally, I highly recommend connecting with a graphics lab to work to gain experience working on research projects.
If students’ interests lie outside of computer animation, there is still a place for them in the animation industry. For example, engineers who are familiar with databases, microservices, networking, etc., are needed.
Header image: A close-up of Premo, a computer-animation platform. (Photo courtesy of Paul DiLorenzo)