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Ogre Fight
circa 2013
In 2013 I was contacted by AnimationMentor to take one of their upcoming VFX based courses for free in exchange for letting them use one of my completed shots from the class for future students to light and composite. This is one of those shots. How much it was actually used, I do not know.Looking at it now, I cringe at the amount of things to change about it.In the end, I really enjoyed the experience and practice the course provided.
Secure Package (sequence)
circa 2014
In one of the last classes at iAnimate, students are tasked with creating a small sequence of shots to help develop story telling skills and to mimic a production type setting.This was the sequence I came up with, but did not get to finish to a polish level by the end of the course. I really enjoyed working on it but learned the hard lesson of biting off too much to chew by myself.
iAnimate Workshop 4 Reel
circa 2013
At the end of each iAnimate class, each student makes a progress reel to see where they started and where they ended over the term. This was my reel during class 4.
Spot!
circa 2012
This was one of my assignments while at iAnimate around 2012-2014. It was really fun shooting reference for this and then executing it. I had so many outtakes. Adding in the fan and little papers on the fridge I think helped sell the space the character is in. I’m responsible for everything seen.
Lint or Bug?
circa 2012
I completed this shot while in one of the advanced acting classes at iAnimate. I’m responsible for everything seen in the final shot, including the final render.It was my test bed for learning basic rendering and compositing techniques back in the day.
Plastic and Numb
circa 2014
I completed this shot while in one of the advanced acting classes at iAnimate. I’m responsible for everything seen in the final shot. The amazing Ted Ty was my instructor.
Kojima Productions Animation Test
circa 2013
After Rhythm & Hues went bankrupt and before I joined Method Santa Monica I was searching around town for another contract. I had a lengthy interview with the upcoming Kojima Productions they were opening in the area.After an initial interview, they requested an animation test to see what I could get done in a certain time period. It was very open ended, with the only requirement being the character had to get to the doorway and past another guard character.This is the result of that test. I had a follow up interview but it ultimately didn't pan out. I really enjoyed the experience.
Into Oblivion
circa 2014
I completed this shot while in one of the advanced acting classes at iAnimate. The amazing Ted Ty was my instructor.
iAnimate.net Team Ultimate - Webisode 1
circa 2013
More details coming soon.
I Killed a Man
circa 2014
I completed this shot while in one of the advanced acting classes at iAnimate. I’m responsible for everything seen in the final shot.Reference for this was done by the incredible Humberto Rosa. Many kudos & thanks to him for helping out his fellow students with such great talent.
Say Cheese!
circa 2014
This was a clip I did just for fun, it's the voice of my sister and baby niece (at the time). It was such a cute clip of them and I wanted to see what it would look like translated to an animated character.
Under the Gun!
circa 2014
More details coming soon.
Doing This to Me
circa 2014
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Rhythm & Hues had a small commercial sister studio in El Segundo called "The Box". In between film projects I was able to join them for this short show where we put together a cinematic about Rancor's in their natural habitat.I never actually got to see the final result or if it even made it into the game but it was another learning experience for me; there were only 5-6 of us and we all had to play many roles to finish it. It was my first step into doing anything commerical related outside of feature films.
Similarly to the Star Wars Kinect experience, this project happened during my time at Rhythm & Hues in between film projects. It was for a short CG promotional cinematic for the new DmC game at the time.The animation team was supervised by Burke Roane, an incredibly talented and humble artist.You can watch the full thing by clicking the play icon above.
This is the project that started it all - my first ever production in the industry as an animator. I was hired on the day of my graduation from AnimationMentor by Rhythm & Hues Studios in El Segundo, CA to work on this.My life changed after getting hired at R&H and I will be forever grateful to this project's Animation Supervisor, Keith Roberts, who took a chance on me.We worked on the entire film doing all of the penguins.
My second show at R&H, it was my entry into animated characters in live action VFX. Supervised by both Ryan Donoghue and James Kinnings, both top notch talents.
Supervised by Andrew Arnett, this project had a ton of different creatures and allowed me to learn about all different types of creature locomotion and subtleties. It was also one of the first times I was able to work with motion capture in a production environment.We did the sequence where Snow White encounters the bridge troll, as well as when she finds the Great Stag in the woods.
I joined Luma Pictures in Santa Monica for a short contract to work on this show.I briefly helped out during the tornado sequence at the beginning of the film. Animation Supervisor, Raphael Pimentel, was incredbly gracious with his team and I enjoyed my time there, albeit very short.
R.I.P.D as a project itself was unique to work on but the final film itself was a bit of a mess.The animation team at R&H was supervised by Keith Roberts. It was my first project that utilized body rotomation that was done in the animation department. It required looking at plates and reference very studiously, trying to include every subtle detail from the actor's performance. The length as which we went to match CG Kevin Bacon to the real one was my first foray into what most indsutry folks call 'pixel f&king - Haha! It was a great introduction on how far artists go to make something come alive for film projects.
This was my last project at Rhythm & Hues, as they went under very shortly after this. While technically they stuck around for years after this, it wasn't the same company that it used to be.The animation team was supervised by Ryan Donoghue. The show had a lot of interesting creatures, with half of them being done at R&H Vancouver and the other half down in Los Angeles where I was. We worked on the inside of Charybdis and some other miscellaneous creatures.
I worked on this project as a remote contractor for Duncan Studios, helmed the the esteemed ex Disney Animator Ken Duncan.The film was my first cg feature film that wasn't VFX based. I had a lot of freedom for how I worked during this production and learned a lot, both from Ken as a supervisor, and myself as someone managing their own day to day.It wasn't a super successful film in the box office, but it holds a special place for me as I really developed a lot personally as an artist during this time.
This was for the first Apple Watch reveal event, a memorable project for many reasons. It had a level of secrecy and security I had not experienced before, or since.All I can say is it did form a lot of lasting memories for me as the crew was very tight nit and we went through some crazy workdays (and nights) to get it done.I left Method shortly after this and headed north to Sony Imageworks in Canada.
Windows Phones - Penn Station
Commercial
A little commercial I worked on at Method Santa Monica. I animated a bunch of phones that was for a display in New York's Penn Station.
AT&T Sing
Commercial
A little commercial I worked on at Method Santa Monica. I animated a bunch of synchronized roombas dancing in formation for the spot.
A little commercial I worked on at Method Santa Monica. I animated a bunch of TVs balancing on top of each other. I don't know if it ever saw the light of day.
More details coming soon.
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This was my first project at Sony Imageworks as an animator. It was a unique show to work on and had a really great animation team supervised by Steve Nichols.We handled most of the ending sequence when all the game characters attack the city and all of QBert moments throughout.
At the time, this was the largest production I'd had been a part of. It had a ton of characters and technical challenges along the way. The team was stacked with senior artists, supervised by Troy Salba and lead animators Craig McPherson & Max Tyrie. It's one of the first shows where I got to see the big SPI machine executing in all its movie making glory.
More details coming soon.
This project was, and still probably is, the most fun I have ever had on a production.I was brought onto the show early on when they were still figuring out how to do the mechanical dog characters Benny & Jet. It was challenging figuring out how to make them feel robotic but still feel real enough to not be an obvious CG creature.Additionally I was able to help do previs and postvis on a lot of the sequences we were doing with the dogs and on the island. The animation team was helmed by Max Tyrie as animation supervisor and Mark Breakspear as VFX Supervisor. If anyone has ever worked with those two - you can be assure that many laughs were had.Robots, crazy gadgets, Elton John - how could it not be a fun time?
This project was my first show working as an animation lead.We worked on a few sequences, with the most challenging one being the fight on top of the VTOL, the battle with vulture in the warehouse and on the beach at the end of the film. The animation team was supervised by Richard Smith and lead by myself and Julius Kwan.
I came onto this project when it was well into production. The animation team was supervised by Craig McPherson and lead by Derek Tannehill and Kelsey Wagner. I wasn't on it for a very long time but I enjoyed it for the short period I was.We handle a good portion of the film's third act when Jason Stathom's character goes after the Meg and ultimately (spoiler alert!) kills it.
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If you asked me when I was a kid, I’d think you were crazy that I would be working on a project like this. It was my fourth Spiderman film, after Homecoming, Far From Home, and Into the Spider-Verse.Once again, the animation team was supervised by Richard Smith with leads Derek Tannehill, James Ward and myself.We handled the third act where all three Spiderman’s team up against all the villains at the Statue of Liberty.The project was monumentally difficult and I’m super proud of the work we accomplished.
More details coming soon.
This project wound up being one of the longer projects I've been a part of - it was delayed from it's original release date by nearly a year making it last ~2 years.The team was supervised by Derek Tannehill and lead by myself. We were able to do a lot of previs work to help develop the sequence we worked on, which I did a large section of with the animation team. We worked on the Tarnax destruction sequence early on in the film as well as some other areas in the first act.In the end I am proud of the work we completed with such a small yet mighty crew.
More details coming soon.
More details coming soon.