Sequence Builds: Oversees initial construction and final delivery of sequence files. Generates scene files with characters, environment, and lighting based on motion capture performance selects from Editorial. Supplies creature, prop, and FX animation- all in a highly adaptable format for quick changes during a live shoot. Provides scene updates and turnover delivery for final animation to Weta.
Stage Support: During camera shoots, works closely with directors, stage operators, lighting team and dev team to help navigate the assembled file and provide on-the-spot animation updates and troubleshooting when requested.
Tasking, Training, and Team Support: Organizes and tasks the team with assignments based on schedule, skill-level, and training opportunities. Assists sequence supervisors by providing in-depth training to new recruits during a very tight and volatile schedule, while also keeping established team-members up-to-date on highly technical and innovative processes that are constantly changing and evolving. Spearheaded a wiki style database of Sequence Team Processes that is easily updated to provide a stable source of information for the team.
Camera cleanup- fixed framing slips, data jitter, and improved on compositions and timing when necessary. Added hand-keyed animation for portions that were physically impossible to achieve for the camera operator.
Shot planning and previz- Every sequence was done without cuts, and required careful planning and choreography. Shot planning was primarily done with rough thumbnails and then worked out live with the team standing in for actors. For scenarios where it was physically impossible to do this, traditional 3D animation previz was utilized.
Virtual camera operator- This role was primarily held by my lead, however I did lend my services on a few shoots as a camera operator and mission control.
Final character animation- brought mocapped body and face animation to a final polished state for cinematic sequences.
This project was the most detailed animation work I have ever done. The level of painstaking minuscule detailing that went in to bringing these characters to life, and honoring their legacy, was one of the most challenging and rewarding experiences of my professional career.
Previs character and camera animation, based on storyboards and director's notes.
This project was incredibly fun to work on! So many of my projects have dark and heavy themes, with comedic moments few and far between. What I loved most about this movie was the emphasis on comedic timing and staging. For the previz to be successful, the jokes had to come through, but not so much that the animators would feel too confined. Our team worked closely with the director to ensure the beats were correctly interpreted and effectively communicated.
Virtual camera operator- created shots based on the script and director's notes.
Scene reconstruction- Condensed scene elements to match the finalized edit for the next stage of production
For this project, shots were created using a coverage method. We would start with standard wides, mids, and close-ups, sometimes from both sides of the line, and work out more specialized shots as needed. Due to our small camera volume, that sometimes meant hand-key or rails. Once the shots were done, a rough cut expressing the general intent of pacing and mood was submitting to Editorial. After receiving the finalized cut, a final pass would be done to fix any continuity problems and clean up the camera motion.
Created cinematic scenes from concept to completion, including:
Animatics, Previz, Motion Edit, Final Animation
Black Ops 2 was a unique experience, and my biggest takeaway was how to adapt to an experimental pipeline. It was different in that the cameras were done by the editor after the animations had received a 360 degree pass. The animators created animatics and previz from the scripts, then brought in the mocapped data and did a 360 animation pass. Due to the constant evolution of the game and story, there was not often time for an extensive polish pass once the cameras were placed. I often look back on this project wishing I could have done more, but I will always be proud to have worked on such a great title with a wonderful team.
