01
CLOCKWORK REVOLUTION
Senior Animator
Currently In Production
02
STAR WARS:
KNIGHTS OF THE
OLD REPUBLIC
Senior Animator
As a Senior Animator for Aspyr Media, my role allowed me to deep dive into Animation Locomotion System for Unreal 4. I worked closely with the Lead Combat Designer, Principal Animator, and Animation Director to prototype, create, and iterate stunt choreographed mocap animations in Motionbuilder for attacks, hit reacts, and player abilities. A lot of the Star Wars combat focus involved with creating upper body and full body blendspaces, montages, and animation sequences to facilitate player and npc locomotion and combat specifications. I was also highly involved with providing feedback on cinematic face rigs for improving asset quality and fidelity, evaluated player rigs, and promoted technical solutions for proper animation toolsets and debug tools, and generated animation workflow documentation for outsource partners.
03
IMMORTALS
OF AVEUM
Senior Animator
For my first Senior Animator role for Ascendant Studios, I established workflow processes and best practices to directors and department leads, managed asset integration with our outsource partner, and built a foundational gameplay and in-game cinematic animation pipeline from the ground up for a brand new, original AAA IP, "Immortals of Aveum" in Unreal 4. This required me to manage myself with minimal supervision. In doing so, I successfully promoted the use of Xsens motion capture to record stunt performances for proper gameplay prototyping and established the in-game cinematic integration pipeline for our vertical slice demo. To support our endeavors, I also ran our mocap shoots by setting up stage metrics and also directed stunt actor performances. To streamline production efforts, I also contributed to the creation of animation based tools by providing feedback and testing for new software integration, in addition to, provided new hire on-boarding materials and proper training sessions for smooth transition acquisitions into the studio.
04
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MARVEL'S
AVENGERS
Animator III
For the pre-production phase of Marvel’s Avengers, I worked along side the Animation Director to establish an overall aesthetic combat style by generating previz and state machine driven animation graphs to support our new AI combat system for our fully playable and customized characters. For the vertical slice demo, I worked closely with the Creative Director and Game Director and got my hands dirty with creating an all-new in-game cinematic pipeline for Crystal’s greenlight proposal to Marvel; showcasing the studio’s very first non-Tomb Raider characters, Iron Man and Captain America. During the production phase of the project, my role switched gears from working as an experienced Gameplay Animator to becoming the studio’s very first in-house Cinematic Animator contributing to the creation of high quality cinematics full-time. In this new role, I worked directly with the Cinematics Director and Lead Animator producing cinematic layouts, previz, 1st pass narrative blocking and 2nd pass timing with proper set dressing, all the way to polish with amazing visuals and sound effects. I utilized proven cinematography techniques and real-world cinematic lenses to hit the overall visual tone which was a combination of Captain America: The Winter Soldier, Skyfall, and Scott Pilgrim vs. the World. I also provided proper assessments and feedback to enhance and improve the real-time cinematics pipeline. In the 3rd year of the project, when the game hit Alpha, my role continued to be focused on cinematics while joining forces with Design in the creation of in-game interactive cinematic sequences during the studio’s roadmap to Beta.
05
SHADOW OF THE
TOMB RAIDER
Animator III
For the pre-production phase of Shadow of the Tomb Raider, I worked closely with our development partner, Eidos Montreal, to create animation based tools and workflows for our proprietary engine. During the production phase of the project, I worked closely with the Lead Animator and the Game Director, to develop narrative driven ingame cinematic sequences, in addition to, tutorialize processes and workflows for all animators to own and drive performances for all respective story driven cinematics.
06
RISE OF THE
TOMB RAIDER
Animator III
The role as Animator III for Crystal Dynamics required me to represent the animation team as a generalist stakeholder between multiple disciplines. I worked closely with the Animation Director, Producers, Game Director, Creative Directors, Designers, and Tech Art, focusing on the creation of object hosted ingame cinematics and finalizing prerendered cinematic shots, to produce content of the highest quality while elevating the the studio’s animation bar to high level. I was also highly involved and integral to level team meetings, communicating task progression to production leads, and procure all critiques and direction using proprietary tools and systems to actualize feedback with minimal turn around time.
07
MARVEL HEROES
2015
Contract Animator
As an Animator on “Marvel Heroes 2015”for Gazillion Entertainment, an MMO patch based on the feature film, “The Avengers:Age of Ultron”, I was responsible for keyframe animating well known characters in the Marvel canon. This project required me to focus on pushing poses and polished animations for the studios attempt on creating a AAA free-to-play MMORPG experience. I worked closely with VFX artists and the studio’s Art Director to produce animations, ensuring all gameplay assets were approved by the highest standards.
08
THE EVIL WITHIN
Contract Animator
For “The Evil Within”, I was contracted by Blind Squirrel Game’s CEO to assist with finalizing the E3 Demo for Tango Gameworks, Bethesda Softworks, and The Workshop. As a remote Contract Animator, I was responsible for providing rigging feedback and ensuring all animation content are accomplished to the highest standard.
09
LOST PLANET 3
Animator
The role as an Animator at Spark Unlimited empowered me as an integral representative of the animation team. Using scrum agile development methodology, I was actively involved in strike team meetings, managed scope and schedules, and ultimately responsible for owning and driving my work from scratch to polish. Throughout the creation of this game, I gained experience with the Unreal engine, promoted previs animatics to establish animation styles and tone, direct live actors on our Phasebase mocap stage, in addition to, act out scenes in the mocap suit for desired performance beats.
10
DEAD SPACE 2
Animator
Throughout the Dead Space 2 project, I work closely with the Lead Animator and the Tech Art team to produce and polish scripted event cinematic sequences. For the sequel to “Dead Space”, I was responsible for generating first pass animation polish while maintainting the studio’s visual cinematic integrity.
11
DANTE'S INFERNO
Animator
As an animator on “Dante Inferno”, I worked closely with the Animation Director to generate multiple AI npc character movesets. Throughout development of this project, I worked closely with the Character Rigger and the Art Director to establish the tone of all npc character movement.
12
GODFATHER 2
Animator
Throughout the post production phase of the Godfather 2, I was given the liberty to create brutal hand to hand combat animations. As an animator on this project, I was given a high level of autonomy to produce visceral animations of the highest quality with no constraints.
13
DEAD SPACE
Animator
On the “Dead Space” project for Visceral Games, I was accountable for authoring ingame cinematic scripted event sequences. I worked directly with Engineers, Character Riggers, Designers, and the Animation Director to establish the look and feel inspired by well know hollywood films such as “Event Horizon” and the “Aliens” franchise. During the later stages of development, I also contributed to the marketing team by producing international front coverprints for Hardcore Gamer and XBOX magazines.
14
NBA 2K8
Animator
As an Animator for Visual Concepts, I was primarily responsible for editing motion capture data and creating keyframe hand animations. Throughout the “NBA2K8” project, my time was split evenly between polishing athletic player performances, editing old and new mocap data, creating player specific hand poses, and splicing data to produce animation blends and transitions using built in tools within Maya.
15
ALL PRO
FOOTBALL 2K8
Animator
During my time on “All Pro Football 2K8”, I was primarily responsible for polishing motion capture data, animate stadium statue objects, and stitch mocap data for seamless data integration.
16
SIMS 2 PETS
Animator
As an animator for the Sims 2 Pets console team, I was responsible for creating social interaction performances between humans and pets using traditional keyframe methods. Additionally, I contributed to the creation of promotional sequences by rendering and compositing game assets in After Effects for advertising materials.
17
THE GODFATHER
Animator
For the production phase of The Godfather, I worked closely with the Animation Director to produce cloth animations by using simulation and keyframe techniques for the gameplay animation team. Throughout the post-production phase of the project, I worked closely with the Cinematic Animation Director to polish and create realistic cloth animations for all ingame cinematics.