| Work History |
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| Sony Pictures Image Works |
Dec 2010-April 2011 |
| Joined the Layout team for Green Lantern. Doing double duty as a Rough Layout Artist and a Final Layout Artist; we were in charge of keeping continuity between shots, made sure we had the latests and all assets for animators, keep quality control for matchmoves and plate alignments. On full CG shots we were in charge of camera moves and compositions as well. Blocking character's animation was also part of the job. |
Title: Frame Layout
Contact: Jesse DeSantiago
818 314 0969
jesse@imageworks.com
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| Projects |
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| Green Lantern |
Rough Layout: My job was to check matchmoves and plate alignments, keep continuity during a scene in between shots, and load the latest and all assets live environments, props, and placeholder effects. On full CG shots, I was in charge of the camera animation, composition and blocking. Final Layout: Once the animators were done with the shots. I would perform a check of what the animator had changed on the environment and make sure this environment changes would make it through the pipeline and into lighting. |
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SCEA
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May 2010-June 2010
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I started as a previs Artist for Twisted Metal working from home and then moved on site to work on camera layout for killzone 3. After camera layout work was done, I worked on animating some shots. Then moved back to Camera Layout for infamous 2.
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Title: Camera Layout Artist/ Animator
Contact: John Meehan
858 344 0900 |
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Projects
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Twisted Metal 3
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Previs:
I pre-visualized the live action cinematics for the game from home. We experimented with several stylized looks for the cinematics and the previs was crucial.
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| Killzone 3 |
Camera Layout:
We were given a lot of creative freedom on this project. I was given several scenes from the game cinematics to create the camera angles and edits. I had control of location and movement of vehicles and characters to enhance the cinematcs.
Animation:
During camera layout sometimes it was important for some animated elements to be either in finished state or pretty darn close. So I would sometimes have to animate spaceships, jeeps, tanks and jumping characters to camera. After camera layout was done, I jumped departments and joined the animators with face animation, hands, feets, and sometimes enhancements of body animation and filling up parts of performance that were not motion captured. |
| Infamous 2 |
Camera Layout:
I would block the cameras and come up with the camera angles and real time edit for the cinematics using the mocap data captured ahead of time. Then the file would be shot using the intersense system. I would also address the many editing notes at this early stage trying to avoid sending the file to reshoot. |
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Hydraulx
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Dec 2009-May 2010
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| Started as a previs artist for skyline, then moved into fx animation for Gulliver's Travels and Jonah Hex. I rigged some of the previs characters for Skyline and did a handful of shots for Battle LA. |
Title: Previs Artist/Animator
Contact:
Darrell Green
310 319 2300
dgreen@hydraulx.com
www.hydraulx.com
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Projects
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| Skyline |
Pre-visualization: Given total creative freedom to previs some of the action sequences in the movie.
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| Gulliver's Travels |
Animation:
Animated CG aliens, spaceships,CG doubles, CG battle armadas, FX, etc.
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| Jonah Hex |
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| Battle L.A. |
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The Third Floor Inc
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Aug 2007-Nov 2009
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In charge of rigging most, or all assets for my assigned project.
Animated characters fast for pre-visualization purposes.
Assisted directors create interesting camera work, finding the best compositions and work out logistics for the required shot.
Worked with Directors: Robert Zemeckis and Simon Wells
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Title: Previs Artist
Contact:
Chris Edwards, CEO
323 931 6633
chris@thethirdfloorinc.com
www.thethirdfloorinc.com
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Projects
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| Mars Needs Moms (IMD) |
Director's Layout (DLO):
Using MotionBuilder I would capture the Intersense camera data from the Director's movements. After the data was captured I would then redo the camera moves with cleaner curves. All this while maintaining the intended composition and feel.
In cases, my job included changing the motion capture performance or producing quick rough previs quality animation to accommodate for the desired shot.
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| Kingdom Come (Wetta/Independent) |
Previs, Modeling, Rigging:
With drawings, ideas, storyboard and/or sometimes minimal input, I would produce a sequence or a shot. This "rough" would then be shown to the Director.
Producing a shot included modeling creatures, texturing, rigging them, and animating them.
I also produced assets for other artists to animate.
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| Command and Conquer: Red Alert 3 (EA) |
Rigging:
I was basically the sole TD for this project. I rigged from ninjas to vehicles to robots.
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| StarCraft 2 (Blizzard) |
Previs:
Using in-house motion capture equipment, we produced a previs version of a story board given to us by Blizzard.
We created energetic and frantic camera moves, explored what would work and what would not.
I also rigged some of the monsters using the models provided by Blizzard.
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| Resident Evil 5 (Capcom) |
Previs:
A small team of us produced sequences in record time for the cinematics on this monstrous project.
My duties were everything from importing assets from XSI, rigging the assets for our pipeline, to animating full shots for previs.
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Eagle Eye
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Previs:
My first endeavor into previs. I worked with a team of experienced previs artists to help produce the end sequence of the movie.
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Tigar-Hare
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Jul 2007- Aug 2007
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Hired as a freelance animator during crunch time.
Cleaning Mocap animation and improving it.
Sometimes animating from scratch to resemble mocap.
Supervising intern animators.
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Title: CG Animator
Contact:
Michael Tigar, President
818 907 6663
Michael@tigarhare.com
www.tigarhare.com
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Projects
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| [Prototype] Trailer |
Character Animation, Previs:
Brought in during the final weeks of the project. I went over animations that were not finished, produce my own animations and made sure other animators where producing quality work.
I also had a prelude into previs when I roughed out a shot for approval.
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Brutal Legend Conan Metal Excusive E3
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Character Animation:
Helped finish animating the last few shots on this project.
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Magnetic Dreams
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May 2005- Dec 2006
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In charge of most character rigging and other technical duties.
Character Animation.
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Title: TD, Animator
Contact:
Mike Halsey, President
615 885 6801
mike@magneticdreams.com
www.magneticdreams.com
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Projects
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Sesame Street's Christmas Carol (Sesame Workshop)
Sesame Street's Traction Jackson (Sesame Workshop)
Sesame Street's Twiddle bugs (Sesame Workshop)
Nashville Predators Game Intro (PK Pictures)
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Rigging, Animation:
Shortly after I started working for this studio they realized I had a knack for rigging and technical stuff. I was then assigned to all rigging, helped develop the studio's internal pipeline.
I was also a key animator, taking on the more challenging tasks. |
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| 3dbuzz.com |
2001-2003 |
| Freelance work. I developed and then presented and recorded video lessons. They included anything from basic modeling to advanced animation and rigging techniques. |
Title: Freelance Artist
Contact:
Jason Busby, President
busbyj@3dbuzz.com
www.3dbuzz.com
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| Projects |
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Unreal Tournament 2004 Extra DVD Tutorials
Maya Cartoon Modeling Introduction Tutorial
Maya Rigging Introduction Tutorial
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I developed the lessons in a way that would allow me to present as many tools and methods as possible to show the viewer.
I would then write a plan and then present the material to my coleagues for feedback. Then I would record the material together with Jason Busby who would the job of comentator as I narrated the lesson. Our goal was to make the lesson as fun and entertaining as possible. |
| The Renaissance Center |
Oct 2000-Aug 2001 |
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Hired as an instructor for the 3D Studio Max, and Maya Training.
I developed several lesson plans for character modeling, animation, rigging, game asset building and several others.
On student lab days, I would assist students with their homework.
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Title: CG Instructor
Contact:
Jason Busby
busbyj@3dbuzz.com
www.3dbuzz.com
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