If you want to see the kind of feature film work that I create, then take a peak at the newest trailer for our movie, Storks.Read More
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This is a very exciting trailer for Edge of Tomorrow! It starts off with Cruise's character dropping out of a plane - but all of those soldiers flailing in the air are really animated rigs (digital doubles) that I built. This trailer may give too much away, but it really is action packed.
This trailer is way better than the first, very enjoyable. I was excited to work on it, and now I'm excited all over again. The actors did do a lot of their own stunts, but that isn't Tom swinging through the air, that's my rig! I rigged a "digital double" for Tom in his mechanized suit for the action shots that the actors couldn't (or shouldn't) do, such as the one where he is dropping from the plane and swinging through the air.
This is the final Amazing Spider-man 2 trailer before the film opens on May 2, 2014. Our VFX crew wrapped up last week. I like the swinging shots, since I sculpted the lower body muscle shapes for the spiderman rig. I had to make him look good in all of those crazy leg poses. The rest of it looks amazing too!
I'm currently working on a new Tom Cruise sci-fi apocalyptic movie called Edge of Tomorrow (formerly All You Need is Kill), due in theaters June 2014.The main rigs I'm tackling are the "digital doubles" of the characters, which consists of standard body rigs and the exo-suits that the soldiers wear that gives them strength and agility. Here is are production photos of Cruise and Emily Blunt in practical suits. The suits are quite tricky to rig, since they have very defined and limited points of rotation that don't follow the character's joints in the same way. Still, they need a large range of motion for action sequences.
I supervised the rigging of the many characters, props, animals and flowers that filled the land of Oz in the hit movie Oz, The Great and Powerful. The two main characters were China and Finley. Finley was the conscience that Oz never had, and China was the little girl that tugged at his heart and ultimately turned him into a good man. We spent a lot of time rigging them due to their special needs. China had to express delicate emotion while still appearing to be made of rigid porcelain. Finley had wings that the animators used to express his feeling. I spent a great deal of time developing a new wing rig that was accurate to real birds yet easy to animate, and a feather system that would make them behave believably. Those were just two characters; anything that the animators touched, we rigged, including the crystal flowers and birds in the bubble voyage. China is totally a little girl as she turns the tables on Oz and manipulates him Finley desperately tries to steer Oz in the right direction, but Oz is having none of it Glinda takes Oz, Finley and China on a Bubble Voyage. Along the way they encounter blooming crystal flowers and a flock of striped doves, which I also rigged.
Oz, The Great and Powerful occurs before the story we all know about Oz, about how the wizard becomes the wizard. It is based on the books by L. Frank Baum. Below is our second trailer, showing much more of the world of Oz as we are much further into production. This one also show a lot more of the characters we have been working hard to bring to life. Release Date: March 8, 2013 Visual Effects and animation by Sony Pictures Imageworks.
I've been working hard as the Character Setup Supervisor at Sony Imageworks on Oz, The Great and Powerful for nearly a year now, finishing up the current characters and lot's of new ones coming. We are going into crunch mode as the release date nears and time dwindles. The first picture is of Finley. I developed an entirely new wing and feather rig for this character, so it would behave as a real wing does, but still give the animators complete control to shape it.
Oz, The Great and Powerful occurs before the story we all know about Oz, about how the wizard becomes the wizard. It is based on the books by L. Frank Baum. Below is our first trailer. It's always difficult getting the first one out when we are just getting going in production. Release Date: March 8, 2013 Visual Effects and animation by Sony Pictures Imageworks.
Imageworks released a short video showing how we build a scene - from modeling the character, to rigging it (that's my part), then animating, texturing and lighting it. Unfortunately I wasn't able to really put a lot into the video about how we rig a character, but this gives a nice overview.
I finished Smurfs in mid-May, and I won't be going on to Oz: The Great and Powerful to later this year, so I'm between shows at Imageworks. Right now I'm helping out Arthur Christmas' Animation Support department, trying to wrap up animation shots for lighting.
I was the Character Setup Lead for the show, running a team of four body riggers, with Jarred Love as the face rigging lead. Aside from running down a million little technical issues that crop up and keeping my team busy on the right stuff, I sculpted the muscle and fat shapes for the characters as well as all pants wrinkles. Keeping their fat little torso in the proper proportion as they moved around while still showing some musculature was a challenge, but I think it turned out really well. The pants wrinkles worked really well too, and we didn't have to do any cloth simulation except for a few special cases where they got wet or high wind was present. I also found some time to develop a plugin that would make the skin squish naturally when pressed. Their big heads were often in the way when the animators move their arms around, so having an automatic squishy face saved a lot of their time while also making the smurfs more believable. Mike Stieber also worked Squishy into the feet so the feet had a pillowy feel that helped to plant them in the real world.
Release Date: July 29, 2011 Visual effects and animation by Sony Pictures Imageworks.
This was my first rigging gig at Imageworks. I rigged quite a few Wonderland characters, including the Bandersnatch seen in the trailer, the fish butler, both horses, the flowers, the pig and the hedgehog. I also worked in Animation and shot finaling. I did some cleanup animation and also ran skin simulations on the bloodhounds' ears, faces, and bellys where appropriate, using Maya's cloth simulation system. It was fun to work on the puppies. I especially liked working on the scene where the puppies are re-united with Bayard, and they roll around and flop their ears about. I also ran a skin simulation on the severed Jabberwocky head that bounced down the stairs.
Release Date: March 5th, 2010 Visual effects and animation by Sony Pictures Imageworks.
I was really able to get my programming creativity going with this film. I created some super cool animation tools Raptor and Avatar (also extensively used on G-Force). Raptor had hidden geometry shaped like the character. When the animator selected a part of the body, the correct control would be selected. It also supported right-click menus for more advanced options. This way the viewport is not cluttered by control handles.
Avatar was a method of caching the geometry of a character real-time as the animator keyframed the controls, and would allow the animation scene to be played back at 24fps in the viewport whenever the animator wanted. This eleminated the need for playblasting, and the animator could watch from any angle since it was openGL data.
I also developed character pipeline tools and provided animation support.
Synopsis: Columbia Pictures and Sony Pictures Animation's Cloudy with a Chance of Meatballs will be the most delicious event since macaroni met cheese. Inspired by the beloved childrens book, the film focuses on a town where food falls from the sky like rain.
Release Date: September 18th, 2009 (wide) Visual effects and animation by Sony Pictures Imageworks.
This was my first film with Sony Imageworks. I started out in character pipeline, since I had a software background. I helped set up the character pipeline, developed character pipeline tools and provided animation support throughout production. Synopsis: Columbia Pictures and Sony Pictures Animation's Surf's Up delves behind the scenes of the high-octane world of competitive surfing. The film profiles teenage Rockhopper penguin Cody Maverick, an up-and-coming surfer, as he enters his first pro competition.
Release Date: June 25th, 2007 Visual effects and animation by Sony Pictures Imageworks.