As the first major cinematic sequence requiring keyframe animation I started at Bioware, it became the – for troubleshooting various issues with the cinematic pipeline. 

- Character Layout through final animation. (Later re-finaled due to rig changes after I departed)

- Pitched alternate performances according the the briefe

- Trouble shoot issues with character scale and environment

- Worked with Tech Animation to improve Cinematic animation toolsets and pipeline. 

- Created movement tests and rig feedback. 

- Set standard for how large creatures were handled moving forward.

- Character Layout through final animation. (Later re-finaled due to rig changes after I departed)

- Pitched alternate performances according the the brief

- Outlined creature motivation, capability, and intent

- Trouble shoot issues with character scale and environment

- Worked with Tech Animation to improve Cinematic animation tool-sets and pipeline.

- Layout, camera placement, vehicle, character, and crowd placement

- Bildan Cycle creation, vehicle and character cycle implementation

- Camera, character and vehicle polish. Finalized crowd blocking. (Later replaced by crowds team)

Personal project based on some footage of horses at play. Rig “Rhett the Clydsdale” courtesy of Christopher Carson. Environment Provided by Turbo Squid.

- Heavily modified rig and skinning to optimize performance.

- Camera, character, and prop animation. Layout all the way through polish.

- Lighting and render passes to highlight contacts.

- Matchmove adjustments

- Weapon and hand animation

- Custom motion path created to solve issues regarding camera track.

- Implemented and heavily modified flight cycle to appeal to camera.

Layout, Environment animation, character, and crowd placement.

Custom mocap implemented, character run cycle animated.

Finalized crowd blocking.

Dragon Fall is easily one of the most difficult sequences I’ve ever animated. It was also the most fun.  The sequence required a sophisticated constraint set up, as well as multiple rounds of feedback between myself and tech anim to come to a workable solution.

- Responsible for all creature animation from layout, to blocking to final. 

- Blocked out all of the prop movement.

- Created a large library of visual reference regarding harpoons, chains, and how they move under tension on a large scale.

- Prop Animation from blocking to final.

- Responsible for all creature animation from layout, to blocking to final. 

- Created custom, scene specific constraint-rig that allowed the harpoons-head to stay anchored within the dragon’s body as it moved around.

-Blocked out all of the prop movement.

- Created a large library of visual reference regarding harpoons, chains, and how they move under tension on a large scale.

- Creature placement.

- Keyframe performance blocking through polish.

- Prop animation from layout/blocking to final.

- Responsible for all creature animation from layout, to blocking to final. 

-Blocked out all of the prop movement.

- Created scene-specific IK/FK chain rig for the neck and tail to give me more control of the arch of the head, neck and tail as the dragon fell.

- Keyframed suit extremities to match performance.

- Vehicle animation including legs and propulsion system.

- Used and revised character placement published from previs.

- Took animation from Blocking through final.

- Created scene specific neck-rig to allow for a more flexible performance.

- Character performance adjustments. Pushed elements of the physicality of the run.

- Keyframed suit extremities to match performance

- Vehicle animation including legs and propulsion system.

- Character Layout through final animation. (Later re-finaled due to rig changes after I departed)

- Pitched camera and rig adjustments to push the performance. Those changes also gave the cinematics team, as well as myself some more wiggle room when it came to the creature movement in the environment. 

- Matchmove adjustments

- Weapon and hand animation

This was the first cinematic scene animated with Assan. I had the pleasure of sculpting the movement style of the character himself but his siblings as well.
- Worked with the modeling and rigging department. Iterated on Assan’s original design, even creating 2D drawovers, to create an appealing final product. 

- Responsible for creature animation. Layout - Final.

- Set the standard for behavior and posing for Assan and his sibling moving forward.

- Created a visual reference reel and made it available to the rest ofAssan Introduction 01-02

- This was the first cinematic scene animated with Assan. I had the pleasure of sculpting the movement style of the character himself but his siblings as well.

- Set the standard for behavior and posing for Assan and his sibling moving forward.

- Created a visual reference reel and made it available to the rest of the team.

- Matched the character’s performance to the mocap provided to make it feel organic.

Worked with the animation director to block out Assan’s movement style, and what his relationship with his handler looks like. 

- Matched the character’s performance to the mocap provided to make it feel organic.

- Worked with the modeling and rigging department. Iterated on Assan’s original design, even creating 2D drawovers, to create an appealing final product.

Responsible for early stages of rig and model QA. Worked with modeling and tech-anim to ensure a workable, uniform rig.

- Pitched alternative path for the cat.

- Rigged the barrel after confirming the motion could be exported into the engine without issue.

- Animated Layout, blocking and polish.

First scene animated for the game where Assan flew.

- Developed a loose flight cycle to test mechanics.

- Placed character in scene according to launch notes.

- Animated blocking through polish.