After fourteen months of lockdown without seeing a movie in theaters, my family and I went out to the El Capitan Theatre in Hollywood for the first time in ages, and saw Disney's Cruella--the film that I spent a year working on as Postvisualization Supervisor. I thought it came out tremendously well. You can read about some of my experience working on it by visiting the film's project page here.
The video for my latest advertising project is now on YouTube. I was the Previs Supervisor for our team of six at MPC/Technicolor. It was my second time working on a Shawn Levy project. My full writeup for the project can be found here. Happy Holidays!
As of October 23, the horror-comedy creature feature 'Love and Monsters' is now available to stream at home! You can read my project page for it here. I hope you get the chance to enjoy the film.
New podcast appearance this week! It was great to talk a bit about past projects with Gary and Justus. If you don't have the Anchor podcast app, it might be easier to search a podcast app like Apple Podcasts or Stitcher for the "Pod Wars" show to find this episode.
Interview on "Pod Wars" podcast
Demo reels were already completed for subsets of my animation work (previs, animation, advertising, etc.) but this weekend I made a new "all-around" reel with highlights from each field. Best of all, it's password-free!
3 main updates:
The site now features a lighter, more streamlined look to make better use of the real estate.
Highlight reels of cinematic and advertising projects are now in the demo reels section.
My resume has also been revised from top to bottom.
All this to say: If you need help telling a story with strong visuals, get in touch!
This week I have been adding new HD video content to the website, particularly in project pages for video games I have worked on, in order to showcase more of my motion capture and cutscene camera design experience.
My goal for this site has always been to serve two purposes:
1) Provide direct access to current demo reels and resume/recommendations for prospective employers
2)Serve as a complete catalog for my body of work, and for an NDA-friendly log of my experiences on past projects
Hopefully with these latest changes, I can continue to serve both purposes here without each interfering with the other. Feedback on my site's navigation and readability is always welcome.
This March marked the final week for the (still undisclosed) postvis film I had the privilege of supervising at MPC here in LA. Our crew was a fantastic mix of skillsets, personalities, and experience levels, and they formed a synergy I had not seen before on any team. I learned a tremendous amount from each individual and will be forever grateful for the chance to have seen their passion, work ethics, collaboration, and selfless encouragement of each other up close.
The client was extremely pleased with their work, and we delivered shots at a rate that outpaced the speed for incoming notes. For this and many other reasons, I would recommend any of these team members* to anyone who has the chance to consider hiring them in the future. I look forward to our opening weekend when it finally arrives, once we are able to safely return to movie theaters.
A smaller team and I are still wrapping up the loose ends, but I expect to become available for animation and visualization work starting on Monday, April 13.
The final postvis crew members at MPC. Back (left to right): Isaac Hingley, Jeremy Freeberg, Jing Marshall, Salome Iravani, Hannah Addington. Front (left to right): Alan Morales, David Hickey, myself, Nat Seymour, Simon Halpern. Not pictured: Mark Austin, Gil Hacco, David McMahon, David Sudd, Caitlin Kennedy, Connor Tracy, Matt Valverde, John Hold, Maximilian Reid.
It was a big day at work. 1917's VFX Supervisor Guillaume Rocheron came by the MPC LA studio for the team to see one of the Best VFX Oscar statues won by the studio's 600 worldwide artists. An amazing achievement considering how strong the competition was this year.
And yes, it's heavy!
Looking back, this year was a step forward for me professionally, due to gaining more experience training and leading teams both on an Episodic project as well as a Feature Film, at two different companies. These experiences allowed me to learn a deeper understanding of how to work with artists and animators, who each have their own hidden ways of working and responding to direction and motivation. No matter the project, or what moment in the production, teams are always ready (in their unique way) to do their best work, and I believe it is the job of the lead or supervisor to not only answer questions when they are asked, but to also look for ways to inspire and educate on a daily basis.
2019 also featured some large movie releases on which I worked, including the finale of the Avengers saga with Endgame. While on the project, I contributed to previs on the Captain America v. Thanos fight, the third act battle by the Avengers compound, and other sections of the film. Our team at The Third Floor was full of immensely talented and motivated individuals, who were also able to fit in lots of activities that promoted fun and relaxation. It was a masterclass on how to work hard and play hard, and in many ways I consider it the gold standard of a high-functioning team, and the film would later go on to enormous box office success and an Oscar nomination for Best Visual Effects.
After Third Floor, I joined VFX company Pixomondo in West LA, where I worked as an animator, previs lead, and layout supervisor for "The Orville" TV show, as well as a previs artist on the "Star Trek: Discovery" show. Working on "The Orville" was my first time on a television series, and the unique pace of production and artistic freedom we had to make an imprint on the show was refreshing. After training many of the previs team members in the idiosyncrasies of spaceflight animation, when the show transitioned from preproduction to post, I was able to continue on as layout supervisor, training the previs members in the finals pipeline and adapting our previs scenes into finals-ready Maya files and alembic exports. The quality standard for "The Orville" was a high, and our work at Pixomondo was nominated for Best Visual Effects in a Television Series.
Once done at Pixomondo, I did final animation for a project at a commercial house, and then moved on to join the team at the Moving Picture Company (MPC) in Culver City. I came to enjoy the people and office there, and worked on several projects as a previs and postvis artist. Another leadership opportunity surfaced for a postvis film project, but I will update more on that another time.
Full 2019 projects list:
"The Orville" (Season Two)
Godzilla: King of the Monsters
"Star Trek: Discovery"
Best Buy Fall/Winter Ad Campaign
I am a Visualization Supervisor, Animator, and Visual Artist based in Los Angeles with over nineteen years of experience in the entertainment industry.