Number eight in the Fast and Furious franchise hits American movie theaters this weekend. I went to the Hollywood screening last night, and highly enjoyed the follow-up to the massively successful Furious 7. You can read about my time on the project as Lead Previs Artist on the Fate of the Furious project page. I hope those visiting this page check it out on a big, loud theater screen, as it was intended.
Last night the long-awated trailer was released for The Fate of the Furious, a project for which I was the lead previsualization artist at Proof, inc. Reception to it has been amazing, with many positive reaction videos, as well as over twenty-four million Facebook views alone for the trailer video. At this point, I think it's clear that people have accepted that "yes, they are making another one" and that they occupy their own space in the market for people wanting over-the-top action movies that know when to blow people's minds and when to poke fun at themselves. You can learn more about my involvement on the Fate of the Furious project page.
Also released last night was the "Toycracker" mini-musical my team prevised for Target's holiday campaign. Our work was needed mainly for shots incorporating the various digital characters. For more details on how we did this, visit the Target project page.
Recently I supervised a series of holiday commercials for Target, in addition to a short musical (called "The Toycracker") that will air during the ABC broadcast of Frozen on December 11th. The team that I helped assemble did a great job handling four commercials and the seven minute short within a very swifly-moving six weeks. Hats off to them for their great work. You can find more info about this on my project page for Target.
The video for the new Clash of Clans commercial is now online, and is up to 15 million views in less than a week. For a small writeup on the project, click here.
I spent a good portion of this year working on the previs team for the latest Star Trek film for Paramount Pictures, both on and off the studio lot. This trailer will also screen before Star Wars: The Force Awakens, so I'm looking forward to seeing those space shots on the big screen.
Although I have not seen it yet, I have high hopes that our previs came out well in the final picture. Congratulations to all the people who helped make the movie happen.
Like the earlier two movies in the series, Night at the Museum: Secret of the Tomb is a light comedy with lots of animated creatures and clever CGI, so it's a great family movie. It releases December 19, 2014. For those curious about what trailer shots I worked on, they include the animals running amuck at the planetarium dinner (0:42), the Triceratops crashing into the case (1:29), the bronze lions in Trafalgar Square (1:50), and the Pompeii lava sequence (2:07). This trailer debuts in theaters today, before Guardians of the Galaxy.
The King of the Monsters has finally arrived, and with 2014's biggest international box office opening. It was a true pleasure to work on, and the final product was tremendous. Congratulations to everyone that helped make it a success.
The final trailer for Divergent is here. Part of my previs work seen in the trailer includes the mirror/dog, hole jump, train jump, and group punch sequences. Release date is March 21st, 2014.
I am a Visualization Supervisor in Los Angeles with over seventeen years of experience crafting powerful, cinematic moments for the entertainment industry. Clients include Disney, Marvel Studios, 20th Century Fox, Universal Studios. Before my career in the film and advertising industry I worked at Rockstar Games, where I was a Senior Animator on Red Dead Redemption. I also make visual art in my spare time.
WHAT IS VISUALIZATION?
Visualization is a process that allows a complicated production to be imagined in advance, usually with the use of computer animation. It is commonly used to help plan out sections of entertainment projects like films, television shows, commercials, VR experiences, and theme park rides.
An example of visualization in action is "previsualization" artists using 3D software to animate an early version of a feature film sequence that will rely on complicated visual effects. The extra amount of detail provided by this first pass of the sequence is a crucial blueprint for the director, cast, and crew once production begins.
After the film is shot, "postvis artists" use software to finish a rough pass of incomplete shots that feature bluescreens and other stand-in material. These updated shots become clear enough for editors and test audiences to follow the action of the film, so studios can get a sense of what is working as a film evolves in post-production. By the time the final VFX are finished, the previs and postvis work is fully replaced, with no trace left for audiences other than the guide for compositions and timing that only a team of skilled visualization artists can quickly provide.