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.
At the end of last year, I worked on several commercials at Proof, inc. Two of these commercials, one for TurboTax and one for Pepsi, aired on television yesterday during the Super Bowl. A new trailer for the upcoming Furious 7 feature film aired as well, which contained shots I did previs and techvis for back in 2013.
TurboTax: "Boston Tea Party"
I did previs for the first few shots of the Sons of Liberty storming the HMS Surprise (one of the replica ships in the collection of the Maritime Museum of San Diego), and modeled previs characters for the other sequences. Read more on this here.
Pepsi: "Halftime Touches Down"
Continuing with their recurring U.F.O. theme that they've done for decades, Pepsi's halftime commercial featured previs by our Proof, inc. team. The segment I previsualized involved teenagers playing music in their garage with a nearby dog. Read more on this here.
Furious 7 Movie Trailer
Coming to theaters April 3, Furious 7 has a new movie trailer to get people excited about the upcoming film. I helped previs and techvis the sequence of a Lykan Hypersport crashing through the Etihad Towers in Abu Dhabi, and did previs for the cargo drop skydiving sequence. Read more on this here.
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.
Today I begin work as a previs artist at Proof, inc. in Los Angeles. I am very excited at the opportunity to continue working on exciting feature film projects, and I hope that those who read this will go and see the final product once I am able to announce it.
I am a Visualization Supervisor and Senior Animator in Los Angeles with over eighteen 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 illustrate and create 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.