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.
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.
I worked on this film earlier this year. The flying sequences will hopefully be thrilling in 3D. For more on the movie, click here.
After an emotional roller-coaster of filmmaking, the trailer for the new Fast & Furious movie is here. Entitled 'Furious 7,' the movie will have daring stunts and more of the high-stakes action fans of the franchise expect. Working on it was a fun challenge, and I'm happy with how our previs looks to have transitioned to the final photography.
Here is the official trailer. It starts off with our cargo drop sequence and transitions into the bus rescue. These were the first sequences I worked on when I started on the project last year. I hope the fans enjoy it.
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.
Featuring the mountainside "batter up!" shots that I worked on (0:59):
Congrats to the team on another fun upcoming release.
This was the last project I worked on at The Third Floor. It was a small and fun crew that was given a nice amount of freedom. It's looking good so far, and I'm excited to see how it all comes out.
Release date: 14 September 2014
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.