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.
A new video of the final shots that I had prevised from Gods of Egypt was added to its project page.
Universal has made a series of fun mini-featurettes for the latest Fast and Furious movie, for which I was the Lead Previsualization Artist. You can see some of the highlights here:
I'm looking forward to seeing how our team's hard work translates to the big screen.
More stunning final shots for the latest Star Trek film. Congratulations to the teams that worked on this.
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.
Earlier this year I was the Previs Supervisor for five commercials by Honda for their "The Power of Dreams" campaign. Four of them are posted below. For the fifth commercial video and more information on how they were accomplished, visit the Honda page on this site.
I worked on this film earlier this year. The flying sequences will hopefully be thrilling in 3D. For more on the movie, click here.
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.
I am a Visualization Supervisor and Senior Animator in Los Angeles with over eighteen years of experience in the entertainment industry. In my spare time, I create illustrations and visual art with my family.
WHAT IS VISUALIZATION?
Visualization is a process that creates an early version of a project quickly and relatively inexpensively, usually through computer animation. It is common in the entertainment and technology fields, on projects like films, television shows, commercials, VR experiences, and theme park rides.
"Previs" artists create a film's digital blueprint early in preproduction by 3D-animating sequences in the computer before shooting begins, normally around the time of casting. Frequent iterations allow for story ideas to be explored, and alternate The detail provided by this blueprint is crucial for the film crew to determine how to best film the story.