ANIM REEL BREAKDOWN:
00:05 - 00:08: Judo Moves
This was a CAT Rig exercise I did with hand keyed animation based on filmed Judo reference videos.
00:09 - 00:16: Knife Takedown.
I made this to prototype takedown animations for PC/iOS game 'Eisenhorn: Xenos'. This was all done on keyframes. The goal was to create a semi-realistic sense of timing with the general motion, but with exaggerated timing on impacts for added effect.
00:17 - 00:20: Horse Fall - Rear.
This was keyframed animation for Planet Of the Apes: Last frontier. The goal was to create these horse falls as realistic as possible so that they would look passable when placed next to regular horse mocap.
00:20 - 00:29: Swinging Course
This was a Biped exercise I did to try and get across some animation principles in an assault course-like environment.
00:30 - 00:38: Spider Hit-react and Spider Death
This was animation that I made for the game "The Lord of the Rings: Aragorn's Quest", based on a great rig made by another animator at Headstrong Games. I used lot's of tarantula reference videos to get these out (a challenge in itself with me being arachnophobic!). But since this games had a lighter, more cartoon-like tone throughout, the animation had to show this as well. So getting exaggerated principles out of this was key, as well as generating lots of character from the creature.
00:39 - 00:45: Rabbids Sandwich Cutscene
01:09 - 01:14: Rabbids Fighting
I did a number of anims for Ubisoft's "Rabbids Rumble" game for Nintendo 3DS. All anims here were made by me, using bipeds in 3DS Max. Due to the 3DS hardware, morph target usage was limited, and so I put more effort into making the Rabbids appear bouncy, with added squash and stretch on the props that they used to really get the feel of their world across.
00:46 - 00:54: Apes Family Cutscene
With the heavy use of motion capture throughout 'Planet Of The Apes: Last Frontier', there were also times when key frame motion was needed like on the baby ape for this sequence. My goal was to animate it to not look out of place next to the motion capture. But I also had to edit the mocap itself for all the adult apes' hand contacts in the shot.
As well as this, I worked closely with the Cinematic Director to create and animate the camera motions for this scene.
00:54 - 00:58: Apes Walking
Here I had to polish up rough motion capture of various character walks so that they could later be implemented anywhere in the game. I also had to make the start and ends of each animation match so that they could loop.
00:59 - 01:04: Horse Fall - Side & Forward.
More keyed horse falling sequences. The same principles as the previous horse example applied here too, except falls from different positions and while in forward motion were required.
01:04 - 01:08 and 01:16 - 01:20: Crysis 2 Trailer
This is trailer footage taken from promotional material that I made for Crytek's Crysis 2. I was tasked with cleaning up full mocap on human characters, setting up cameras in 3DS Max and replicating that inside CryEngine, setting up helicopter models inside CryEngine, and animating all the alien characters that you see in the footage above. Characters were animated/cleaned up on custom rigs made by Crytek.
01:14 - 01:16 Spiral Staff Attack Combo
Keyframe animation I made for "Spiral", an Unreal Engine game for iOS at Pixel Hero Games. The game's colourful art style and multiple enemy combat, meant that the animation had to be exaggerated but at the same time keep a grounded sense of flowing, to allow chaining together multiple anims in many moves when in-game. All anim is by me. I made the rig here as well as all morph targets and morph target animation on the staff and the character.
01:20 - 01:26 Apes Torch Passing
I placed the cameras and animated them for the whole of this scene of the game. Because the director's instruction was to keep the camera close-up for this part of the scene, I also had to take great care to edit the torch prop animation and hand contacts to be as smooth as possible.
01:26 - 01:30 Gorilla Charge
This was cleaned up motion capture that was looped so that it could be placed at various points through the game.
01:30 - 01:35: Sword Takedown
Similar to the earlier knife takedown, except the challenge here was the fact that the weapon being wielded had to carry extra weight. So larger arcs were added, as well as the end segment where the weapon sticks into the enemie's back for greater emphasis. Animated entirely by me with keys.
01:35 - 01:38: Jump Gap
This was an anim that I made with the intention of exporting to Unreal Engine. As such, while the anim flows as one piece here, it was intended to be broken down to be exported in individual parts, hence why I have the jump, the stumble, and the hanging idle. All footage and animation is by me, on a CAT Rig I also made.
01:39 - 01:44: Area Search
I placed and animated all cameras inside Sequencer in Unreal Engine. This is one of multiple outcomes of the same scene, so I had to be careful to edit the shots so that the exact meaning of each scene could be properly represented, while essentially flowing the same way in each one.
01:48 - 02:01: Valve Source Filmmaker Acting Exercise
A piece I animated using 3DS max and Source Filmmaker. I found that animating inside Valve's SFM was challenging upon its initial release when I made this (it has since gone on to be a great piece of animating kit in it's own right). So I did my numerous passes of animation inside 3DS Max by making my own custom CAT rigs for each character, and constraining exported character bones to the rigs. I used a scripting pipeline to get the finished files back into SFM, where I added facial animation, additional scene props, and lighting.
While animating, I found it difficult to develop such pieces without having the facial tools available in Max, so I made my own series of morph targets to use for rough facial animation, before animating final facial anim later inside SFM. Before SFM released, I tried animating a few characters inside of Max with my own custom rigs to see how well it could work (https://www.youtube.com/watch?v=PfGUGGOUx_0).
This piece in my showreel was the end result of all that experimentation. The audio source used is by Trey Parker and Matt Stone, taken from the movie "Baseketball".
02:01 - end: Rabbids 'Carlton' Dance
After talking with one of Ubisoft's lead animators during my time on the Rabbids project, he mentioned how good it was to animate these characters to popular dance moves from film and TV. This was not just to replicate a popular dance, but to discover how your character interprets that dance. If a Rabbid were to 'wear' the Carlton dance from Fresh Prince, for example, how would it fit?
Giving this a go myself, it really helped me better understand animation. All the work that I did on the Rabbids project was directly influenced by this way of thinking. I was extremely grateful for the opportunity.
Thanks for showing interest in how all of this came together. If you have any questions about how any of my work was made please feel free to get in touch!