Feature Animation and Layout work

Challenges included:
building a custom layout and set dressing that worked for the entire sequence, getting the animation of the camera and Spidey to slow down properly for time freeze effect but not affect rendering and motion blur, adding camera shake using in house virtual camera to add realism to camera movement.

Challenges included:
establishing rough character blocking for Spidey, Electro and his bolts to hand off to fx and animation, re-working and timing Previs to new editorial timing, set dressing and layout of power plant for the columns were custom which I created for this part of the sequence and surrounding shots

Challenges included:
Previs was again re-worked and re-timed, the freeze time effect with the column exploding was animated in layout and then handed off to animation, Spidey was a step beyond rough blocking with a lot of my poses making it through to the final animation, set dressing and layout of power plant for the columns for this shot was a one-off to allow for more depth and more pleasing camera framing, but matched to surrounding shots in the sequence

Challenges included:

Building a custom layout for these 2 shots and surrounding shots for a specific framing called for by director Marc Webb, animation of Spidey, camera, webs, and helicopter were all rough blocked and taken a step further to hand off to animation and a few of my poses made it through to the final animation

Challenges included:

After another writing change, the new gag has Drac reaching into a secret closet. I created the closet rig, model, and setup and passed it to modeling for final UV and texture work. I maintained the rig and keyed initial blocking for the prop coat hangers. The challenge was also with the camera in this shot, as the same prop was used throughout the sequence - to keep continuity, I used the closet rig and lens choices to our advantage here.

Challenges included:

In addition to the secret closet rig, I also had to create the secret doors and vanity, and design the motion for the doors to work in the scene and environment.

The director, Genndy, wanted very specific drapery in the shot as well. I created the set dressing drapes that modeling later finished with textures and UV passes.

Challenges included:

Camera scouting and lens choices were key for these shots where we cut to Drac moving back, and to Frank who is coming in from the hallway. A lot of my facial animation poses made it through to the final animation for Drac, which were key to selling the shots where he brushes his fangs later in the sequence.

Challenges included:

Building out the secret doors gag/joke and designing the rig and motion for the doors and closet were a welcomed challenge. This new joke has Frank accidentally open the closet and try to get himself into Drac's cape and clothes.

Challenges included:

While the rigs for the baby ravens didn't exist until this sequence was out of layout, I had to create them and animate the baby ravens to help tell the story through layout in this case. The director also called for background and foreground characters and sets to have matching silhouettes which was challenging in this narrow corridor, animated zoom, and tight action space.

Challenges included:

I had to model the sets and environment from only a 30 second sketch as reference for camera scouting purposes, and I passed the environment to Modeling to finish up the set and fine tune. I also had to help with this sequence again while I was in Pipeline and assign correct shaders and costumes.

Challenges included:

Modeling the party favor prop while I was in the modeling department and creating the blendshapes and UV Layout.