1.) This shot is from Spider-Man 2. Miles is in Mysterio’s machine, and things have started going haywire. I worked on body animation for this shot, including adding the spin while he falls, adjusting the motion captured body data to correct contact points, and smoothing out the motion in general.
2.) This is a shot from God of War Ragnarök. Here, I animated the face of Freyr during one of the battle cinematics towards the end of the game. Freyr has realized Ingrid, his beloved, long-lost sword, is within his reach. I enjoyed the intensity of this shot as the camera pushes in to emphasize how serious he is about to get.
3.) This is another clip from Mortal Kombat 11’s DLC storyline. As per usual, I added depth of field to the shot once it was in the polishing stage. What sets this scene apart from others in the reel is that I also got to add the wind effects coming from the portal. This was done in engine and didn’t end up requiring any corrections in MotionBuilder.
4.) Here is another clip from Spider-Man 2. Peter has been badly hurt, and MJ is coming over to help. I worked on body clean up for this scene. All Peter and MJ’s contacts with the ground. Hand animations for both, and some adjustments to get the motion capture data to interact properly with the terrain in the scene.
5.) This is another shot from God of War Ragnarök where I animated the face of Fryer. He has been injured in a previous fight, and is making vibrant expressions of pain and indignation for this sequence. It was a delight to take the excellent reference material the actor generated for this performance, and inject that energy into the character.
6.) I got to work on one of the more minor characters for the Spider-Man 2 animation. Aaron’s facial rig wasn’t quite as robust as what the main cast had, so it was a unique experience working with it. I was extremely pleased with the reference I was given, and believe I translated it well to the character.
7.) Another God of War Ragnarök scene where I worked on facial animation. Here, Freyr is reuniting with his sister. His dialogue is snappy, and his phonems had to read well with his face viewed from the side. It was a lot of fun moving from a smile, to words said through gritted teeth, and then on to the very emphasized pronunciation of ‘husband.’
8.) Here is a shot from the middle of Mortal Kombat 11 that can be viewed by the player in the event that they choose to fight Frost as Scorpion in the Cyber Lin Kuei Factory. I had an absolute blast adding depth of field to this shot because the camera is really dynamic. I was able to shift the focus around during the fight to emphasize every hit and impact. The scene was a lot more labor intensive than many of the others, but the end result was well worth the effort.
9.) In this God of War Ragnarök shot, I animated the face of Freya. A thing I had to keep in mind for this scene was how the camera angle could muddy her words. It was especially important to get the motion of her jaw and lips pushing forward or backwards reading well for her words to come across believably.
10.) This is another scene from Spider-Man 2. I worked on the face animation for Peter, and needed him to come across as serious and remorseful while delivering his lines. The actor provided excellent reference for this, and I was very pleased with how I translated his performance to the rig.
11.) Last God of War Ragnarök scene for this reel. Freyr is further along in his emotional reunion with his sister here. I really liked the asymmetry of his mouth for this scene, and also appreciated the challenge of animating words that were spoken relatively slowly. It becomes more important to develop each and every phoneme when the words are so deliberate.
12.) This scene is another example of body clean up work I did for Spider-Man 2. Martin Li’s walk away had to be stitched together from bits of motion capture footage from the stage. I added the mouth flaps for Spider-Man, and the background NPC’ all had to be imported and given animation. So all in all there were six characters to work on in this shot.
13.) I love lizards. The motivation for this was just that I wanted to make a nice little scene that was polished enough that it could have come out of a cartoon. The whole thing was drawn, colored, and animated in Photoshop; then I used After Effects to add depth of field.