I worked with Proof Los Angeles and London to setup a new Previs department in Shepperton Studios near London. We worked closely with the Director, VFX Supervisor and Producer to develop sequences and explore concepts for a reboot of The Mummy, starring Tom Cruise.
Animating on Prince Caspian, I met lots of great people while I settled into life in London. I got the chance to work on characters combining live action and animation, as well as full CG characters. Everything from Tigers, Leopards, Cheetahs, Minotaurs and Fauns to Centaurs.
I spent seven months in a surprisingly creative role as a previs artist on this film. It's a wonderful crew, lots of fun. We even got to spend the first few months on the Universal lot, which had it's perks. We were able to ...
At a time when Glasswork's in-house animator was busy on another project I was brought in as a Freelancer to handle half of the new batch of Churchill adverts. Only two and a half weeks, this one. I setup the shots and animated the Churchill dog for two adverts. There was actually a total of four to do but Alastair handled the other two.
Back to Passion Pictures again, and I did the previs on this advert for Vodafone involving shot setup and... a lot of dominos! Julian was handling the tech side of the dominos and I gave him feedback on the new tools.
A last minute move to London, started with about three weeks working on this 'Pod Racer' style advert at MPC. It was a fast schedule and the advert was on air five weeks after I started on it, which is a really fast turn around the team can be very proud of. There's nothing particularly complex in the animation but the results were good, and the people I worked with were great. I did most the work on the spark plug and wheel shots moving through the corridors.
I spent a week pre-visualising how the little people would work in the car's interior space. The results may look quite simple but it was surprisingly tricky finding natural ways to make each scenario work.
This was a short project of only about fifteen days total. We had a small team and we knocked out ten to twenty previs commercials to give the advertising agency material to screen for testing purposes, before the choose which ones to shoot in live action. It was my first time working with Viewport 2.0 in Maya which was interesting and allowed for real-time lighting. It had it's limitations but it was ...
