From Mid-Feb I’ve been contracting full-time with Game Cloud Studios. Working on some very special AAA by an international team. I’m contracted for work in both the art and engineering aspect of development. And doing quite a few realtime visual effects, which I love to do, of course.
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From July last year up until January I worked full time at Animal Logic as a Technical Assistant on the feature film Peter Rabbit 2. A rewarding experience working in a large-scale film production with many great people.
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3 months contract with Plastic Wax as Unity Generalist / FX artist on a very high profile IP (Under NDA). Closely working with the animation team, piping animation assets into engine, creating majority of realtime FX / particle systems, scripting interactive sequences and solving a ton of technical tasks. VR based work.
I’ve just finished 6 months contract at The Pulse, in a specialist Technical Artist role. Primarily working with Maya, and Unity Engine. Assets creation. Animation. Character work. Producing for interactive systems. Generation of dynamic procedural visualisations in Unity. Various studio work.
I’ve completed recently a Role as a Realtime artist for Red Cartel that they had available. This project involved heavy 3d work, and creating with Unity a pretty amazing realtime render / experience. A great project to work on, getting the most out of great new tech from Unity including it’s new Post Process stack and Cinemachine cinematic tools.
I took a week away while working at Vandal to run some motion capture for Red Cartel. A really good setup volume allowed for a very accurate capture for boxing training and shadow sparring. Here’s a frame from the final result. I’ll see if they can post the whole spot, it’s awesome. Production by Red Cartel. Animation done by Kate Kerrigan, my job was setup and operation of the motion capture session, and a nice run of cleanup and motion editing.
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Last week I completed 4 months contract at Vandal (formerly Frame Set and Match). High end CG work, Animator, Technical Director, Rendering and Lighting Artist using 3dsMax and VRay. Very satisfying to finish a complex project with a very talented team, and while the works are under NDA – things turned out brilliantly.
Animator contract with an excellent USA based team Savatronix, creating a large-scale JRPG called Lost Haven. I’m animating, as well as indulging in the usual game dev practices of technical animation control setup, rigging, and other delightful things.
[Update] – I’ve completed this work, and many RPG sub-systems for character control were covered. And they all work together. Various movement systems, camera and input control, combat, farming, general actions. Code contribution 1500 lines. A nicely thought-out state machine and blendtrees, and many custom sequences. Here is a short demo of targeted, free movement, short sword combos.
I’ve done a character animation project with Red Cartel, for their VR motorsports / commercial production. Here I took the animation for characters and props from blocking stage to final production quality, using 3DS Max.
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[UPDATE] – The game has since been released and within 5 days of the release, the game reached Top 5 Sports Games on iOS in 18 countries (Top 10 Sports Games on iOS in 28 countries).
I’ve completed another 90 sequences for the long-running game project World Of Tennis. Examples of the sort of animation I produce are in a previous blog. This was performed in a studio space in Sydney earlier this year (where I have the optical capture rig set up), and brings the total for this project approaching 300 animations. The game is currently in beta. But it’s getting close to release.
Here’s a bit of serve and volley from the game:
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I’ve been a lighting / rendering artist in a past life. It’s all animation and code these days. But I had a quick job to do over the holidays ..
Using Unity Game Engine to render out high quality frames for a video-based simulation ‘game’. Involves a bit of taming and code, but it sure beats waiting for days for frames to render from a 3D app. Out of this I get passes with alpha channels, separate character passes, things like data files I build with info on character distances etc. It’s the efficient way. Short holiday job – might expand into a lengthy one. Source sequences /character / backgrounds all store purchased here. I put them together with some routines and wrangled up a little realtime pipeline here.
Over the holiday period I have completed a job rigging this character, according to some strict standard practice. This is for a tool being developed by a developer in the Unity community, and had to be exact in many ways because the software being developed is actually a procedural ‘people’ maker. I also pushed the work for extreme flexibility of the model.
Before and after pictures here – and this tool in development has some big ambitions so there should be some updates and continuity here.
Happy client quotes:
> I really like the adjusted shape. This is going to be awesome!
> Looking great! It’s pretty amazing that she can do such extreme yoga
> without any crimping.
> I just wanted to confirm that I was able to transfer your excellent
> rigging work to my UV-mapped, subdivided mesh with no problem.
It’s also nice to obtain some competitive projects that come up within the Unity community.
I’ve completed last week a motion capture session and motion editing, with Johan Earl from Scarlet Fire Films, his excellent stunt and mocap performer, and working in with their animator Rowan – A quick job taking less than a week for their Sci-Fi short film currently in post production. Everyone involved was a pleasure to work with and the results were out of this world. Pun intended. Some information below for the film.
Just completed a project with Red Cartel in Sydney working in UE4, a game engine that I’ve worked with a lot over the years. This was a VR project (Oculus Rift) and involved a lot of character work and working with the excellent team there to put together a solid streaming-level, matinee controlled VR experience. This took about 4 weeks of production. Unfortunately again – under NDA so no public showing right now. It was good to be working with Unreal Engine which really is a massive improvement over UDK for realtime production.
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As well as my indie games work, I’m currently contracting on some high quality motion capture based work, for an upcoming title, (Edit: as well as programming animation code for the game).
Here is a short demo showing some of the technical setup and programming for movement on court, utilising captured motion that’s gone under quite a bit of refinement for technical requirements within the system.
A short prototype work for a client running some augmented reality demos. The task involved adding a bit of animation to a maya rigged character (which my client James supplied), bringing things into Unity and coding up some character behaviour and visual enhancements.
This project is for an Augmented Reality App, built for Android.
Tennis Edge Academy, is a sports training title from a series I have been developing. This one has been officially produced by a third party company Transmedia Entertainment where a work colleague of mine happened to be, who’s an excellent programmer (James). I created the character model and mocap animation here (performance based). And Transmedia did use my code base from a previous release and extended it with lots of training and localisations, for this successful release, which demonstrates high detailed character work running on mobile.
I’ve recently completed a series of animations with realistic motion using hand keyframing techniques, and here are some of my sign-off animations. This is for a production that shows in detail the categories of movement skills for a baby aged 6 months to a year.
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I’ve completed a set of game animations for three stylistic game characters. I modeled the paper crane, and rigged up the three characters, and keyframe animated each sequence for the game. These were delivered as Unity animation assets.
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