Aliens vs Predator – Requiem

00:00

Created and maintained the alien puppet and bind.

Seeker: The Dark is Rising

00:10

Created and maintained the rook puppet and bind.

Seeker: The Dark is Rising

00:16

The rook's wings could go from fully extended to fully closed as shown in this shot.

Aliens vs Predator – Requiem

00:25

I created a new rig that behaves like spline-ik but supports twist distributed per control segment, and global/local squash and stretch.

This new spline setup was used to create the predator's whip rig.

Aliens vs Predator – Requiem

00:28

The whip's controls could be pinned to other objects. An animator could have the whip stick to a subject, or have the base control pull the whip through the defined shape.

Aliens vs Predator – Requiem

00:29

I built and maintained a tail rig for both the pred-alien and the warrior alien.

Aliens vs Predator – Requiem

00:31

Tail and whip rigs interacting.

Fantastic Four 2

00:35

I built several different rigs for Reed. This is a combination of the base stretch rig, shot specific blendshapes, and custom deformers (area of influence, plane deformer) a colleague wrote for the show.

Fantastic Four 2

00:39

This is the stretch rig with the club costume visible. The base stretch rig handled the bulk of the shots.

Fantastic Four 2

00:51

This is a play-blast of the base stretch rig that was featured in our SIGGRAPH sketch.

The Invasion

00:54

I built and maintained the puppet and bind for this head replacement. In this case, we switched out the actor.

300

00:58

Maintained the rhino rig as well animated the fat of the shoulders. I also tracked the shot.

300

01:06

I tracked this shot as well as animated the shoulder fat. I also rigged and maintained the Persian getting trampled.

Fantastic Four 2

01:16

I built a path based rig that had the stretch rig's arms attached. This rig was used for the London Eye shots in combination with a separate arm rig.

Fantastic Four 2

01:18

This is an example of the arm rig. It grew geometry on demand and could stretch an infinite length.

Fantastic Four 2

01:20

The path rig combined with the arm rig.

Fantastic Four 2

01:25

This is the Jonny digital double that was used in the London Eye, wedding, and chase sequences.

Fantastic Four 2

01:29

Built and maintained a version of the stretch rig for Johnny.

Fantastic Four 2

01:33

This is the stretch rig, but at regular proportions.

Fantastic Four 2

01:43

The stretch rig output a stretch value of the torso, neck, arms, and legs. The cloth team used these values to drive their simulations.

Fantastic Four 2

01:48

I built and maintained a rig for Sue that was used both as a hold out and later as a digital double.

Coke "World Of Warcraft China"

01 :55

Created and maintained puppets and binds for all three characters. I also tracked the cameras for the majority of the shots.

Poseidon

02:06

I tracked the plate photography and created proxy geometry with the help of a partial lidar point cloud. Detail was then added to the model by other artists.

Aliens vs Predator – Requiem

02:12

I created and maintained the face-hugger puppet and bind.