Russell Pearsall Technical Director robotinc@gmail.com 310.980.7357 Reel Breakdown 00:00 - Aliens vs Predator – Requiem Created and maintained the alien puppet and bind. 00:10 - Seeker: The Dark is Rising Created and maintained the rook puppet and bind. 00:16 - Seeker: The Dark is Rising The rook's wings could go from fully extended to fully closed as shown in this shot. 00:25 - Aliens vs Predator – Requiem 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. 00:28 - Aliens vs Predator – Requiem 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. 00:29 - Aliens vs Predator – Requiem I built and maintained a tail rig for both the pred-alien and the warrior alien. 00:31 - Aliens vs Predator – Requiem Tail and whip rigs interacting. 00:35 - Fantastic Four 2 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. 00:39 - Fantastic Four 2 This is the stretch rig with the club costume visible. The base stretch rig handled the bulk of the shots. 00:51 - Fantastic Four 2 This is a play-blast of the base stretch rig that was featured in our SIGGRAPH sketch. 00:54 - The Invasion I built and maintained the puppet and bind for this head replacement. In this case, we switched out the actor. 00:58 - 300 Maintained the rhino rig as well animated the fat of the shoulders. I also tracked the shot. 01:06 - 300 I tracked this shot as well as animated the shoulder fat. I also rigged and maintained the Persian getting trampled. 01:16 - Fantastic Four 2 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. 01:18 - Fantastic Four 2 This is an example of the arm rig. It grew geometry on demand and could stretch an infinite length. 01:20 - Fantastic Four 2 The path rig combined with the arm rig. 01:25 - Fantastic Four 2 This is the Jonny digital double that was used in the London Eye, wedding, and chase sequences. 01:29 - Fantastic Four 2 Built and maintained a version of the stretch rig for Johnny. 01:33 - Fantastic Four 2 This is the stretch rig, but at regular proportions. 01:43 - Fantastic Four 2 The stretch rig output a stretch value of the torso, neck, arms, and legs. The cloth team used these values to drive their simulations. 01:48 - Fantastic Four 2 I built and maintained a rig for Sue that was used both as a hold out and later as a digital double. 01 :55 - Coke "World Of Warcraft China" Created and maintained puppets and binds for all three characters. I also tracked the cameras for the majority of the shots. 02:06 - Poseidon 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. 02:12 - Aliens vs Predator – Requiem I created and maintained the face-hugger puppet and bind.