Animation Clips

I have been working on classical and computer animated projects even before the early days of ReBoot. In that time I have been fortunate to have been part of some projects that have gained immortality as well as couple that have never seen the light of day.

From television series to feature films I would have to say my biggest claim to fame is probably the transformation sequences in the Transformers: Beast Wars (Beasties on YTV in Canada) and Beast Machines series.  Something I got the opportunity to redo years later with the characters, Rex and Mouse in Animal Mechanicals.

Though I throw myself into my work trying to achieve near perfection I never loose sight of making my job fun like making a caricature of myself in a crowd scene of the new animated Spider-Man television series. Here are a few examples of my work…

… click the posters to view each sequence.

ReBoot (Icons)

The set and most of the secondary characters in this sequence were modeled by me (Water World was used as a reference though one binome is based on my friend Leonard who had a bit part in the movie Gettysburg).

All the characters were key-frame animated though I had to work around Andraia’s lack of facial animation (the software we were using wasn’t working on her at that time – the modeling dept had just solved the problem of her disappearing bra).

All scenes were then lit, divided up into layers, rendered and composited by myself before being submitted to the Online Editor. [animated in SoftImage 3D]

 

 

 

 

Beast Wars (Feral Scream Pt 1)

The set of this sequence was modeled for me but without a lighting rig that I then had to supply.

The characters are all key-framed by me including Dinobot whose transformation sequences I was responsible for (as well as some last minute revisions to the character’s model).

All scenes were then lit, divided up into layers, rendered and composited by myself before being submitted to the Online Editor. [animated in SoftImage 3D]

 

 

 

 

 

Beast Machines (The Catalyst)

The set of this sequence was modeled for me but without a lighting rig that I then had to supply.

The characters are all key-framed by me as well as the spiderweb that I had to develop an animation rig for.

The effects of the skylight shattering and the glowing ooze were also created by me.

All scenes were then lit, divided up into layers, rendered and composited by myself before being submitted to the Online Editor. [animated in SoftImage 3D]

 

 

 

 

 

Heavy Gear (Down under Orem)

I had to rebuild the set of this sequence so that the bridge as well as the rock ledge would break apart.

The characters are all key-framed by me as well as the missiles but though the explosions were extracted from elsewhere I did create the missile vapour trails and the dust.

I also made the bridge sag under Marcus’s weight as he ran across it.

All scenes were then lit, divided up into layers, rendered and composited by myself before being submitted to the Online Editor. [animated in SoftImage 3D]

 

 

 

 

 

Spider-Man (Tight Squeeze) seq 1

Harry and Peter are completely key-frame animated by me in this sequence.

A TV remote was not supplied so I slapped together one quick to complete the first scene.

The bar stools were modeled too high so I had to shrink their height to fit the characters.

All scenes were then lit, divided up into layers, rendered and composited by myself before being submitted to the Online Editor.

Note: the upstairs railing is green on Harry’s side and red on Peter’s foreshadowing Harry becoming the next Green Goblin. [animated in SoftImage 3D]

 

 

 

 

Spider-Man (Tight Squeeze) seq 2

Each scene in this sequence was completely key-framed with the exception of 3 scenes containing motion capture where (1) Boris walks to Peter (2) Boris gets hit by Nikolai (3) who then re-cuffs Peter.

Other mocap files were provided but were so bad that they had to be scrapped (eg: Boris kicking the TV looked more like he was pushing a boat away from a dock then he turned to the wrong side).

All scenes were then lit, divided up into layers, rendered and composited by myself before being submitted to the Online Editor. [animated in SoftImage 3D]

 

 

 

 

Stuart Little 3

I key-framed animated all the characters and props in this sequence.

The scenes of the falling rocks were cheated on my part by repositioning the camera and rocks in various locations within the set to conform to the storyboards.

The scene is in it’s raw, untextured and unlit form do to the legality that this movie had not yet been released (permission granted by Sony and Mainframe).

Hope to have a final version soon. [animated in SoftImage XSI]

 

 

 

 

Barbie/Pegasus

I key-frame animated all the characters in this sequence save the shot of Annika and Aiden dropping the firewood as this was motion-captured but required some modifications on my part to correct the animation.

Intially I was required to animate Shiver, the Polar Bear, twirling around with Brietta’s crown on 4 legs (a per Mattel’s guidelines for the movie) but during final stages of production Mattel demanded a revision of the shot to Shiver standing on 2 legs.

Lighting and rendering was done by another department. [animated in SoftImage XSI]

 

 

 

 

Rabbit Ears – VanArts Final Project

This was my independent project at the conclusion of the 4-week Maya Intensive course at VanArts (Jan-Feb 2006).

It took two days to model and animate this scene despite all the time spent assisting my fellow classmates.

The rabbit’s body was designed to squash and stretch independently of the head and limbs.

Regrettably I didn’t have time for the rabbit to do any other poses but I exceeded the 100 frame requirement by nearly a third. [animated in Maya]

 

 

 

 

Post_Historic – Student Film from Sheridan College

This is my student film from Sheridan College (April 1994) integrating computer animation with classical animation. I was the first person to do that there. I animated the mechanical creatures using SoftImage 2.5 (students back then were limited to 75 megabytes MAX in those days). I had to render each frame as a line image, convert it to a binary file to print onto 8 1/2 x 11 sheet of paper that was then taped to a sheet of animation paper to be filmed under a Bolex camera. My original notes say I spliced in 134 sound effects and audio clips.

My former Art Instructor from Niagara College was the opening narrator, my neighbour’s daughter provided the voice of Dreeki while I provided the voice of her pet Rabbit-Squirrel, Tayo. A friend provided the flute music near the end as well as helped me cel paint a scene of the Chainsaw Vultures. I would go on to cel paint the T-Meck dinosaur scenes at 100 minutes per cel (No digital paint back then). The film is actually part of “Post_Historic: The Concrete Jungle”, one of the many adventures I’ve written about these two.

After the screening, a representative from Hanna-Barbera offered me $3600 for the film, lock, stock and barrel. I turned it down as that was like $1/hr for all the work I put in it. It did get me noticed by various animation studios including Pixar and Warner Bros but it would be ReBoot Inc (later renamed Mainframe Entertainment Inc) that would finally hire me some 7 months after I graduated. They were going to hire me 5 months earlier but thought someone must have snagged me by then (I was cleaning barns for $5/hr – the Recession killed most construction jobs and a late frost wiped out most fruit in the Niagara Region).

While at Mainframe, I got asked to use my film to test out a digital paint program SoftImage Toonz 4.5. It was great! Tried a number of things I couldn’t do at Sheridan. Unfortunately the project got wiped from the drive without my being informed so I don’t have that version to post.