2009 was definitely the year of Realflow for me. I believe this Robitussin pitch was my third Realflow job of the year. Two too many in my opinion. This job went to the way-side for Imaginary Forces due to some communication problems with the client unfortunately.
Could have been a fun 3d project, but I’m probably thankful for not having to sit through another Realflow simulation. I swear I think i lost a few weeks of my life this year just waiting for fluid simulations.
(Sorry for the watermarked images, i know how peeps like to take and grab from websites)
My third project for Superfad. Worked on the end shot and helped out in modeling a few objects for one of their many Sprint Now Network campaigns.
My first project for Superfad. Met alot of cool chill peeps there. Great place to work for. Worked with Will Campbell (AD) and David Clayton (The 3d guy, not the art director from Picture Mill) Number two of three Realflow jobs I’ve done for 2009. In 2010, I swear I’m only going to allow for one Realflow job per year.
Worked with Stan Lim on this one at Imaginary Forces. All the splashes are done in Realflow. Also below is a sample of a mega-simulation i did to test my “splashbox”. Sorry for the low quality movie, ill try to update with a higher quality version once i get my grubby little hands on a high quality one from IF.
A small quickie project me and Robin worked on for Iron Claw back in early 2008. Believe it was for a web campaign.
Maya and After Effects.
It’s too bad this didn’t make the cut for Transformers 2 the movie main title. This could have been a really rad main title sequence.
I worked with Noah Olmstead and Nate Homan on this 2 week conceptual phase/pitch for Imaginary Forces.
Storyboarding out billions of moving/tranforming parts wasn’t a good idea, so instead we went straight into Maya and brainstormed this guy up. Basically a “powers of ten” exploration of a transformers all the way down to DNA size, and pulling out to reveal the main title type.
This has to be my absolute favorite project for 2008.
It was one of those projects that posed new technical/creative problems but were truly fun to figure out.
National actually beat out Ardman Animation’s when they bid on this job (good job kev).
The sections i worked on were the transition from flowers to lobster, lobster to drums, the credit card and alot of R&D with Hai Ho, Jose Ortiz, Diffan Normad, and Kevin Walker.
Also met a new talented freelance animator with a great attitude, Grace Lee, towards the 2nd half of the project. WHASSUP GRACE!
This was a fun one. National loved how the Red cameras performed on their Friskies commercial and wanted to use them again. I was stoked too. Was my first shoot using the Red camera setup.
We had 2 cameras shooting simultaneously, tested keys after each lighting setups.
Was phenomenal. The DP could see where the green screen had issues on the fly and tweak the lighting setups as needed.
David Duchovny was much taller than I thought. He seemed pretty much as he does in character he plays as Hank Moody in Californication. Either he is normally like that character, or he’s that good of a actor that he was TOTALLY in character.
I’m thinking its the former and not the later.
Was 2 days total of shooting. Had to setup quite a few tracking markers on alot of the setups.
Once we were in post, we had about 41 shots to key, track, and generate some CG for. Some shots bigger than others.
In the beginning it was mostly Preston Brown and I, then Ash Wagers came on, and then Jose Ortiz came on the help wrap up the CG work.
After coming home from a nice 5 week vacation in
Southeast Asia, I came back to LA and jumped over to National to help on this lil gem.
I was definitely stoked to be on this project when i saw the boards.
I was mostly there for some 3d support. The deadline was a little hairy and the boys needed some backup.
I worked on the initial oil drop, grass duties, the kite, hot air balloon, and lighting/rendering.
Summer of ‘07 was my first time back to Stardust since 2003-ish. Amy Kaufman from Stardust inticed me with this project. Seeing how my wife and I are HUGE tennis fanatics ( Honor’s tennis blog ), I was easily convinced in driving all the way to the west side for this one.
I got to spend 2 days on set with Serena Williams as TD alongside with Chris Eckhart for Stardust. First day was a Motion Capture session with Serena.
2nd day was mostly green screen. Joseph Khan was the live action director for HP Serena.
On set, Chris Eckhart and I had to take measurements of Serena to get proper proportions for the CG Serena in the video game section. And lemme tell yah, that shelf in the back was truly a shelf.
After the shoot came down to the nitty gritty. With an army of designers creating look frames for each vignette, and on average 5-6 animators, we started creating each vignette.
I worked on the photo album section, mini-tennis player section, video game section, some other smaller 3d sections, and compositing.
I actually designed the tennis stadium for the video game. Unfortunately the way the camera is framed, you can’t see the entire stadium design, but you can see it here.
Members of the 3d team were
Hai Ho,
Robin Roepstorff, Chris Eckhart, and a few other peeps i can’t seem to remember off the top of my head.
Also here is an offline roughcut of the 90 second spot. You can see how much work was done before and in the final product. Some shots of Serena in her Motion Capture suit in there.
And of course the gratuitous photo of me and Serena. She signed my Wilson racket and a pink Wilson tennis ball for my wife.
And yes her guns are bigger than mine…
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Sunday, August 9, 2009
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