Here are a few bits I had the privelege of animating for the student film Gearbevel City, directed by Morgan Epps. I had a ton of fun on these shots, and learned a lot, too. I never did any of the compositing, but I did the roughs, color, and cleanup for all of them. I even storyboarded a few. In most of them, you'll see a puppetted version of Jambot's head that was created and rigged by one of my teammates, Chris London. He made it, and I animated it for these shots. The backgrounds were created by our lovely 3D team.
For this shot, I took care of the storyboards, roughs, cleanup, and color. I also animated the flag and the crowd.
In this shot, I did the roughs, cleanup, and color, including for the effects animation and the crowd.
I handled the roughs, cleanup, and color for this shot.
For this shot, I animated the roughs.
I did the roughs, cleanup, and color here.
In this shot, I took care of the roughs, cleanup, and color, including that for the crowd.
Here, I did rough animation, cleanup, and color, including that for the crowd.
For this shot, I did the storyboards, rough animation, cleanup, and color.
These are a few animations I made for myself and for classes at the Savannah College of Art and Design.
For this project I created, rigged, and animated this puppet: roughs, puppet keys, and final animation. The whole shabang. This was for a puppeting class at SCAD.
This project is derived from the boomstick scene in Sam Raimi's Army of Darkness. That's where the audio is from. Everything else - the keys and final rough - I animated.
This was a bit of practice for sucessive breaking of joints that I animated for a class at SCAD. I am responsible for all animation, including the background.
These are two shots that I had the opportunity to animate for another student film, The Slowest Draw in theWest, directed by Calvin Dix. Fun fact: some of the lighting was done in Toonboom Harmony using nodes, which is why you might see some rim lighting in the cleanup animation. Calvin figured it out and showed the team how to replicate it. I did not have a hand in the compositing.
In both of these shots, I was responsible for the rough animation, cleanup, and color, as well as applying the portion of the lighting that we handled in our animation program, Toonboom Harmony.