London, England, United Kingdom
๐๐น๐ผ๐ฏ๐ฎ๐น ๐๐ฒ๐ฎ๐ฑ ๐ผ๐ณ ๐๐ฟ๐ฒ๐ฎ๐๐๐ฟ๐ฒ๐ | ๐ฉ๐๐ซ ๐ฆ๐๐ฟ๐ฎ๐๐ฒ๐ด๐ & ๐ฃ๐ฟ๐ผ๐ฑ๐๐ฐ๐๐ถ๐ผ๐ป ๐๐ฒ๐ฎ๐ฑ๐ฒ๐ฟ๐๐ต๐ถ๐ฝ Building believable characters at scale takes great artistry and it takes a massive, well-oiled machine working behind the scenes. Throughout my 18+ years in the industry, Iโve focused on exactly that: the intersection of high-end character work and the global strategy required to pull it off. I look at ๐ฐ๐ต๐ฎ๐ฟ๐ฎ๐ฐ๐๐ฒ๐ฟ ๐ฐ๐ฟ๐ฒ๐ฎ๐๐ถ๐ผ๐ป through two lenses. On one side, thereโs the "big picture" including bidding, resource planning, formulating vfx methodologies & figuring out how to automate complex schedules across global sites without losing momentum. On the other hand, thereโs the ๐๐ผ๐๐น ๐ผ๐ณ ๐๐ต๐ฒ ๐๐ผ๐ฟ๐ธ, ensuring that a digital performance actually resonates with an audience.ย My role is often about being the ๐ฏ๐ฟ๐ถ๐ฑ๐ด๐ฒ ๐ฏ๐ฒ๐๐๐ฒ๐ฒ๐ป ๐๐ต๐ฒ ๐ฐ๐ฟ๐ฒ๐ฎ๐๐ถ๐๐ฒ & ๐๐ฒ๐ฐ๐ต๐ป๐ถ๐ฐ๐ฎ๐น ๐ฎ๐๐ฝ๐ฒ๐ฐ๐๐ while considering and working within the operational reality of ambitious deadlines and a high volume of work. Having worked across the world's leading VFX houses, I offer a unique vantage point: the ability to plan and supervise the granular details of character performance while simultaneously managing the ๐ด๐น๐ผ๐ฏ๐ฎ๐น ๐๐๐ฟ๐ฎ๐๐ฒ๐ด๐ถ๐ฐ ๐ป๐ฒ๐ฒ๐ฑ๐ of a top-tier studio. I advise production teams on crewing, map out internal & external milestones while optimising how we work with our teams by defining a strategy that neither burns out the talent nor the budget. Whether it's streamlining a production pipeline or scouting the next generation of creature artists, Iโm ๐ฑ๐ฒ๐ฑ๐ถ๐ฐ๐ฎ๐๐ฒ๐ฑ ๐๐ผ ๐บ๐ฎ๐ธ๐ถ๐ป๐ด "๐ถ๐บ๐ฝ๐ผ๐๐๐ถ๐ฏ๐น๐ฒ" ๐๐ต๐ผ๐๐ ๐ฎ ๐ฟ๐ฒ๐ฎ๐น๐ถ๐๐ and helping build the emotional connection our clients are aiming for with their stories told through these amazing characters Framestore is known for. ๐ช๐ต๐ฎ๐ ๐ ๐ฏ๐ฟ๐ถ๐ป๐ด ๐๐ผ ๐๐ต๐ฒ ๐๐ฎ๐ฏ๐น๐ฒ: โข ๐ข๐ฝ๐ฒ๐ฟ๐ฎ๐๐ถ๐ผ๐ป๐ฎ๐น ๐ฆ๐๐ฟ๐ฎ๐๐ฒ๐ด๐: Designing VFX approaches for character-heavy tentpoles โข ๐๐น๐ผ๐ฏ๐ฎ๐น ๐ฆ๐ฐ๐ฎ๐น๐ฒ: Managing cross-departmental teams and multi-site resourcing โข ๐ฃ๐ถ๐ฝ๐ฒ๐น๐ถ๐ป๐ฒ ๐๐ป๐ป๐ผ๐๐ฎ๐๐ถ๐ผ๐ป: Reducing overhead by automating complex scheduling tasks so artists can focus on the art โข ๐๐ฟ๐๐ถ๐๐๐ถ๐ฐ & ๐ง๐ฒ๐ฐ๐ต๐ป๐ถ๐ฐ๐ฎ๐น ๐๐ผ๐๐ป๐ฑ๐ฎ๐๐ถ๐ผ๐ป: Nearly two decades of hands-on experience as a character artist and character supervisor ๐ฆ๐ผ๐บ๐ฒ ๐ฐ๐ฟ๐ฒ๐ฑ๐ถ๐๐: ๐๐ฐ๐ธ ๐ต๐ฐ ๐๐ณ๐ข๐ช๐ฏ ๐ ๐ฐ๐ถ๐ณ ๐๐ณ๐ข๐จ๐ฐ๐ฏ, ๐๐ข๐ณ ๐ง๐ฐ๐ณ ๐ต๐ฉ๐ฆ ๐๐ญ๐ข๐ฏ๐ฆ๐ต ๐ฐ๐ง ๐ต๐ฉ๐ฆ ๐๐ฑ๐ฆ๐ด, ๐๐ท๐ฆ๐ฏ๐จ๐ฆ๐ณ๐ด: ๐๐จ๐ฆ ๐ฐ๐ง ๐๐ญ๐ต๐ณ๐ฐ๐ฏ & ๐๐ฏ๐ฅ๐จ๐ข๐ฎ๐ฆ, ๐๐ฐ๐ฉ๐ฏ ๐๐ข๐ณ๐ต๐ฆ๐ณ, ๐๐ข๐ถ๐ญ
"VENOM" : : Creature Supervision : : Facial Setup & shape work as well as Organic Model Build of hero characters ------------------------------------------------------------ "RED SPARROW" : : Character Supervision : : Work on a fully digital Jennifer Lawrence head (including facial setup, dynamically driven neck as well as shotsculpt) for opening sequence of the film ------------------------------------------------------------ "AVENGERS: INFINITY WAR" : : Creature Supervision : : All aspects of the character / creature work for DNEG. Also hands on Design, Modelling & Facial Work for Proxima ------------------------------------------------------------ "PACIFIC RIM: UPRISING" : : Creature Supervision: Facial Work : :
"WAR FOR THE PLANET OF THE APES" : : Facial Modeler : : All facial shapes for "Red" Model, facial topology and all facial shapes for "Spear" Additional supportive face shape work on "BadApe" Face shapes for numerous crowd monkeys ------------------------------------------------------------ "The BFG" : : Facial Modeler : : All facial shapes for "Meatdripper" Shotsculpt work ------------------------------------------------------------ "MAZE RUNNER: THE SCORCH TRIALS" : : Facial Modeler : : Facial shapes for numerous crank creatures & various Digi Doubles ------------------------------------------------------------ "SPECTRAL" : : Facial Modeler : : Facial shapes for numerous "Spectrals" ------------------------------------------------------------ "INDEPENDENCE DAY: RESURGENCE" : : Facial Modeler : : Facial shapes and models for Digi Doubles (Jeff Goldblum, etc.)
"AVENGERS: AGE OF ULTRON" : : Lead Modeler : : Shotsculpt lead for the Hulk
"AVENGERS: AGE OF ULTRON" : : Senior Modeler : : Building Hulk's body muscle shapes & sim muscle geos ------------------------------------------------------------ "STAR WARS: THE FORCE AWAKENS" : : Senior Modeler : : Work on Maz Kanata: facial topology, first pass face shapes, costume concepts
Modelling & Supervision of the character work on "JUPITER ASCENDING" ~ 14 months
"THE HUNGER GAMES: CATCHING FIRE" : : Lead Modeller (Digital Doubles) : : Producing all the Digital Doubles needed on the show ~ 3 months ------------------------------------------------------------ "SUPERMAN: MAN OF STEEL" : : Lead Modeller (shotsculpt department) : : Working on all shotsculpt related tasks of the show (environment destruction, vehicle destruction, anatomy fixes, asset fixes etc.) ~ 4 months ------------------------------------------------------------ "SUPERMAN: MAN OF STEEL" : : Lead Modeller (Digital Doubles & Digital Double Assets) : : ReDesigning the hero hard surface asset for the main Digital Double (Zod's armour) as well as building the two main Digital Doubles including face topology with high resolution facial expressions made to work for extreme close ups ~ 8 months
"JOHN CARTER" : : Lead Modeller (shotsculpt department) : : Leading a team of up to 8 people in the shotsculpt department to add anatomy and structure to the body meshes ~ 6 months ------------------------------------------------------------ "JOHN CARTER" : : Lead Modeller (face team) : : Leading a team of up to 4 modellers to create the facial shapes of all characters as well as all other blendshapes needed, e.g. breathing shapes, etc. ~ 12 months