Casting Shadows

This was a very interesting design project.  The animation had to illustrate a story from ancient Korean folklore, and at the same time be connected to a modern drama.  The film director, Angela Park, had a logical idea of progression in the animation look, but the starting point needed a delicate touch.

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Barnes documentary

Albert Barnes built one of the preeminent private art collections in the world.  HBO produced a documentary to explain the drive and motivations that propelled Barnes in his quest.  Limited animation was requested; however, HBO was keen on getting exactly the right expression during formative episodes in the life of young Albert.

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America’s Pop Star Penalty Round

The friendly creatures of Snuff Mountain, Tennessee decided not to be left off the reality TV bandwagon.  Never mind that the wagon was never going to pull over and let them on.  Is it the most humble expression of pop culture you’ve ever seen, or an apt metaphor for our time?

All the art started as pencil illustration.  The animation was spline based, made with Anime Studio Pro.  The audio was produced in-house, using studio built foley props and echo chamber.  It’s all very straightforward.  I looked at a lot of old Termite Terrace shot layouts, and staged these shots with that attitude of ‘getting it done’.

Energy for Everyone

I have depicted a setting that is gradually turning toward sustainability.  The main focus is wind power, and this piece is available for customization and licensing.  The methods used to make this animation is a blend of warm traditional techniques, and wholly digital components.

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Children’s Festival of Reading

Promoting child literacy and literature can only be a good thing.  I figure kids have seen enough unicorns and teddy bears to hurl chunks, so I took a different path.  Good literature gives us wild imaginings our whole life.  I have no trouble imagining wild things, already.

I animated the ‘book reading’ scenes with Anime Studio Pro.  The vector and IK tools make for smooth, calm movement.  The real action, what is figuratively between the pages, has a rough line from being sketched out in Pencil open source software.  That was animated straight ahead almost as fast as I conceived it.  The color fills are in a back layer, so the sketchiness is intentionally preserved.  Backgrounds were painted simply in Photoshop.  Shadows, spotlit accenting and composites were in After Effects.

Mostly Titles Reel

I went back and pulled material off an old D-beta archive reel.  I hadn’t seen the stuff in awhile.  The 3D broadcast design was mostly modeled and animated in Softimage.  Video composite and editing was with Flame.  I became quite proficient in putting together show packages: open title, transition wipes, lower 3rds, bugs, bump outs, teases, bump ins and credit beds.

I’ve also put some more recent work in this reel, so it would not be a total time capsule – particularly shots that had something to do with title design.