Recent Projects

Supervised a global team of animators in Germany, Korea and Montreal. I built rigs for the hero steam train cars and created a utility rig to link engine and wagons.

To help the Layout department, I wrote a Python tool for laying out train tracks and exporting the curves directly to Lighting. Another tool allowed the train rig to snap to the tracks, auto-rotate wheels, and apply wiggle and movement from a library of pre-approved animation clips.

This freed up the animation team to focus on the actual animation work instead of burning time on repetitive train shots.

Led global animation teams across studios in Munich, Montreal, London, and Vancouver for the first two seasons of Andor.

Built several rigs and support tools, especially for the Eye of Aldhani episode.

I developed a system for Layout and Animation to visualize the meteor shower (both background and hero meteors), and created a lightweight geometry system to lay out their smoke trails as a guide for FX.

Also rigged the hero meteors to follow specific paths and break apart on cue, all of which was being handed off to FX and Lighting later.

Worked together closely with the Animation Sup and led a team of animators spread all over Europe.

The skeleton warriors were a nod to Ray Harryhausen, so the goal was to make their movements feel a bit like stop-motion.

For that, I wrote a Maya tool that analyzes animation curves to determine where keys should be on 2s or 1s based on pre-defined thresholds, and then adds a bit of customizable jitter to simulate hand-animated imperfections, all layered non-destructively over the base performance.

Helped set up a utility rig to keep babies and props positioned consistently during the slow-motion “baby shower” sequence, while still allowing offsets if the composition required it, and natural movement when time resumes.

I also built a flame visualizer rig for a gas tank for animation playblasts, exportable to help FX get started with a clear guide.

Worked with Layout to build a utility rig for the World Forge, containing thousands of moving platforms in a single shot.

I also wrote a tool that only populates the scene with platforms only visible to camera, to keep the scene responsive and renderable.

My first show after being promoted at Scanline, leading both the animation and rigging team.

We built a custom facial rig for the vampire characters that allowed jaw overstretching while still blending believably with the live-action actress’ performance.

Led the animation team, rigged all characters and props, and set up an animation pipeline to transfer animation data from Maya to 3ds Max for lighting and rendering. 

For the robot character, I developed a texture-based mouth system using defined shapes for phonemes and expressions. This was synced to a visible mesh in the animation scene. We applied a similar approach to the eyes.

Not a flashy production, but this was my first time being credited as Animation Lead on a commercial show.

Budget and time were extremely tight, but still it was an important milestone for me.

This was essentially a student film that won funding, and Trixter took it on as the sole VFX vendor. 

Through a series of strange events, I ended up being VFX/CG supervisor for the whole show.

I modeled, rigged, animated, lit, rendered, and composited the final commercial, and even led a small team of animators and modelers who were helping out. 

It was my first project right after finishing my internship at Trixter, jumping into the very deep end. Apparently, I seemed to have done a good job, since Trixter kept me around for five more years.