SHOT LIST-----Download Word 6.0 Shot List -----Right-click to download movie

Shot 1: Pig with a gun
Designed (for Art Director/Client Joel Hladecek), modeled (NURBS), rigged, animated and rendered in Softimage 3D, for Red Sky Interactive showcase CD.

Shot 2: Journey to the Fourth Dimension
A stereoscopic ride film produced by Landmark Films for Sanrio Puroland. I modeled the face and blendshapes for performance capture, puppeteered by Trey Stokes. Originally, the lip-synch was to Japanese; my copy had English badly dubbed, so I slapped in a favorite Firesign Theatre line instead.

Shot 3: Performance Capture from Protozoa for the Duke2000 campaign.
I created the model and dialogue targets for the pitch to Gary Trudeau.

Shot 4: Funtastic World of Hanna Barbera
Another ride film. I modeled everything but The Mystery Machine.

Shot 5: Journey to the Fourth Dimension
Solved the technical challenge of a "butterfly made of hyperspheres." Spheres were to originate as points, elongate, and change color progressing from inside of wing to the outside and shrink to point again. An effects animator was hired to animate circles within the silhouette of a single wing. Each circle was interpolated into the shape of its outward neighbor so it could cycle. Then each circle was digitized with an identical number of points, and lofted into a sphere so that the spheres could be morphed through each shape along a spline, which was part of the wing, which was animated with a free form deformation lattice, then mirrored.

Shot 6: Journey to the Fourth Dimension
Modeled environment and pterodactyl.

Shot 7: Secret of NIMH
Key assistant animator, following up Don Bluth's rough animation, much of which he rotoscoped from Errol Flynn and Basil Rathbone in Robin Hood. Some of my earliest pencils.

Shot 8: She-Ra
That's just as likely to be my keyed stock animation of She-Ra as anybody else's; they're the same elements we'd re-expose when I was manipulating stock elements--er, animating--at Filmation. I worked on pretty much all the He-Man and She-Ra episodes as an assistant animator, key assistant animator and animator, while the studio paid for my education in computer animation, paid for my attendance at Siggraph, and let me model and animate space ships with a computer and nine pen plotter. I was the model for Bravestarr's villain, Tex Hex, filmed and rotoscoped for stock animation. Filmation was a great workshop for learning how to build up motion sets for video games.

Shot 9: Fawn Hall
I animated for the purpose of testing and demoing computer Ink and Paint in 1986; using Mac IIs, we colored pencil color seps as if they were hand inked, something Disney didn't do with CAPS until The Rescuers Down Under, using Pixar hardware.

Shot 10: The Prince and the Pauper
Key assistant under the supervision of Andreas Deja. Deja wanted a two and a half head tall, Freddy Moore & Floyd Gottfriedsen Mouse, while Mark Henn was off in Florida being an animator under glass, still doing a 5 heads tall Mickey's Christmas Carol mouse that I got to "re-animate," that is, retain the acting and rough silhouette, while dramatically changing the proportions and drawing in the style Andreas preferred. In pencils, you can animate before the model's style and dimensions are locked.

Shot 11: The Prince and the Pauper
Key assistant work; pretty much all that .5 mil color separation is mine. This was one of the last Xeroxed and cel-painted shorts the studio did; I saw one of my cels from this shot on a seriagraphed BG for sale in the shop above Disneyland's Pirates of the Carribean for $3500.

Shot 12 and 13: Beauty and the Beast
Keyed Gaston for Andreas Deja.

Shot 14: Beauty and the Beast
Keyed loosely animated somersaulting and vomiting beer steins. Maurice had occupied Belle's place until Katzenberg asked why the show stopper was being sung to a secondary character.

Shot 15: Aladdin's Magic Carpet
Modeled, textured, rigged and animated Rasoul the Palace Guard for Walt Disney Imagineering Lab's Aladdin's Magic Carpet, a personal motion base with head tracking and convolved audio. Rasoul was about 1700 polygons in Prisms, Side Effects Software's ancestor to today's Houdini.

Shot 16: Aladdin's Magic Carpet
Modeled and textured Iago the Parrot (rig and animation in this shot by Daniele Colajacomo). We spent a year working out alternative methods of articulating that damned bird with morph targets and replacement shapes, because at the time, Disney's attorneys were worried about a patent NYIT was threatening to protect if anybody used a skeletal hierarchy for real-time character deformation back in 1993. Bogus yes, but patent suits like that are aimed at deep pockets like Disney's.

Last Shot: Digital face of Cain for Robocop II.
Various cyberware scans of the actor's face emoting were aligned on an SGI 4DGT70. In order to make a reasonable mesh in my Symbolics modeling package, I had to hack the vertex list from each scan in its .obj format into Symbolics .geo file, for an equally numbered grid. With that reference geometry, I used the same approach used in blendshape or weighted interpolation in everything from Mike the Talking Head to Duke2000 to Gollum: crafting face shape targets for puppeteering (performed here by Trey Stokes).