Our studio provides a full pipeline for animation productions: movies, tv shows, music videos and more, basically whatever our clients need we are there to make their dreams come true. We can pick up the ball in any stage of the production, whether it's an initial concept or the final touches of production.Our team members have worked on many various productions, from movies like Glisten and the Merry Mission and QAQSOSS NAKA WAHUNTUHSIS, to TV productions such as Elinor Wonder Why,… Show more Our studio provides a full pipeline for animation productions: movies, tv shows, music videos and more, basically whatever our clients need we are there to make their dreams come true. We can pick up the ball in any stage of the production, whether it's an initial concept or the final touches of production.Our team members have worked on many various productions, from movies like Glisten and the Merry Mission and QAQSOSS NAKA WAHUNTUHSIS, to TV productions such as Elinor Wonder Why, Work It Out Wombats, Inside Job, and Farzar for Netflix, Solar Opposites for Hulu, and many more.Our team members have also worked on musical features for several renowned musicians, like Tzipi Shavit, Shlomo Artzi, and Chava Alberstein. Show less

Working on the feature - QAQSOSS NAKA WAHUNTUHSIS

Working on an undisclosed project.

Work It Out Wombats - season 1* Was promoted to Lead Animator mid-production.* Given around 1700 frames to complete every 2 weeks.* Help out slower members of the team to reach deadlines.* I do my own retakes in addition to the regular quota.* Regularly given the heavier scenes - with multiple characters, or more complex actions.* Adjusting rigs in the node view as needed.* Drawing special poses, keys, and substitutions.

Feature film - Glisten and the Merry Mission (for Build-A-Bear)* Was part of a select few who had their contracts extended to help wrap up.* Expected to finish roughly 600 frames a week, while maintaining relatively detailed, full animation.* Did retakes to my own and others' scenes.* Hand-drawn keys and substitutions, as well as special poses that weren’t able to be done with the rigs.* Stayed on model despite complex character design.* Created a large number of… Show more Feature film - Glisten and the Merry Mission (for Build-A-Bear)* Was part of a select few who had their contracts extended to help wrap up.* Expected to finish roughly 600 frames a week, while maintaining relatively detailed, full animation.* Did retakes to my own and others' scenes.* Hand-drawn keys and substitutions, as well as special poses that weren’t able to be done with the rigs.* Stayed on model despite complex character design.* Created a large number of walk cycles from 4 views; front, 3/4f, 3/4b and back for various characters. Show less

POC - Sapiens* maintained a relatively detailed style of animation.* Worked with the Rigging and Design departments and the producers to solve issues and be able todevelop the animation style for the pilot.* Worked with Design to create lists of needed assets and libraries according to Leica.* Hand drew the various hand shapes, shoes, and mouth shapes needed as a reference for the design team.* Hand-drew keys and special poses that couldn’t be accomplished using… Show more POC - Sapiens* maintained a relatively detailed style of animation.* Worked with the Rigging and Design departments and the producers to solve issues and be able todevelop the animation style for the pilot.* Worked with Design to create lists of needed assets and libraries according to Leica.* Hand drew the various hand shapes, shoes, and mouth shapes needed as a reference for the design team.* Hand-drew keys and special poses that couldn’t be accomplished using existing rigs.* Created walk and run cycles. Show less

The Guava Juice ShowJoined towards the end of the production to help wrap it up on time

Netflix's "Inside Job"* Was given approx. 600 frames a week.* Was expected to maintain a relatively detailed animation style keeping tight deadlines.* Had to redo all walk/run cycles when needed one instead of using stock cycles.

Netflix's "Farzar" - season 1

Daniel Tiger's Neighborhood - season 5.

Wild Kratts - Season 6.Based on my work on the season 4 of PBS's Daniel Tiger's Neighborhood with the studio, I was promoted to Animation Revisionist within the first weeks of production. I was also part of the animation team, animating my own scenes.

Daniel Tiger's Neighborhood - season 4.

Freelance animator on Camp Cocasse - seasons 3 and 4.

Produced research-based animated shorts. Developed animation script, videoboard design and animation for each video.

Animator and illustrator for the company's two main projects: BrainPOP ESL and YiddishPOP.Production: development of episodes from directing and storyboarding to finished animated episodes,including finding solutions to script issues, developing characters / puppets, elements and animation.

Participated in excavations and the research of those findings in the Prehistory Lab of Tel Aviv University. Part of the Qesem Cave Project.