As Layout Department Lead at MrX Adelaide, I supervise and support the team across multiple projects and collaborate closely with Directors, Producers, Clients, PMs and across departments - as well as create shots and sequences. Story, Previs, Postvis, Rough Layout, Digital Cinematography, Matchmove/rotoAnim Supervision and Artist Management are my core responsibilities.I am proud to continue to help build a supportive, inclusive studio environment with a talented team of passionate artists from across the world. I believe that diverse perspectives and storytelling heritage make our work stronger and I encourage my layout crew to bring their whole-selves to work and all of their ideas to the table.I schedule and cast shotwork, give creative feedback, QC, troubleshoot, maintain shot breakdowns and support artists of all levels to create awesome, story-driven sequences and deliver on time, as well as produce shots.My day-to-day shot creation responsibilities include interpreting the creative brief, using storyboards or script as a springboard to build shots and sequences, character animation blocking, staging, digital cinematography, viewport lighting/fx, slap-comp, final layout, camera polish as well as editing so we can assess our work in context. Previs modeling, texturing, set dressing and rigging has proven useful to communicate ideas visually, approve shots faster and unlock development in other departments.I work closely with the Department heads, VFX and CG Supervisors to solve creative, story and technical challenges visually, while creating compelling sequences that balance the needs of the story and the technical requirements of VFX features.As technical as vfx layout can be, I focus on high quality, story driven work while iterating and providing alternate solutions encouraging open, candid, discussion with my team and creative decision makers to bring the Director’s vision to life on the big screen.

From script to screen, the Fellowship is a practical, hands on deep dive into the use of Unreal Engine for Virtual Production. The creative and technical caliber of our lecturers, mentors, SMEs TAs and fellows is awe-inspiring. Model Ingest, linear animation, mocap integration, lighting and look dev - We experiment with linear sequence based and non-linear shot based workflows, bridging the gap from real-time to traditional vfx workflows including Virtual Camera, live link face performance capture.AND we put our knowledge to direct use as we write, direct and create an original animated short - all in under five weeks.

Academy Award Winning Director, Everett Downing and I collaborate closely to work the best way to bring his vision to the screen and how we could use the camera to enhance the storytelling.Leading the global team of talented layout artists, I was in charge of casting, briefing and providing feedback for each artist as well as facilitating rounds and Director reviews and creating some awesome sequences. Using the fantastic boards as starting point, the layout crew and I worked to refine the cinematography, staging, composition, feel, emotion and how each shot fits into the overall narrative across the cut. By iterating fast, the team and I can explore ideas and creative solutions with the Director, visually.

Digital cinematography, animation blocking, shot assembly, lighting, previs, FX, model, texture + rig previs assets and final camera polish are the backbone of my shot creation responsibilities.Balance needs of the story with creative + technical requirements of full cg sequences integrated with live-action plates. Solve creative, story and editorial challenges consulting with HODs and VFX Supervisors in-house and remote.

Collaborating closely with the Layout Supervisor, I was asked to pitch ideas, offer alternate staging, blocking or cameras and iterate sequences as efficiently as possible to allow maximum flexibility for the Director to experiment, evaluate and explore creative ideas visually.Alleviate pressure on downstream departments compressed schedule by achieving approvals for 25+ shots per week.Using Director brief and sketches as a springboard, I created full sequences from scratch. Digital cinematography, staging, character blocking, fx, story-driven hip light and rough layout and editing was the backbone of my shot creation responsibilities.

Working closely with the Department heads, VFX and CG Supervisors + crew to solve creative, story and technical challenges, I create compelling sequences that balance the needs of the story and the technical requirements of VFX features.As technical as vfx layout can be, I always focus on iterating fast, to achieve the most effective shots and sequences possible that support the story.

Working closely with the Director, VFX Supervisor, Animation Director + crew to solve creative, story, editorial and physical production challenges, I create compelling sequences that balance the needs of the story and the creative and technical requirements of a live action VFX feature.As technical as it can be, I always focus on effective shots and sequences that support the story.Day to day responsibilities include:Conducting artist rounds and dailies with vfx supe and head of story.Connecting story, editorial, tracking and animation departments through the Assembly and creative layoutPromote a creative work environment and provide constructive feedback to guide artists work to iterate ideas quickly and efficiently to meet (and often exceed) expectations of the creative brief.Digital CinematographyCharacter AnimationMaintaining shot creation and breakdownsIt was an inspiring challenge to bring the Directors vision to life on the screen...from his imagination into three dimensions and I can not wait to see my shots recreated in live-action on set.

Collaborating closely with the Layout Supervisor and the Director, I iterate shots and sequences as quickly and efficiently as possible to allow maximum flexibility to experiment, evaluate and explore creative ideas visually.Using the storyboards as a springboard, I combine character blocking/animation, digital cinematography, editing, lighting and proxy-modelling to bring the Director’s creative intention and the story to life on screen.

Working closely with the Director, VFX Supervisor, Animation Director + crew to solve creative, story, editorial and physical production challenges, I create compelling sequences that balance the needs of the story and the creative and technical requirements of a live action VFX feature. As technical as it can be, I always focus on effective shots and sequences that support the story.Day to day responsibilities include:Digital CinematographyCharacter AnimationPerformance Capture (mocap) + cleanupModelling + rigging low-poly assetsIt was an inspiring challenge to bring the Directors vision to life on the screen...from his imagination into three dimensions and I can not wait to see my shots recreated in live-action on set.

Collaborating closely with the Layout Supervisor and the Director, My team and I iterate shots and sequences as quickly and efficiently as possible to allow maximum flexibility to experiment, evaluate and explore creative ideas visually. Using the storyboards as a springboard, I combine character blocking/animation, digital cinematography, editing, lighting and proxy-modelling to bring the Director’s creative intention and the story to life on the screen.As lead artist, my goal is to solve creative challenges and produce great shots with my team, while encouraging a creative, supportive studio environment where each artist feels confident to flex their visual storytelling muscle, to pitch ideas, to grow and really bring their best to the production.Filmmaking is the ultimate team sport and I enjoy my hugely collaborative, creative role in the filmmaking process.

Authentic, engaging and affordable visual content is the most effective form of communication in the world today, which is why I created Turbine Pictures...to use my cinematic, story-driven aesthetic and experience on Hollywood films to bridge the gap between your business, your story and your audience.As Founder of Turbine Pictures, I work hands-on with my clients and partners from concept development through to shooting, editing and final delivery. Fashion events, music videos, behind the scenes footage or marketing material; If an image is worth a thousand words, we can help you make sure your images speak with the right words, to the right people. Stories transport us and inspire us. We believe great stories help us to teach, to learn, to connect and maybe even change the world.Previs, animation, film, tv, mocap, video and photo...As my team expands in 2016, we look forward to creating our own original projects, working with leading studios to bring their stories to life on screen and we can help you too!Let's talk! I am always happy to connect with amazing people, so contact me directly at lukeflanagan@turbinepictures.com

Beyond the technical set up of the stage, we explore the importance of performance, the actors process, directing, storytelling, virtual cinematography and previs techniques. In short, I help students discover the art and science behind characters performances in the latest blockbuster films and their favourite games: Motion Capture. One-on-one feedback and mentorship is a critical part of my role and the most rewarding. Filmmaking and storytelling principles, industry standards, best practice and expected behavior when students reach out to the workforce.Animation analysis and creative critique. Coordination of student deliveries as per production schedule. I liaise with industry professionals to ensure that the course structure and content will produce employable and qualified junior motion capture candidates.

Working with Fashionizer.tv covering some of Melbourne's most exciting and fashionable events was a great opportunity to create some truly unique and powerful films that are distributed and enjoyed across the world.Camera Operation, Creative Direction, Editing, music selection, audio design, motion graphics and titles were designed and created by Luke Flanagan.

Editing is where the magic happens. The real film is shaped in the edit suite; where the final product can be crafted to have so much more impact than the sum of its parts. In no other project was this more true, than Faces of Asylum. From hours of raw footage, emotional stories and compelling interviews, I created a synergy between the different points of view and crafted episodes that were well-balanced, educational and engaging.In the role of 2nd AD, I assisted the production with continuity, loading clapper, grip, props, setup, catering, on set and on location, and most importantly, coordinating and keeping the dynamics of the actors, directors and crew working smoothly.

Within the Motion Capture Department at Dr D Studios, I was responsible for blending mocap selects on-the-fly, working side-by-side with Dr George Miller and Choreographers Wade Robson + Dein Perry to construct natural acting performances and high-energy dance sequences. In addition, I handled layout and created coverage, for the performances captured would not be approved without meaningful camera animation and a cut that clearly told the story.Prior to joining the crew on the stage, I worked with the Motion Edit team, correcting and enhancing motion capture performances to meet the creative brief while maintaining integrity of the actors performance.I was also asked to create previs assets (model, texture and rig), rig test for production, and act (in-suit) on the mocap stage, which was a great experience.Tool proficiency includes NUANCE and 3dl by Giant Software, Autodesk’s Maya and Motion Builder, Final Cut and Adobe’s Creative Suite.