Paul Morris Email and Phone Number

- My first role at BrownBag Studios was that of Previs Artist, I was responsible for both planning and pre - visualizing of camera shots, ensuring that episodes made sense at the animatic stage, and prevising solutions to any problems that appeared in the episodes before they shipped abroad for completion, creating rough versions of sets and props in both Maya and Zbrush, ensuring they worked with relevant Characters and assets before they are modeled. I worked with the Episode Directors, the art and tech. Directors, and the series creators to ensure the quality and style of the show was maintained. I was responsible for reviewing the resulting blocking and rough animation passes, and requesting retakes from the outside production studio via. the Shotgun production system where needed. I also provided replacement camera animation and shot set – ups for difficult or problem shots. It was during this time I first started modelling occasional sets and props on the side, in order to improve my modelling abilities for my current role.

During this quiet period in my career I decided to improve my showreel and sharpen my Maya skills by creating a second animated short called “ lobster “ . Unlike my first film this time I decided to focus on character modeling, rigging and animation to create a fast paced, hopefully amusing and well animated piece.

- I was employed at Annix Studios as a character animator on the British pre-school TV show Little Charlie Bear, produced for the BBC. My duties involved animating the characters of Charlie and his toy friends in an appealing and humorous manner that would appeal to the shows young target audience. The show as narrated by an off-screen actor, and the toy characters themselves were mute, so all animation was produced in a miming style, requiring the use of clear , strong acting and posing. I was brought in on the last six months of the show when production was at its height, and had to get up to speed quickly and match the output and style of the other animators with minimum fuss in order to get the show completed to deadline, I believe learned a lot in the comparatively short time I worked at this studio due to the volume of work I produced. Unfortunately the show was not renewed for a third season, and the studio disbanded.

Deciding to return to 3D I set about producing an animated short film “ lockdown “ as a showcase of my 3D skills. The short was created entirely by me using Softimage XSI, and edited in Premiere Pro.

Taking a break from professional animation production I decided to try the IT field, securing the position of team lead at IBM’s server plant here in Dublin, although not an artistic field I believe I learned much in relation to people management, team building, part procurement and quality control.

I was employed at Windmill Lane Studios as a 3D Generalist. My role included the production of numerous 3D averts, corporate presentations, and film FX pre-viz work on the movie " King Arthur ". The software used at this time being Lightwave 3D and Softimage XSI

Special Effects AnimatorDuring this period at Fox I continued to work as a special Effects Animator, working on the following films.Anastasia.Bartok the Magnificent.Titan AE

Special Effects AnimatorDuring my years at the above studio in Dublin I was responsible for producing hand drawn special effects animation on the following films.A Troll in Central Park.Thumbolina.The Pebble and the Penguin.