Making beautiful things for the next interation in the Fable series. Focusing primarily on NPC's and World content. Developing new systems to support design requirements and artistic aesthetics.

Mortal Kombat 11:Gameplay attack combinations, Supermoves and Fatalities for various charactersBackground Character and Creature animation support for Level DesignersPlayer, Creature and Environmental assets for the Krypt.Injustice 2:Create attack combinations and special moves for an arrangement of amazing characters including the Teenage Mutant Ninja Turtles.

Work in close collaboration with the Lead Animator on all aspects of asset creation and pipeline tools.Define the standards for scripted animation assets.Oversee the creation and implementation of scripted animation assets for our proprietary systems.Work with artists and designers to define the physical gameplay metrics of the world.

After shipping Mafia III, the studio rolled onto the development of DLC. I was asked to co-lead the development of animated assets. I was responsible for all scripted animation sequences. This includes: - Any mission-specific scripted animation sequences that were placed directly by designers - Any requests utilizing our proprietary system for allowing NPCs to interact with each other and the world in unique ways. - In Mafia III, these included everything from Police harassing civilians to mobsters extorting people, to a vendor selling a hot dog to someone.It was my responsibility to sync with designers from all departments to ensure that the animation department had all the information we needed to support their ideas. I would convert these requests to shotlists, direct the motion capture shoots, then assign out the data for processing and oversaw implementation. As with the actual production of Mafia III, I still created all animation scripts to be used by the aforementioned interaction system.

Hangar 13 has been a great opportunity for me to learn new skills. Aside from asset creation and implementation for Player and NPC/AI characters, I've been able to work with the Principal Technical Animator and Lead Animator to develop new procedures for coordinating our efforts with other design departments. This included developing ways for our current progress and efforts to be easily tracked, understood and reviewed by the other departments. I've also worked closely with designers and programmers to prototype and prove out gameplay systems and mechanics for AI characters.I also oversaw a portion of our outsourcing needs for a specific type of in-game animation. These included generating shot lists and directing motion capture shoots, assigning animation tasks, ensuring the returned assets met our quality standards and oversaw their implementation in game. This implementation included generating Vi Scripts (similar to UDK's Blueprint system) and working hand in hand with designers to support their greater vision for the game.Since I have a solid background with Max, Maya and Motionbuilder, I was usually given the opportunity to train both new and contract animators on our pipelines and procedures. This is something I thoroughly enjoy doing.I also created animation assets to be used as our quality standard, or "high-bar." These were used to assess both in-house and outsourced sequences.

My main responsibilities have been creating assets for playable characters and NPC's, as well as understanding our engine and systems to know what needs to be made and how to build assets to given metrics.This role also includes helping and mentoring other animators on everything from animation to scripting.During my time here we worked on several unannounced projects, but also on Disney Infinity 2.0 in collaboration with Avalanche Software. Our main responsibilities were in developing some of the combat, within Avalanche's predefined systems, for several of the Marvel characters, as well as some of the Disney Characters. My main contributions were on Loki, Ronan, Yondu, Falcon and others, yet to be revealed. I was also tasked with learning about how their animation sequences were created to fit within the necessary parameters of their engine and to construct documentation explaining these systems for the animators.

I create rigs and animation sequences for characters and creatures, as well as develop tools to streamline rigging and animation tasks in Maya, via MEL scripting. I have worked to create and integrate a motion capture pipeline into our current production as well as tools for retargeting and cleaning up the motion capture data.I have also been working with programmers to develop a new animation system for player and NPC control.

Lead animator for the development of Fort Courage for Android and iOS devices, utilizing the Unity Game Engine.

I came in to implement the Sectoid enemy, cleanup motion capture data, and work on cinematics from pre-viz through final cleanup. This included character and camera layout and animation. I was also appointed to train other contract animators on 2K's pipeline and troubleshoot some of their technical issues. I created a tutorial for all artists to follow for creating screen shots for publication utilizing UDK's Matinee system, and several video tutorials for 2K's animators for transitioning from 3DS Max to Maya.I also proposed changes that could be made to their animation systems to allow for greater variety in their AI's with a minimal memory footprint.

Pulled on to create additional animation content. This included one of three melee execution animations, scripted events, and motion capture cleanup for Liz and ambient NPC's.

Created All animation for the development of an online video game.

Created illustrations for an ad campaign for a local extermination company.

I worked as a character animator, along with several other interns to create an animated short for Will Vinton Studios (now Laika) Called "Hellp!". We were directed by Mark Gustafson under the production guidance of Paul Diener, and received constant animation feedback from some of their in-house animators.