Here are some of the shots I animated alongside a few fellow Gearheads on the short Oatmeal the Snowman 2: Steel Cut Oats, directed by Carter Martin. The film is rig-based, so each of these I animated using the puppets that Carter built. I did the animation in these shots, Alex Shupp did the 3D backgrounds, and Carter, Kyle Novak, and Alex handled the compositing.
Here is yet another batch of shots I animated alongside my fellow Gearheads, this time for the Fooly Cooly Reanimated Intro under the direction of Anthony Comito. I did all the animation and some of the effects in these shots, Jojo Aftomis and I did the backgrounds, and Anthony did the compositing.
Here are a few bits I had the privelege of animating for the student film Gearbevel City, directed by Morgan Epps. I had a ton of fun on these shots, and learned a lot, too. I never did any of the compositing, but I did the roughs, color, and cleanup for all of them. I even storyboarded a few. In most of them, you'll see a puppetted version of Jambot's head that was created and rigged by one of my teammates, Chris London. He made it, and I animated it for these shots. The backgrounds were created by our lovely 3D team.
These are a few test animations and such that I made of my own characters, Russ and Frey. My friend Anthony Comito did all the compositing, but the rest is my work.
For this project I created, rigged, and animated this puppet: roughs, puppet keys, and final animation. The whole shabang. I even did the background.
This project is derived from the boomstick scene in Sam Raimi's Army of Darkness, where the audio is from. Everything else - aside from compositing - is my work, including the background.
This was a bit of practice for successive breaking of joints that I animated. I am responsible for all animation, including the background.
This animation is a little lipsync test I did with one of my characters, Frey. I am responsible for it all - storyboards, animation, and the rough background.
These are two shots that I had the opportunity to animate for another student film, The Slowest Draw in theWest, directed by Calvin Dix. Fun fact: some of the lighting was done in Toonboom Harmony using nodes, which is why you might see some rim lighting in the cleanup animation. Calvin figured it out and showed the team how to replicate it. I did not have a hand in the compositing.
In both of these shots, I was responsible for the rough animation, cleanup, and color, as well as applying the portion of the lighting that we handled in our animation program, Toonboom Harmony.
Curious about my process? Well here's my process reel.