In addition to leading a group of animators and writing tools, I animated shots when I had leftover time. XCOM 2 was primarily a motion-capture based production.
Soldier being shot (0:03 – 0:21) – Motion editing, prop animation, facial animation
Central talking (0:22 – 0:32) – Motion editing, first pass facial animation
Falling drone (0:33 – 0:36) – Drone animation only
I animated all of the Claptrap shots in the Borderlands: The Pre-Sequel – Claptastic Voyage trailer.
I started work at 2K Marin on BioShock 2 with the Big Sister. She was a super quick, agile, yet awkward teenage girl. I worked directly with the Creative Director and Art Director to help define how she moved through the world.
I was also a key member of the AI strike team that turned her from a heap of mechanics into a finely tuned enemy.
While working at LucasArts, I took a night class to continue working on non-gameplay animation. The short story was taken from an improv session.
I was responsible for the final shots, layout, the animated console and custom rigging.
DNA Production’s The Ant Bully was a great opportunity to work with amazing animators and see how differently they all worked. I started in the crowd department and over time earned more and more hero shots to work on.