Earlier this year, I participated in an Animation Bootcamp provided by Nextgen Skills Academy.
During the bootcamp, the fantastic team at A Productions in Bristol gave us production shots to animate for the BBC Children's show, Monster Makes.
We were supplied with a character model rigged in Blender and integrated into A Productions' Ftrack pipeline. We were assigned specific shots, uploaded our iterations for feedback, and pushed them through to final Director approval.
This is one of the shot I animated.
Having primarily used Maya in my career, this was my first time working in Blender. However, I picked up the software quickly and successfully completed two shots.
While these shots were created for training purposes rather than the final broadcast, they were treated with the exact same professional rigor as the actual show.
It was a fantastic experience and a great contrast to my previous work in the games industry.
Links:
Deer and the Werewolf
This project was created to explore character rendering and animation pipelines within Unreal Engine 5. My primary objective was to author grooms using Maya XGen and successfully export them to UE5 via Alembic caches. Additionally, the project served as a testbed for streamlining the asset and animation transfer pipeline between Maya and Unreal Engine.
Knight Templar Ascension WIP
A work-in-progress animation piece focusing on hand-keyed performance and real-time simulation integration.
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Animation: Hand-keyframed in Maya.
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Simulation: First time implementing Chaos Cloth for real-time cloth physics.
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Rendering: Unreal Engine 5.
Count Orlock Nosferatu
This project is my personal take on the iconic Count Orlok from the classic 1922 film, Nosferatu: A Symphony of Horror, featuring a few of my own creative twists.
The character and scene were built using Maya and rendered in Unreal Engine 5.
Pipkin.
Meet Pipkin! Originally created a while ago for a mobile app concept, I recently brought him off the back burner to upgrade the model and bring him into Unreal Engine 5. To elevate the character, I utilized UE5's real-time cloth physics for his hat, and authored a strand-based hair groom in Maya XGen, which was imported into Unreal via Alembic cache.
Boxing club Manager (freelance contract work)
Asset and animation development for Boxing Club Manager, built and integrated within Unity 3D.
Key Responsibilities:
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Asset Creation: 3D modeling and texturing.
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Technical Art: Character rigging.
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Animation: Hand-keyed performances and motion capture editing/cleanup.
This is a project from earlier in my career, but it remains a personal favorite. I handled the entire character pipeline—responsible for the modeling, texturing, rigging, and animation. It was a fantastic creative challenge working within strict, low-poly budget constraints!
The character rigging for this project was executed in 3ds Max utilizing the CAT (Character Animation Toolkit) framework. This project provided great experience in navigating specific software plugins and managing complex rigging pipelines under tight stability constraints.
These were the in-game prizes players could win, and they were an absolute blast to design and animate. The only asset that required a client revision was the Greyhound; my original animation had the dog comically stiffening up and keeling over, but following feedback from Sony, I adapted it to a much gentler sleeping animation.
Lemmings Touch Sony Vita
This project contains work I created under contract with d3t while they were developing Lemmings Touch for the Sony PS Vita. I was responsible for character modeling and animation. Below are some of the marketing images and models I created for Sony."
