VIDEO DESCRIPTION:

Play, download and edit the free video Ready Player One - Animation Showreel.

Studio: ILM London - 2016-2017

Shot Breakdown:
Shot 01 : Keyframe all elements (cars, crashes, wrecking balls, cranes, camera, coins)
Shot 02 : Keyframe all elements (characters, cars, camera, coins), Mocap Edit on Facial
Shot 03 : Keyframe all elements (characters, cars, crashes, camera), Mocap Edit on Facial
Shot 04 : Keyframe all elements (characters, bike, camera), Mocap Edit on Facial
Shot 05 : Keyframe all elements
Shot 06 : Keyframe all elements
Shot 07 : Keyframe all elements
Shot 08 : Keyframe all elements
Shot 09 : Keyframe all elements
Shot 10 : Keyframe all elements, Keyframe Facial, Mocap Edit on Mouth
Shot 11 : Keyframe all elements, Mocap Edit on Facial
Shot 12 : Keyframe all elements, Mocap Edit on Facial
Shot 13 : Heavy mocap edit on bodies, Mocap Edit on Facial
Shot 14 : Heavy clean up on Parzival, Mocap Edit on Facial, Keyframe all elements on upper road (cars, crashes, cranes, wrecking balls)
Shot 15 : Keyframe all elements, Mocap Edit on Facial
Shot 16 : Keyframe all elements, Mocap Edit on Facial
Shot 17 : Keyframe all elements, Mocap Edit on Facial
Shot 18 : Heavy mocap edit on bodies, Mocap Edit on Facial

This was my first project at ILM and it was an incredible experience. The team, tools, tech and sequences were all incredible. I was on the project for about 13 months and was one of the last animators on the show. Being on it for such time allowed me to have a hefty chunk of shots both in count and length. These shots where the hardest and longest I'd worked on up to that point in my career and remain some of my most proud shots as well.

ILM's facial capture did most of the heavy lifting, requiring minor edits in expression shifts or eye line. The biggest rework was for Aech's 'Go go go!' shot, which most of the capture had to be removed only keeping the lip line.

The last shot of Parzival and Artemis dancing remains the longest shot I've done for a film. Though it started as a mocap base, I wish I could show the before/after. The amount of rework I had to do was intense, I also built a reverse rig for hands down to the body. This shot was also the featured image in CineFX for the article about the movie.

A video on the tools I wrote for this production will come online soon.

Lastly, hearing Stephen Spielberg get excited watching your shot still fills me with pride to this day.

A great show, I'm thrilled to have been a part of.

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