Aladdin - Animation Showreel

VIDEO DESCRIPTION:

Play, download and edit the free video Aladdin - Animation Showreel.

Studio: ILM London - 2017-2018

Shot Breakdown:
Shot 01 : Keyframe
Shot 02 : Heavily edited body mocap, Mocap edit on Facial
Shot 03 : Keyframe
Shot 04 : Heavily edited body mocap, Mocap edit on Facial
Shot 05 : Keyframe
Shot 06 : (Genie only) Heavily edited body mocap, Mocap edit on Facial
Shot 07 : None/Context
Shot 08 : Heavily edited body mocap
Shot 09 : Heavily edited body mocap, Mocap edit on Facial
Shot 10 : Heavily edited body mocap, Mocap edit on Facial
Shot 11 : (Genie only) Heavily edited body mocap, Mocap edit on Facial, paper
Shot 12 : (Genie) Heavily edited body mocap, Mocap edit on Facial, paper airplane, mirror, carpet
Shot 13 : Heavily edited body mocap, Mocap edit on Facial, String Rig, String Animation
Shot 14 : Keyframe
Shot 15 : Keyframe
Shot 16 : Heavily edited body mocap, Mocap edit on Facial
Shot 17 : None/Context
Shot 18 : Heavily edited body mocap, Mocap edit on Facial
Shot 19 : None/Context

My second show at ILM and my first time being a Lead. I was the first animator brought onto the show and one of the last to leave, about 14 months later, I also oversaw the Wish One sequence. There were a lot of tough challenges in that sequence like Prince Ali wardrobe changes, Abu's transformations, mirror shots and others.

For the wardrobe changes, I handled the final one seen in the reel, while aiding the animators working on the other two, all while working with the various departments about how to come up with a solution to magical cloth and plate changes.

The Abu transformations where challenging, but the rig was really impressive and handled a lot of the heavy lifting, but I still needed to write a few custom setups to help final the animation. I'm really proud of these shots, as I've wanted to do a transformation in a film for years. And being a fully organice one was a fun new challenge.

As for the mirror shots, they sound straight forward, but due to requirements from other departments, we couldn't simply reflect the scene. The round about solution involved baking down the animators scene, mirroring the anim, restaging it opposite the mirror and rendering from the view of the mirror. Sounds like a lot of unnecessary steps, but this allowed greater control over the imagery for lighting/fx/comp. Because there were several shots needing this process done multiple times, I automated it to reduce the overhead of the animators on my team and ensure the other departments got the file setup as intended.

There's a lot of work I did that isn't shown, as it was more about character development, tail rig/anim exploration on genie, Rajah rig testing, previz/shot layout and more, I hope to have a Tool video online at a later time.

Lastly, the 'Friend like me - Column A, Column B' shot was a lot of fun, especially since that song in the original movie was one of my favourites. The shot is also a case where I wish I could show a side by side of the original mocap assembly pass compared to the final. The motion was pushed so much, both in posing and timing, not to mention the amount we had to edit to make him appear floating and flying around. Maybe one day...

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