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3D Animation projects, in order of appearance; "Into The Abyss", Boeing "We Own The Night" (D.O.D. Project), "Descent 3", and then practical sets, puppetry, and miniatures for, FM-104 "Music Now", "Starpack", and "FG II"
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A compilation of the 3D cinematic movies created as part of
the Outrage Entertainment Development Team for the "Descent 3" PC Game
project, published by Interplay. My contributions were the original screenplay,
storyboards, 5 minutes of intro animation, several sets, props, and robots including the Beagle Bay
set, Red Acropolis, the Expediator Dreadnaught, Dravis Guard Drone,
Material Defender's Blaster, Guidebot, and the RG Unit.
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Shot: A 3D special-effects composite created for "Into The Abyss" movie trailer, published by Sea Chest Books.
Tools: 3DSMAX, Sound Forge, Sony Vegas.
Turn-around: 1 week. A couple of afternoons to build the model, setup the animation, and test-render the volumetric lights. After client approval, another 10 hours to render the frames at high resolution on a single Pentium 4 PC. Another couple hours in Post (using Sony Vegas) to add a layer of flash to the volume lights when they shine into the camera, and a layer of changing light spectrum. Finally, adding sound FX by recording my PC fan tweaked in Sound Forge. Wella - another happy client!
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Samples of games we developed at Dream Forge.
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Design & Direction for TV Commericals. Projects on behalf of, Doner W.B. & Company, Campbell Ewald, GMAC Salesline Network, Dupont, IBM, Chevy Truck, Tuffy Muffler, Sandy Corporation, Circus Circus Enterprises, Toy R Us, Magic Lantern Productions, Renaissance Pictures, Universal Images Productions.
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This HDV streaming shot is the completed commission to replicate the flying saucer from the 1967 Quinn Martin TV-series "The Invaders." The model is two-feet in diameter, scratch-built using Sintra, and functional with 21 L.E.D.s and 3 custom circuit-boards powered by a single 9-volt battery. Sound Design by Damba Audio Drama.
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Twenty-something years ago I was working as a Special Effects Designer for Geoffrey & Jeffrey, in Farmington Hills, Michigan. My responsibilities included design, budget, coordinating crew and interns for each production from drawing board to studio. During that time we persistently hired Tim Allen (who had not yet become a mainstream actor). We implemented an Aurora Computer Graphics System for two-plane animation, a Bosch CG System for 3D, the Quantel Paintbox for post effects, and everything else was Practical.
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