Animations in a professional environment.
In this video a pathology in the spine is explored up close. The space between the nerves and spinal column is so sensitive that any abnormalities can lead to back pain. the medium of 3D provided the best way to convey this to the viewer and what better way than through a camera move? At around 40 seconds we fly into the narrow space of the spinal column to show just how delicate this space is. We then go on to the pathology itself and the explanation is only strengthened by the aforementioned camera move.
Biceps Tendon Tear
In this second video for Medbridge Education we take a look at the bicep and its relationship with the ulna and the radius of the forearm. Pain in the elbow can flare up when turning the wrist and Illustrating this in 3D proved challenging. First, I rigged the ulna and radius to follow the wrist using set driven keys. The bicep was the tricky part, blending a simple joint system, blendshapes and a physics system to get the bicep to wrap around the radius when the wrist turned. The slight jiggle and flexing added a lot and I feel like the results were very successful!
In this commercial for the opening of a restaurant in New York City, I was hired to add the restaurants existing characters to footage. I wanted to avoid drawing directly on the frames at all cost, as it would prove time consuming with so many camera moves and make compositing the cartoon characters in a real setting challenging. so my first step was to get good tracking data out After Effects. After hours of analyzing footage I had track data that I was satisfied with. I was then able to set up my scene in Photoshop and work without worrying about camera moves, instead focusing on character proportions and form in a static setting. This workflow proved successful and felt akin to working with green screen. When the character animation was complete I was able to parent the finished frames onto the tracking data in After Effects. A few compositing tricks later and here are the results.