While this reel only covers a small fraction of what I have had the opportunity to contribute to, hopefully it sums up my love and expertise in character rigging and animation systems across games, film, television, and commercial production.

I contributed to Spiderman 2 as a Technical Artist. One of my primary responsibilities was building the facial rig workflow for MetaHumans in Unreal Engine, integrating mocap animation from Maya to Unreal. This pipeline streamlined the transition between Maya and Unreal, reduced facial development time for mocap facial shots by 30%, and improved efficiency for both tech artists and animators. I focused on creating tools and workflows that allowed the team to consistently deliver high-quality facial work while minimizing friction across departments.

What Was Showcased in the Reel

The reel features a MetaHuman head test that demonstrates the workflow from mocap animation in Maya to final integration in Unreal Engine. This example illustrates the facial rig deformation pipeline I helped establish.

I was welcomed onto this project late into production and my tasks were to evaluate the main characters, Ratchet and Rivet, and help get them across the finish line.

Collaborated with Autodesk to design and implement a modular biped rig built with Bifrost Rigging Modules, showcasing procedural workflows and advanced animation controls. The resulting tutorial series demonstrates how to create, customize, and integrate Bifrost rigging modules. Hopefully empowering future artists and technical teams to explore a new procedural approach to rigging and animation.

I created this fan-art of Shark Kitty to test Unreal Engine 5.5's new animation and rigging features. Using Maya for modeling and morph targets, Substance and GIMP for texturing, and Unreal for materials, rigging, and animation, I explored the modular Control Rig system's potential and limits. Specifically how far I could push it considering it's limited flexibility for extreme squash and stretch. To meet mobile skeleton constraints (<75 bones), I built custom rig components and designed a custom 3-bone IK solution that maintained consistent femur and tarsal alignment, including a procedural secondary IK chain driven by iterative "For Loop" nodes. This project was a deep dive into Unreal's evolving rigging ecosystem. While powerful yet it's still maturing. Despite some friction with vertex selection and morph-target stacking, the process showcased Unreal's promise as a standalone DCC for animation. Many thanks to Peter Sandeman and Warren Wang for their help, and full credit to Yogin, the original creator of Shark Kitty.

As the Body Rigging Lead for The Bad Guys, my responsibilities were to establish standards across the show, help develop techniques to achieve the film's distinctive stylized look, and build workflows that artists could adopt to deliver high-quality work efficiently. A good example of this was a workflow for integrating wardrobe seamlessly with stylized wrinkles, published by the rigging team. Beyond the technical aspects, one of the most rewarding parts of the role was mentoring artists. Helping them expand their skills, get them confident in using proprietary software, and contribute their own creative problem-solving to the pipeline.

Reel Breakdown:

• Wolf Body
• Eyeliner and eye stunt effects geometry/rig system for all characters across the film
• Police Chief Body
• Shark Face, Body

As a rigging lead on Trolls World Tour I managed character and prop setup, including rigging, weighting, and skinning, increasing delivery speed by 200%, saving ~50 man-weeks. I also had the opportunity to rig approximately 74 bodies, faces, creatures and props. That ended up being about ~0.95 rigs a week. Although that doesn't include the hundreds of hair/wardrobe assets I installed as well (I didn't have a good way to figure that number out).