CLASSIFIED FRANCE '44 - ABSOLUTELY GAMES
Leading animation pipeline
Planning motion capture shoots alongside documentation Â
Directing actors during Motion Capture
Real Time Performance Capture to Character preview via Rokoko Studio
Motion Capture Clean-UpÂ
Character Rigging
Facial Blend Shape Rigging Â
Unity implementation
Working on Classified France '44 was my first role as a 3D Animator in the UK games industry. It is a turn based strategy game where the player get's to play as allied troops disrupting German operations during WWII in the leadup of the allied landing.
It was a pleasure to work on it and to see my work have a direct impact on a released game. I am proud of it's critical acclaim and incredibly happy about our audience reception as the game has struck a positive note in the TBS genre.
CHRONOMANIA: BLAST FROM THE PAST
2021 (Terminated)
Animation/Rigging/UE4 Implementation & Blending/Design/Level Design
This game is part of a startup company myself and 4 other people launched after leaving university. Myself and another designer shared the responsibility over design and I was in full control over the animation and rigging pipeline as well as executing on the animation implementation in engine.
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The game is quite obviously inspired by 80s aestetics and retro shooter mechanics. Overall it playes like Quake 3 arena and titanfall had a baby on acid. Thus the company name. ACIDPUPPY LTD.
To quote the itch.page:
"In Chronomania, movement isn't only experienced through space but also time. Being a retro-movement shooter, it's a wacky love-letter to the memorable classics like Doom and Quake that defined the FPS genre back in the 90s. With a focus on unique time bending abilities, the player can rewind and freeze enemies in time, as well as enter slow motion and even rewind themselves - all a new way of pushing the boundaries of the classic fps movement system. As such, the game aims to bridge the gap between old and new whilst maintaining a reverence for the formula featured in classic retro FPS titles. The main focus is on packing juicy gunplay, smooth movement, and tight level design all into a bombastic 80s narrative.
The gameplay sees the player chasing an evil robot mafia through time, battling a variety of robotic enemies through medieval sewers, Triassic jungles and 80s laboratories. This is all skinned as unapologetically 80s blockbuster – Who doesn’t love the idea of a disco-era laser T-rex?"
ARE YOU _____?
03/2021-05/2021
Animation / Rigging / UE4 Implementation & Blending / Design
I worked on this project during my Game Design Masters at Falmouth University. Throughout its duration, within our team of 5, I was responsible of the full animation pipeline, from rigging-Implementation and was a key member of the design team.
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From a design standpoint, working on this project was incredibly rewarding. I've wanted to make a good isometric game for a long time as it was something I attempted when I first started becoming a game developer. From this point of view I was able to apply the lessons I had learnt between the two and the results speak for themselves. The gameplay turned out incredibly unique and challenging. ​
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Animating this project was also very interesting as I was able to experiment with optimizing my workflow with the use of animation retargeting. I did this directly through maya as the skeleton of the two characters was slightly different and thus needed adjusting. This lead to a workflow where I was able to animate one character and only worry about skin-weighting the other similar one.
PLANETARY PEST CONTROL
09/2019-05/2020
Animation / Rigging / Unity Implementation & Blending
My role on this project was mainly Engine and 3D character animation. I also manage the communication between other routes such as artists, programmers, and designers.
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I learned a lot from working on this project as it forced me to work with a large group of developers for the first time. Because of this, it was also the first time I was able to work with another animator. This allowed me to focus less on being a generalist and take my mind off rigging which I did not want to specialize in at the time.
Because of this my work focused on designing functional animation systems for aiming and masking animations efficiently. I acted as a sort of communicator for the Animators on the team. Allowing us to participate and represent our opinions in large meetings.
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CEOVERKILL
Rigging / Animation / Unity Implementation
I was the sole animator on this game. Due to this I was managing the entire animation pipeline from communicating with artists, to rigging, skin weighting, animating, and in engine implementation. Then repeating this process for multiple characters. In retrospect I think this gave me insights into what my interest in animation really were, namely character animation. I also really enjoyed working on FPS titles as it gave me experience in understanding the differences between full character and only POV animation.
SAPPHIRE BULLETS
Rigging / Animation / UE4 Implementation
This 2017 game was my first long term project as a 3D animator. It was my first time working in engine and experiencing the animation pipeline. I gathered a lot of experience animating full body characters and how the animations would read well for a 2.5D isometric perspective.