Reel  Breakdown

Black Panther

Technical animation Simulated using nCloth (time 00:00:08:06 to 00:00:09:17 ).

My role: Technical Animator

I Was Responsible for simulating cloth and muscle using proprietary technology at Method studios. I was also tasked with corrective sculpting and character silhouettes and character contacts.

Technical animation Simulated using nCloth (time 00:00:09:18 to 00:00:11:11 ).

In this shot, I worked on several of the digital doubles cloak simulations and worked on Black Panther's silhouette corrective blood shapes.

Technical animation Simulated using nCloth (time 00:00:11:12 to 00:00:13:03 ).

In this shot I was responsible for Black Panther's silhouette, corrective sculpts we use to achieve this. I also simulated the cloak on the character has been kicked and matched it to plate.

Technical animation Simulated using nCloth (time 00:00:13:04 to 00:00:15:14 ).

This shot I was responsible for the muscle, harness and settle stimulation. This was including cleanup and ground contact. 

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Detective Pikachu

Key Technical Animator at MPC studios,Simulated using nCloth an Fur (time 00:00:15:15 to 00:00:18:08 ).

My role: Key Technical Animator at MPC Studios.
Key Technical: animator role required me to develop and simulate and clean up an assortment of characters in the feature film.

 

Key Technical Animator at MPC studios,Simulated using nCloth an Fur (time 00:00:15:15 to 00:00:18:08 ).

In This Shot, I had to match Lucy`s Bjorn to plate and simulate the straps. In addition, I simulated Psyduck fur. Using MPC's proprietary technology.

Key Technical Animator at MPC studios,Simulated using nCloth an Fur (time 00:00:19:03 to 00:00:20:12 ).

In this shot, I was responsible for the first simulation which included making sure for is not going through any of the geometry such as the hat. In addition, I was responsible for making sure the character collided properly with all of the props and sets in the scene.

Key Technical Animator at MPC studios,Simulated using nCloth an Fur (time 00:00:20:13 to 00:00:22:03 ).

In this shot was responsible for the first simulation as well as the rope simulation.

Key Technical Animator at MPC studios,Simulated using nCloth an Fur (time 00:00:22:04 to 00:00:23:05 ).

In this shot, I cleaned up all the contact and the formations so the characters fingers and body parts compressed and reacted in a more natural way.

 

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The wild Bunch

Key layout alters at Animation Lab (time 00:00:23:06 to 00:0036:12)

Hired straight out of school to work on Israel's first 3D feature film.
My role: Key layout artist. Responsible for camera positioning and movement. (Cinematographer), in addition, I was responsible for setting up a pipeline workflow for the Department.

 

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3D generalist Nitrogen Studios (time 00:00:36:13 to 00:00:40:08)

Hired to work as a 3-D generalist in the finaling department at Nitrogen Studios. I worked on Sausage Party” which is an ‘R’ rated theatrical animated movie.

My Role: was to create and set up creature effects for the props and characters on this project.
In this shot, I simulated the tablecloth as well as sculpted different shapes when Fred (the protagonist) grabs onto it.

 

3D generalist Nitrogen Studios (time 00:00:40:09 to 00:00:46:01)

In this shot, I fixed and animated the motion of agents as well as the context of the hands with the book.

3D generalist Nitrogen Studios (time 00:00:46:02 to 00:00:49:21)

I made sure each character's contacts were perfect, by creating deformations on the geometry to create a more dynamic feel. In addition, I tweaked the animation to make sure that the characters In the scene weren't crashing with each other throughout the shot.

3D generalist Nitrogen Studios (time 00:00:49:22 to 00:00:51:03)

In this shot, I simulated the tearing of the packaging. Also sculpted corrective shapes for the hand's contacts.

3D generalist Nitrogen Studios (time 00:00:51:04 to 00:00:55:20)

This shot consists mostly of finding work, such as making sure that the potato and the hand have good contacts, and that the potato's arms aren't crashing with the character's hand. I also created a light rig for our first screening to illustrate the lighting changes in the Final rendered shot.

3D generalist Nitrogen Studios (time 00:00:55:21 to 00:01:00:18)

In this shot, I simulated the interaction between the leaves and the characters. I also set up the cloth rig for the vines.

3D generalist Nitrogen Studios (time 00:01:00:19 to 00:01:05:20)

In this shot, I used nCloth to create contact between the squashes hands and the two mushrooms. As well as corrective shapes for many of the characters in the scene.

3D generalist Nitrogen Studios (time 00:01:05:21 to 00:01:10:15)

In this scene, I simulated the cloth and beads behavior, as well as applied the fur sim where needed. In addition, I also made sure that all the contact with objects and the set.

3D generalist Nitrogen Studios (time 00:01:10:16 to 00:01:12:04)

In this shot, I simulated using ncloth the contact between the two characters.

3D generalist Nitrogen Studios (time 00:01:12:05 to 00:01:15:11)

The first shot I worked on this project, simulated the toilet paper behavior.

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Avengers Infinity wars

Technical animator at Method Studios (time 00:01:15:12 to 00:01:17:06)

My second project at Method Studios worked on the rocket character characters for and cloth.

 

In this shot, I simd the character's costume and for using xGen.

Technical animator at Method Studios (time 00:01:17:07 to 00:01:19:09)

This was my first project working with fur simulation, which was a great and fun challenge.

Technical animator at Method Studios (time 00:01:19:08 to 00:01:00:01:23:02)

The main challenge with shops of this nature was to make sure that rockets suit did not intersect with the for all the body.

Technical animator at Method Studios (time 00:01:23:03 to 00:01:24:19)

Shots like these I was tasked to fix the air into section around the eyes. I found a way to utilize Maya's bead shapes to help me control the guides.

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Charmed 2018 reboot

CG generalist at FuseFX studios (time 00:01:24:20 to 00:01:30:12)

Hired for the pilot season at FuseFX as a CG generalist artist. I was tasked with modeling texturing and lighting, rigging. As well as looked dev of several props.

In the sequence, I modeled textured animated and light the coffee pot.

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A series of unfortunate events. Netflix

CG generalist at Psyop Studios(time 00:01:30:12 to 00:01:35:22 )

Using photogrammetry I re-created the chandelier and the windows in these shots. It was my first time dealing with this workflow and I am now happy to say that I really like it.
Software used:  Autodesk  Maya, Mari. Rendered Arnold render engine. (Simulation of the chandelier falling was done in Houdini. not by me)

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Zoo TV series

CG generalist at Psyop Studios (time 00:01:35:23 to 00:01:39:23)

I was tasked to Modelled, rig and simulate the bag that the crocodile is chewing on.

Software used: Autodesk Maya, ZBrush, Mari.

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DCs Aquaman

Key technical animator at MPC (time 00:01:40:00 to 00:01:43:09)

Brought in on the last minute to clean up and fix contacts and silhouettes for the protagonist Aquaman.​

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