My first computer animated shot, 1994.

When I first experienced Jurassic Park at the movie theater in 1993, my mind was blown! The dinosaurs were incredibly realistic - ILM had created a cinematic milestone that would change visual effects forever. Uncertain about my future as a stop-motion animator and truly inspired by what I had seen, I decided to take the challenging step into the realm of computer character animation. But how would I accomplish this goal?

Back in 2008, game company Namco Bandai decided to update and reimagine their horror-themed video game Splatterhouse (originally from 1988) for the Playstation and Xbox platforms. The game play was extremely gory, as can be surmised by the title, but Splatterhouse also had some great storytelling sequences, known as cinematics or cut-scenes, between game levels. I animated some of those sequences at Brain Zoo, the studio that handled all the cinematics for the production. Fortunately, the cinematics were more along the lines of the horror movie style but without the fighting and gore present in the game play itself - not my kind of thing!

Below the busy streets of New York City's Times Square, you could find an unusual tourist attraction called National Geographic Encounter: Ocean Odyssey. It featured interactive virtual underwater environments created by VFX studio Pixomondo where I was part of their design and animation team in 2016-2017. One of my favorite parts of the project was a pre-show event that visitors would experience while riding an escalator from street level down to an underground lobby. They would pass through a wall of mist onto which was projected an underwater scene starring playful Sea Lions and a menacing Great White Shark.

One of the most unusual personalities on television is “The Box” - a walking, talking cardboard box representing the Progressive Corporation. It has been involved in all sorts of amusing scenarios, but in the latest appearance, we discover that The Box can sing. Who knew?

This year is the 30th anniversary of the creation of Pee-Wee's Playhouse Christmas Special, the opening sequence of which I had the honor of animating. It all started with an unexpected phone call from producer/director Prudence Fenton. Production was to start in just a few days and she was inquiring about my availability to shoot the stop-motion animation for the title sequence. Prudence also requested that I sculpt a clay fox and several other animals to animate and have ready immediately. I was more than willing but considering the unusually short notice, I could only create the clay fox puppet ahead of the shoot. Getting right to work, I wondered what I was getting myself into, and the project did have many difficulties, but my efforts paid off in that they resulted in an Emmy nomination!

In 2016, VFX company Digital Domain in Playa Vista, California, contacted me about animating some cinematic sequences for the science fiction game Gears of War 4. The project was to use a mix of key-frame and motion capture techniques. Being an animation purist, I normally avoided such gigs that involved motion capture because the process is not artistically satisfying; however, this project was to be different. Not motion captured but rather animated, the faces of the characters required an animator’s touch, and the opportunity to create some emotional facial performances caught my interest. Additionally, the gig was scheduled for only six weeks, so I figured, “Why not?”

In 2012, the toy company Mattel embarked on an ambitious reboot of their popular Max Steel franchise. This endeavor included an all-new CGI animated series with a cool graphic look by Canadian company Nerd Corp. Concurrently, promotional still pictures for the web were generated at Brain Zoo studios in Los Angeles where I was tasked with creating and rendering characters in dynamic poses on the computer. Many of the images required exaggerated perspective effects as is typical of comic book art. I had to use some trickery to achieve a superhero comic look with the 3D Max Steel characters!

Since the late 70's, one of my favorite creative pastimes has been making time-lapse movies. While the technique is used to accelerate the movement of all sorts of things, my main fascination was with filming people and viewing the sped-up patterns of interaction that occur in crowded situations. Choosing the right sort of location to film time-lapse was key, and it occurred to me that shopping malls, with the social behavior that took place there, would make fantastic subject matter. Accordingly, in 1989, I started to shoot my mall movie using basically no budget, a condition that came with my status as a "starving artist". Out of necessity, the project required guerrilla filmmaking tactics.

The Hershey's Kisses commercials have been a popular and very successful campaign, originally created via stop-motion animation in the 1990's and continuing to the present day with computer-generated imagery. The now defunct Colossal Pictures in San Francisco produced the earliest versions of these advertisements, brilliantly directed by Carl Willat. In 1995, Colossal, unable to find a local stop-motion animator who could handle their current Hershey's assignments, reached out to me. I was persuaded to travel from my home in Santa Monica to their San Francisco studio in order to animate two commercials, one featuring ice skating Kisses and the other spotlighting a snake charming Kiss. Both commercials were extremely challenging to create but the final results were incredible.

During the late 1990s, I worked for Walt Disney Feature Animation on their first computer-generated movie DINOSAUR. For that production, I worked as a supervising animator over Neera, the main character's love interest, and all of the juvenile dinosaurs. On Disney movies, supervising animators were made responsible for character acting performances; however, they had limited control over character design decisions which were made by group committee. I was unhappy with the final design of the juvenile iguanodons which, in my opinion, did not look as cute as they might have been. Because of this dissatisfaction, I was inspired to create a personal sculpture - my own interpretation of how the young iguanodons should have looked.