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Ron Smith : démoreel animation

Découvrez la dernière démoreel de l’animateur Ron Smith, qui a travaillé sur de nombreux films d’animation. Il a également mis en ligne une version longue de plus de sept minutes, visible plus bas.

Breakdown :

Tangled 2010
Responsible for all character and prop animation, using Maya software and proprietary studio tools.

Surf’s Up 2007
Responsible for all primary character and prop animation, using Maya software and proprietary studio tools.

Arthur Christmas 2011
Responsible for all primary character, animal, and prop animation, using Maya software and proprietary studio tools.

First Love 2008
Responsible for choreography and all character/prop animation, using a studio-rigged character on Maya software.

Cloudy With A Chance of Meatballs 2009
Responsible for all primary character, vehicle, and prop animation, using Maya software and proprietary studio tools.

Rig Test 2007
Responsible for all character animation.

Breakdown :

Tangled 2010
Responsible for all character/prop animation, using Maya software and proprietary studio tools.

It isn’t easy to sum up this once-in-a-lifetime experience; Working among the industry’s most talented artists, in a studio atmosphere steeped in legacy, was a dream come true. The creative bar was set extraordinarily high on this project in every respect, and the guidance provided by animation legend Glenn Keane turned every dailies into a lesson detailing how to reach such a lofty standard. Overcoming the challenges presented by such a demanding production rewarded everyone involved with a better eye, more confident hand, and enriched spirit.

Surf’s Up 2007
Responsible for all primary character and prop animation, using Maya software and proprietary studio tools.

Following my involvement with Imageworks’ animation rig testing group, I was excited to be added to the crew for my first fully-keyframed animated feature, joining the ranks of the studio’s most accomplished artists midway through the production. Despite losing some quality footage to story improvements along the way, I was given rewarding assignments yielding performances I enjoy reviewing to this day. I feel I made significant advances not only in how to approach my work most effectively, but also in recognizing the steps necessary to best capture the director’s vision.

Arthur Christmas 2011
Responsible for all primary character, animal, and prop animation, using Maya software and proprietary studio tools.

I was fortunate to join the crew of this brilliant Aardman production midway through as well, eagerly joining forces with a number of long-admired veterans of the legendary stop-motion studio. Being a lifelong fan, the story’s British humour and charm were nicely aligned with my own tastes, making this project a pleasure of which to have been a part.

First Love 2008
Responsible for choreography and all character/prop animation, using a studio-rigged character on Maya software.

Working with Ken Duncan for the first time was the highlight of my home studio freelance work, allowing me the chance to take a short project from abstract through animation, serving as the proof-of-concept element for a feature development pitch. In less than three weeks — after establishing the parameters of the scene with the client and studying hours of dance reference — the layout, choreography and animation was rendered and delivered, exceeding the clients’ own high expectations. It also marked the conclusion of a year spent making the most of modest resources, finding creative solutions to a variety of technical and aesthetic challenges, and testing my own self-reliance to great benefit.

Cloudy With A Chance of Meatballs 2009
Responsible for all primary character, vehicle, and prop animation, using Maya software and proprietary studio tools.

This was one of the best experiences of my animation career, and I consider myself fortunate to have been given the opportunity to contribute to such an entertaining film. The crew was a remarkable mix of artists I had worked with before and respected highly, along with a number of talented newcomers to the studio — the whole group producing wonderfully inspirational work. The novel stylistic approach taken by directors Chris Miller and Phil Lord provided challenges to be met in equally novel ways, all while fostering artist collaboration in a creative environment which valued the team’s input. I feel that this shared sense of investment and ownership resulted in a stronger film, and a very fulfilling experience for everyone involved.

The Sword In The Stone Test 2003
Responsible for all character and prop animation, as well as lighting, using Maya software and proprietary studio tools.

Originally, this was a scenario we developed as an exercise to challenge both current and prospective animators at Big Idea: Devise and execute a short, complete story idea, wherein a simple biped character encounters and interacts with a sword embedded in a stone. The project’s definition was intentionally open-ended, to better gain insight to the artist’s level of ability, sense of humor and timing, and approach to the work. I chose to adopt a CG version of the Looney Tunes style, complete with a custom-edited score of multi-track sources adding to the effect. The rigged character is borrowed from the 3-2-1 Penguins! series, but the rest of the production aspects were self-generated.

Via On Animation.

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