showreel

Breakdown

Beyond Reach

Personal Graduation Film

Emily Carr University

  • Notes:

    I have completed All Aspects unless otherwise noted.

    All Aspects: concept, story, layout, modelling, texturing, shading, rigging, animation, effects, character effects, scripting, lighting, rendering and compositing.

  • Software:

    • Maya (Layout, Animation, Rigging)
    • Mudbox/Zbrush (Characters, Facial Blendshapes)
    • Mari (Texturing)
    • Vray (Shading, Lighting and Rendering)
    • Houdini / Mantra (Fog Effects, Sand Effects, L-Systems Trees/Bushes)
    • Yeti (Hair System)
    • Marvelous Designer (Cloth)
    • Python (Auto-Rig Script, Animation Tool)
    • Nuke (Compositing)
    • Adobe Premiere (Editorial)
  • Shot 1:

    I reworked an initial animation pass by Matthew Schmoll.

  • Shot 4:

    I tweaked and cleaned an initial animation pass by Matthew Schmoll.

  • Shot 5:

    Animation by Matthew Schmoll. I cleaned the animation as prep for cloth simulation.
    Additional clock details modelled by Mohammad Rastkar.

  • Shot 6:

    I tweaked and cleaned background character animation walk cycles done by Katia Truong.

  • Shot 7:

    See Shot 6.

  • Shot 8:

    See Shot 6.

Ender's Game

Layout

Digital Domain

  • Notes:

    All shots are examples of the following. For the sake of brevity, and to avoid repetition, I will only mention them for shots of exemplary significance.

    I was made responsible for creating sequence wide layout templates for the octohedron formations that are seen floating in the spherical battleroom.

    Rough Layout involved accurately positioning matchmoved or cg cameras into shots based either on lidar geometry data, or by interpreting pre-viz to account for continuity. Based on the determined camera position, I would make appropriate compositional adjustments to the octohedron formation template on a shot-by-shot basis, in consideration of continuity.

    Final Layout was done to ensure proper publishing of approved animation and layout, and to check the conformity of all departments' playblasts/renders.

    I helped develop a department technique and script to attach matchmoved character faces to all cg character rigs. I also created an accompanying Nuke Facial Projection Setup that made it easy for the Layout department to add faces to Rough / Final layout playblasts. The nuke script would then be passed to compositing.

  • Shot 1:

    Sequence Octohedron Formation Template

  • Shot 3:

    Rough Layout, Final Layout

  • Shot 6:

    Nuke Facial Projection Setup

  • Shot 7:

    Matchmove/CG Camera Blend

  • Shot 8:

    Sequence Octohedron Formation Template

  • Shots 10 and 11:

    Sequence Octohedron Formation Template

  • Shot 12:

    Rough Layout

  • Shot 13:

    Rough Layout, Nuke Facial Projection Setup

  • Shots 15, 16 and 17:

    Rotation Continuity and Perceived Speed for Climactic Final Approach, Nuke Facial Projection Setup

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beyondreach

Beyond Reach
(2014)

General Info

Beyond Reach is my graduation project from Emily Carr University. Though I had considered many other project ideas prior to returning for my graduation year, it wasn't until my father passed away in April of that year that I was able to fully commit to an idea. The project became an opportunity to reflect on grief and channel my emotional state.

Some traumatic events can be beyond understanding, and are equally difficult to communicate through words. Art affords the creative-type an opportunity to share experiences that can lead to healing and catharsis. Beyond Reach describes my experience with sudden change, having to begin living a new normal. When the world lacks its color and vibrancy, and when it seems to veil your senses, limiting your sense of direction and time, you might confuse yourself with being in a fog.

I continue to work on the project during my spare time.

Software:

  • Maya (Layout, Animation, Rigging)
  • Mudbox/Zbrush (Characters, Facial Blendshapes)
  • Mari (Texturing)
  • Vray (Shading, Lighting and Rendering)
  • Houdini / Mantra (Fog Effects, Sand Effects, L-Systems Trees/Bushes)
  • Yeti (Hair System)
  • Marvelous Designer (Cloth)
  • Python (Auto-Rig Script, Animation Tool)
  • Nuke (Compositing)
  • Adobe Premiere (Editorial)
ender

Ender's Game
(2013)

Layout Artist
Digital Domain
IMDb

General Info

I was made responsible for creating sequence wide layout templates for the octohedron formations that are seen floating in the spherical battleroom.

Rough Layout involved accurately positioning matchmoved or cg cameras into shots based either on lidar geometry data, or by interpreting pre-viz to account for continuity. Based on the determined camera position, I would make appropriate compositional adjustments to the octohedron formation template on a shot-by-shot basis, in consideration of continuity.

Final Layout was done to ensure proper publishing of approved animation and layout, and to check the conformity of all departments' playblasts/renders.

I helped develop a department technique and script to attach matchmoved character faces to all cg character rigs. I also created an accompanying Nuke Facial Projection Setup that made it easy for the Layout department to add faces to Rough / Final layout playblasts. The nuke script would then be passed to compositing.

jack

Jack the Giant Slayer
(2013)

Jr. Layout Artist
Digital Domain
IMDb

General Info

Worked with senior artists in managing cameras and assets.

Responsible for scene assembly and set dressing.

Quality assurance for department asset publishing. Final Layout was done to ensure proper publishing of approved animation and layout, and to check the conformity of all departments' playblasts/renders.

isa

Isa
(2013)

explorations

Explorations Project
(2011)

creator

Creator
(2009)

about me

My name is Daniel Raymond. I was born and raised in Vancouver BC, Canada. I've recently completed a 4 year Bachelor of Fine Arts Degree with a major in Animation from Emily Carr University.

While I fundamentally consider myself a problem solver, I'm motivated by my pursuit to learn and understand. I believe the reason holds more potential than the simple answer it provides. Though I am often carried by this pursuit in a multitude of artistic and technical directions, I feel that any opportunity to learn contributes to my overall development as an artist and technician.

While school has concluded, I remain motivated to continue seeking new challenges, both artistically and technically.

I take great pride in presenting my artistic abilities in concept, story, layout, modelling, texturing, shading, rigging, animation, effects, character effects, scripting, lighting, rendering and compositing.

contact me

daniel marc Raymond

dmarcr518@gmail.com

778-773-9999

resume

linked