00:04 - 00:13:  I took this string of shots from layout to final, working from some postvis reference, first tightening up the compositions, then working out the action for Watney to hurl through space propelled by his hand thruster, as well as finding the right amount of subtle zero-G movement on Lewis.

 

00:13 - 00:30: These were as much exercises in staging as they were animation. Getting the right orbital height over Earth, the perfect framing and speed of Hermes and the Pod, camera drift, and of course, more zero-G astronauts

 

00:31 - 00:56: My task here was to design dynamic shots to make an exciting intro sequence, while working within the constraints of the live shoot - limits to the proximity of cameras to the plane, restricted angles when attaching the camera to the plane for the final shot, etc.

 

00:57 - 1:09: Given a v-cam camera track of the warehouse set, and asked to come up with an interesting action for Ironman and Ultron. Animation was left at a rough blocking but the key was getting nice movement through frame and playing actions both near and far from camera for a dynamic shot.

 

1:10 - 1:34: Part of our VES nomimated previs sequence. Extremely challenging technical assignment as we knew they'd be filming as much of this as possible in the underwater set. After animating this shot, the whole thing had to be reverse engineered to get the camera to move around the actors, so they had to suffer fewer rotations while strapped to a rig underwater

 

1:35 - 1:46: Stunt choreography assignment started with a brief from the 2nd Unit Director spinning little hot-wheels cars and bikes around to describe what he wanted. The rest was realized in 3D as I built the sequence up, again mindful of camera restrictions when filming on set.

 

1:46 - 2:07 Working from storyboards to make these shots as epic as possible, with dynamic staging for the tsunami, Planet-Earth style flyovers, and all the bells and whistles of previs

 

2:08: Zombie hand...