MIRROR ACTING SHOT: This was my acting test for the 11 Second Club November 2025 challenge, in which I placed amongst the top 3. Apart from the emotions conveyed through the dialogue, I studied the expressions and mannerisms of a drunken character from several film references. I also made his idle poses contribute towards the subtext behind the dialogue and emphasized the glazed stare of a drunken character. I chose to animate on 2's for this shot to further emphasize his state of intoxication. Additionally, I had a lot of fun experimenting with lighting and FX for the wine.
 

CREATURE SHOT: With this shot, I wanted to challenge myself with creature body mechanics and pantomime. I observed and combined references from pigeons, chickens and dogs, and designed a gait that fit the bird-like quadruped I was animating.
 

REDBULL MOCK COMMERCIAL: Mock energy drink commercial created in Cinema 4D and composited in Nuke. Inspired by the visual language of RedBull, I conceptualized a commercial inspired by natural elements, and studied commercial editing and visual storytelling techniques. I directed and executed the piece from concept to final render, refining camera movements, shot composition, and transitions to create a visual flow while conveying the brand's intended identity.
 

FIGHT SEQUENCE: With this shot I wanted to study dynamic body mechanics and camera movements. I studied a wide range of references and combined aspects of each to create something dynamic while still being readable. I animated the character descending from the sky, hitting the road, and rolling through the impact, focusing on weight, momentum, and clear posing. I composited the sequence in Nuke and used AI assistance through a ChatGPT-to-Nuke MCP (Model Context Protocol) connection to help calculate and create motion blur, including motion lines and stylized motion blur. The AI-assisted motion blur was driven by an Arnold motion vector pass rendered from Maya.
 

'VOID' MOCK BRAND IDENTITY SPOT: For this project, I conceptualized a pharmaceutical brand and created an abstract logo reveal. It was my first time working in Cinema 4D and Redshift, and I enjoyed exploring motion design workflows and learning new techniques.
 

DRAGON RIG: This is a custom rig I built for the Ninki Nanka - a mythical dragon-like creature in my thesis film. This rig was challenging as I had to troubleshoot various aspects of the rig to ensure that it could move in all the ways that we needed. A few of the attributes that I added in the rig are muscle physics to ensure that the dragon looks grounded in reality with flesh that reacts to its movements and sine-wave deformers on its whiskers, neck, tail and fins to enable animators to achieve the snake-like movements without having to hand animate an FK chain.
 

POSE LIBRARY TOOL: This is a Pose library tool I developed using Python and PyQt that allows animators to save, reuse, and blend between poses stored as JSON files. The tool supports transferring poses across different files and projects, and includes a mirroring feature that quickly applies poses to the opposite side of a rig. It also features automatic thumbnail generation and an organized library system for multiple rigs. I use this tool regularly in my animation workflow, and it has significantly improved both speed and consistency, especially when collaborating with other animators on shared assets. Used Claude AI for AI assisted development.
 

AUTO LIMB TOOL: Developed a tool using Python to create a limb setup for quadrupeds and bipeds. Incorporated an IK/FK switch, stretchy and bendy limbs using ribbons and muscle dynamics. This tool was instrumental to efficiently rig the complex dragon on our film and was also reusable for other types of limbs such as the wings of birds. I used Claude AI in debugging and AI assisted development.
 

'KILLED HIM' ACTING SHOT: In this shot, I focused on the facial intricacies of a character in anguish, regret, anger and helplessness. I acted out a large number of references with different subtexts and exaggerated them in the animation. I also studied animated films frame by frame to observe and integrate aspects such as pushed poses, mouth shapes and appealing in-betweens.
 

WATER COMPOSITING BREAKDOWN: For our thesis film, we ran into time constraints with our water sim. Eventually, I experimented with creating a water setup in Nuke using position to create a water level matte and adding animated position based noise to mimic water ripples. I created a group with this setup and added user friendly inputs so other compositors could use it.