Virtual production is changing the production pipeline. The relationship between the director, actor and animator is one way. Working as an animator on USC’s virtual production of FATHEAD, Director c. Craig Patterson was able to hone shots during rehearsal. Because of the real time nature of the production, I could make adjustments to animation that were implemented within just a couple hours after animating.
I lead a team of two other RIT art students. We were a part of the virtual art department (VAD) that helped to create some of the background assets. We were supposed to create the entire Ragimuffin camp, but it ended up being handed over to Happy Mushroom.  A majority of the work at this time was preparing the photogrammetry 3D assets that would be used in the scene.  I decimated (removed polygons), scaled and trimmed the geometry.
As the project moved along, I was later tasked with rigging the dog model and animate it in Unreal.  below is some of the work that went into the project.
Much of this film is still under NDA and more images will be included once the film is completed
RESPONSIBILITIES:
-RIT VAD Supervisor
-Virtual Set placement
-Dog Rigging and Animating
-Photogrammetry Model Cleanup, Scaling, and polygon reduction

TALKS GIVEN:
-UFVA in Fredonia on Real Time Rendering Pipeline:  From Maya FBX to the Unreal Engine Workflow.
-UFVA in Fredonia on Virtual Production and Animators

Dog Rigged in Unreal

Motion Capture with Rig

Geometry in Maya
Geometry in Maya
Truck look in Sketchfab
Truck look in Sketchfab
Geometry in Sketchfab
Geometry in Sketchfab
Truck look in Unreal
Truck look in Unreal

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