s k i l l s

Experience

Video game studios, film and animation producers, tech corporations, music videos, product prototyping, learning and education sector.
Also experienced in lead animation, project management, and team supervision.

Work

Keyframe, expression and procedural animation, cinematic and camera animation, retargeting, mocap cleanup, prop and character rigging, animation logic implementation into game engine, pipeline design and set-up, overall animation optimization, tools and scripts development, 2D, 3D and UI animation.

Tools and Software

Maya, Unreal Engine, Blender, MotionBuilder, Cinema 4D, 3DS Max, ZBrush, Substance Painter, Unity, Moho, Animate, After Effects, Python, C++ and MEL.

G A M E P L A Y A n i m a t i o n

rig, idle and attack animation

rig, idle and attack animation

rig, idle and attack animation

rig, jump, idle and attack animation

rig, idle and attack animation

rig, idle and intro animation

in-game jump animations, with an upper-body aim offset blendspace on top of montages

in-game eye beam attack animation blended on top of directional hovering animations, with hip corrections

in-game directional flying and flips animations

P R O C E D U R A L A N I M A T I O N

PROCEDURAL
SPIDER WALK

After creating the bone structure and skinning the model on Maya, the actual rigging was programmed using Unreal Engine's Control Rig blueprints.

Using a CCDIK solver for the legs, The precise location for each foot is computed based on the spider velocity, body height, acceleration, and of course, the environment. There's also a specific z-axis interpolation curve for each step.

Furthermore, each step's speed, delay between each step, and reach vary based on the spider's speed and acceleration as well. There are also exposed variables that make setting different stances (stealth, combat, defensive) straightforward and automatically adjust dependent constraints between themselves for optimized smoothness and realism.

dynamics for flying character

With procedurally created controls and constraints for all limbs, wings and secondary mesh parts, the rig takes values through the character's ABP and adapts them as physics-driven input values on the control rig's local space, applying them realistically to respective bone hierarchies.

On top of the dynamics, there's also a set of driven controls for the wings, body hover, tail sine, and secondary bones for idle animations. Both the dynamics and driven controls influence the limbs and secondary meshes regardless of movement and animation montages. The rig also features a set of constraints for dynamically targeting enemies with the tail, without any clipping whatsoever.

All dynamics and driven-animation variables are exposed for both artistic modding and/or dynamic setting by the character's BP and ABP, based on attack stance, enemy detection and other behaviors. Gameplay animations can be played on top of the control rig, set to specifically overwrite or bypass certain bone hierarchies.

C I N E M A T I C S

cinematic showreel

Featuring my latest work with 3D animation for cinematic and commercial purposes, it shows samples of animation, modeling, environment building, lightning, shading and also video editing.

2 d A N D C O M P O S I t i N G

perlimps

Directed by Ale Abreu, I worked in the 2D animation of characters, environment, cameras and secondary elements. I also worked in compositing the scenes and adding lighting effects.

Buriti Filmes - Globo Filmes - 2023