Captain 3D presents... From Analogue to Digital

Current Projects...

Dreamworks Animation, Glendale, California - 2009-2010

Megamind in 3D of course as well as a new 3D version of Shrek 1, 2 and 3.

 

Dreamworks Animation, Glendale, California - 2009-2010

Next up in 3D will be How to Train your Dragon followed by Shrek Forever After

 

Dreamworks Animation, Glendale, California - 2007-2009

I returned to Dreamworks Animation as the Global Stereoscopic Supervisor when I heard every movie going forward was to be made in 3D - cool. The first to be released in 3D is Monsters vs Aliens - March 2009

 

Disney Feature Animation, Burbank, California - 2006-2007

'Meet the Robinsons' is the next project from Disney that will be Stereoscopic and I have the job of getting the most out of the 3D experience. My new role is CG Stereoscopic Supervisor at Disney Feature Animation in Burbank, CA. The movie will be released early 2007.

 

Disney Feature Animation, Burbank, California - 2006

The Disney studio has decided to re-release 'The Nightmare Before Christmas' in 3D. I have joined the team as a stereoscopic consultant to help Industrial Light and Magic complete the conversion.

 

PDI/Dreamworks, Redwood City, California - 2005 - 2006

I will be working at PDI/Dreamworks on a series of Stereoscopic tests. Its my first Supervisor positon.

Industrial Light & Magic & Disney, San Rafael, California - 2005

This time I am fulfilling my role as Captain 3D. ILM is creating the stereoscopic (3D Glasses) version of Disney's Chicken Little. I have been involved in Stereoscopic Photography for 15 years and helped set up the ILM pipeline for Chicken and I am now supervising all the shots from the stereo point of view - good fun.


Captain 3D's work on Chicken Little

www.o-meon.com

'This was digital 3-D done right. An Academy award winning sound engineer once told me that when Surround Sound came into use, the first thing the studio heads told everyone was that this new technology should never take anyone out of the experience of the story they were watching. And that's precisely what Disney did with its "revolutionary new system" of digital 3-D technology.

After a few dazzling three-dimensional effects during the opening credits, a few moments spent ogling the depth and clarity of the image, you soon forget that what you're watching is a huge special effect. That's not to say that the 3-D imaging is toned down once the movie gets going; quite the opposite. The depth, lighting, and shading is so crisp, so clear that the experience soon becomes as natural as watching a ball game from the bleachers of your favorite stadium.'

Industrial Light & Magic, San Rafael, California - 2004-2005

ILM again for War of the Worlds. Nice to be on a show from the start and really get involved at establishing the animation for the film.


 

Industrial Light & Magic, San Rafael, California - 2003-2004

Well I am pleased to be back at ILM again for the third time in 3 years. I have started work on the creature movie Van Helsing as a Character Animator. Looks like a lot of fun ahead.


Complete Pandemonium, San Francisco, California - 2003

This new job is previz animation for a digital feature that will be completed at CORE in Toronto next year. Working with the Director Steve Spaz Williams and the small team was great fun. Hope it all works out for them. Look out for this animated animal movie in 2005.

 

Industrial Light & Magic, San Rafael, California - 2003

It is great to be back at ILM as a Character Animator and especially good to be on the Hulk as he was a childhood favorite of mine. Tons of great work all around for inspiration. See my Hulk Hands.



 

The Orphanage, San Francisco, California - 2002

I am about to start animating at The Orphanage a studio started by exILMers and now pulling feature work of their own. The project is Jeepers Creepers 2. Yes they are making another!

 

Industrial Light & Magic, San Rafael, California- 2001 - 2002

I worked at ILM as a Character Animator for 15 months. It was a very exciting time for me as it was my first job in a major studio. My time was divided between the Commercial and Feature departments working on shows like Honeycomb and Men in Black 2. The job was not without its frustrations as I could not work on many of the fantastic projects that a studio of this size and reputation can attract. Maybe another time.

 

 

Pump-Action - London, England - 1998 - 2000

You can read all about this film in the Pump-Action section but here is the first clip I ever posted on the web. It was my first piece of character animation and this sequence took 45 days to produce. The finished animation took 14 months in total and then a further 6 months of film festivals and promotion until it all finally paid off with a new job at ILM.

 

Freelance Artist - London, England - 1992 - 1998

I had finished college for the last time in July 1992 and over the next six years I worked freelance on a wide variety of projects including photography, stereo photography, ViewMaster, slide duplication, Photoshop, Quark, scanning, printing, galleries, commission's, installations, multimedia, stereograms, teaching, travel, presentations, 3D modeling, animation, video, editing, visualization, HTML, accounts and invoices. I even got married to Deepa. There was a fair share of excitement and disappointment but there was always an underlying frustration with the service work I had to do compared the relatively rare creative projects.







 

Royal College of Art - London, England - 1990 - 1992

I went to the R.C.A. for two years of postgraduate study in the field of furniture but quickly grew frustrated with the limits of furniture as a vehicle for communicating other more interesting ideas. I was not satisfied with the design challenge alone and struggled to identify what I wanted out of the subject.

After seeing the film 'Edward Sissorhands' things seemed to click...(Diary extract -16 July 1991)

"My furniture ideas are interesting to experience in the short term, but who wants to live with a Spider Chair for 20 years? Especially at a ridiculous one-off price. But put that in a film and the audience only lives with it for an appropriate length of time and the money and effort required to produce a single object are justified as it is in fact mass produced in its most important social aspect - Visual."

Throughout my time on the course this idea kept coming up and it very nearly turned into a final project involving computer animation...(Diary extract -8 January 1992)

"Computer Lead...Film/TV/Theatre? Maybe these could combine into some thing visual - A computer generated piece of furniture that can change and adapt - the ultimate adjustable chair - produced through a story on TV by computer. Not a physical thing but a fantasy experience. These are the ideas that excite me."

It was to be a few more years until I finally got to experience this area but at the RCA I had made my first steps into computer art work thanks to Patrick Russell who runs the computer lab. I enjoyed Photoshop and tried to avoid the technical drawing programs that we were supposed to be using.

Alongside all of this I had spent a few days in the Holography department run at that time by Martin Richardson and he had introduced me to the principles of Stereo Photography. This initial curiosity turned in to passion worthy of its own section on this website - Stereo.

 

Orchardton House - Auchencairn, Scotland - 1989 - 1990

Ed Marshall and myself spent the year following our BA in this great Auchencairn house called Orchardton run by Bill and Caro Barlow. After a lot of snooker and table tennis we finally started to return to work developing our furniture ideas. With the next academic year approaching we decided to rebuild our portfolios with the latest work ready for post graduate college application. We both got into the Royal College of Art.

 

Newcastle Polytechnic - Newcastle upon Tyne, England - 1986 - 1989

It is now a University but when I was there it was a Poly and it was a fantastic three years. When I started the course it was a BA hons, 3D Design Craftsmanship in wood metal and plastics. The name was a lot shorter by the time we all finished but more or less I spent my time on the course designing and making furniture. I also made some life long friends, produced some work I am still proud of and use today and discovered the excitement of going out at night without having to tell anyone where you were off to.

 

Southport Art College - Southport, England - 1984 - 1986

Two years of Art Foundation was a great time for learning new ideas, approaches and techniques. I met a new cross section of people and enjoyed plenty of good laughs there. Life drawing, photography and video were a few of the things I tried for the first time at Southport. But I would like to dedicate this section to the musical talents of Garnet Wood and John Murphy who out classed any paintings we could turn out.

 

Range High School - Formby, England - 1978 - 1984

I had my first taste of home movie making during this time when I borrowed my dads Super 8 camera and with the other lads, took it for a swing in our first epic The Rope. Next, inspired by 'Lord of the Flies' from Mr Yate's English class we set about making our own three minute version of the book but 'Star Trek the Cine' was to be our first two reel feature.

Unfortunately despite weeks of preparation and a promising first reel we could not reassemble the cast for a second days shooting...amateurs. Along side a lot of drawing I became interested in electric guitars and made several in Mr Seddon's wood work lessons.