Lego Star Wars: The Force Awakens – Poe Dameron’s Escape

December 4, 2016

This cutscene, part of the additional content for the main TFA game, I’m especially proud of as I was given full control over the level art layout. Most importantly for a successful chase scene, the action had to be exciting and visceral but as a cutscene level with only a narrative connection to game play I was also given some serious scene resource limitations to consider as well.
I created the layout using a simple repeating valley section which the level artist offset using crash debris and rocks to break up the uniformity. Using a variety of low camera angles gave the action the urgency it required.
The initial previs took me three days.

Lego Star Wars: The Force Awakens – Poe Dameron’s Rescue

This is another cutscene for “The Force Awakens” additional content. In this scene Poe is rescued by the Resistance’s Starfighter Corps much to Naka Iit’s chagrin who simply assumed his was quite mad.
The fish gag came from nearer the start of the narrative when he quaffed an entire fishbowl of water after being lost in the desert. He’d pocketed the fish intending to replenish it’s habitat at some point.
The initial previs took me four days

LEGO Jurassic World: Velociraptors Attack

August 27, 2016

This is another good example of how to make a visceral and disturbing scene kid-friendly. This time it was the very intense scene from JP2 where the Velociraptor pack attacks the Ingen men in a field of long grass.
The original movie sequence is beautifully choreographed with trademark touches from the Spielberg canon. Working with my director we re-imagined a scenario where the Raptors are more interested in the contents of the mens’ packs rather seeing the men as actual food. Upon discovering a football they demonstrate their prowess in a casual kick around.
The initial previs took two days.

Lego Star Wars: The Force Awakens – The Phantom Limb Intro

In this introductory cutscene for the Force Awakens DLC, I was given the task of prevising the rough layout geometry in addition to the cameras and staging.
It was a uniquely satisfying task positioning the debris of the ship wreck and fashioning the camera and character action around it. Normally for most of the game’s cutscenes we use existing game play level art which optimizes loading times and reduces resource overhead. In this case I had full control over how this scene would play out compositionally.
The initial previs took three days.