Sean is the kind of guy that does not tend to sing his own praises, so I will have to sing them for him. It's a small token for such a generous fellow. Generous he is, with both his time and knowledge, and it makes him wonderful to work with. We worked together on Major Damage; in separate time zones he would often be the only one I could find still awake. He is another team member that I didn't meet until Siggraph 2001, and a fellow presenter on the project. He's very understated and full of surprises. He's the perfect blue-eyed blonde boy next door type (Ok, he has green eyes!), so humble and quiet you wonder if he can face the task at hand. But face it he does, and with a quiet ease he pulls it off with flying colors. He's probably helped me before the Damage project under his alias on the Maya Listserv since he has posted there for years. He's helped a lot of people, and recently his aptitude for instruction landed him a position as the only current Maya instructor at the Art Institute in Los Angeles. There are a lot of very lucky students out there, and a new generation of qualified artists about to enter the field, all because of Sean.

  Give a brief overview of what you do:

Computer Animation and Digital Effects.  My specialties are CG Lighting, and Effects Animation.

  Where does your job fit into the production pipeline?

Usually near the end of the production if I’m lighting.  Otherwise Effects Animation can be involved all throughout the production from the planning phase down to when the scene is lit and composited.  I have a long commercial production history so I’m used to wearing the Effects Supervisor hat and doing just about everything.

  How long have you worked in the field?

I’ve been in the field for nearly 5 years.

  What have been your projects to date?

A personal short film called "Pieces…Man". "Major Damage". "Jonah, a Veggie Tales Movie", (Big Idea’ feature film). And commercials: Name Me, Holiday Ride, Pillsbury Toaster Strudels, Colorific Markers, numerous Kellogg’s and McDonald’s commercials, (“Big Things” is the latest McDonalds commercial) and lots more.

  What was your favorite project so far?

I’d have to say my short film has been my favorite, but coming up a close second is a Major Damage.  Whenever you can work from home its always more fun and relaxing.

  What are your perfect working conditions?

Working from home… I haven’t found a place that beats it yet, but if I had to choose a second it was working for the Chicago production company Radar.  Lots of big windows, a large space and I got to work with very relaxed, friendly, enthusiastic people.

  What size team do you prefer, and what sort of location?

I think small tight knit teams are great, because they get into a rhythm and have a lot of fun.  Everyone knows where everyone is working on and how things are progressing.  However the bigger the teams and productions get the more you are surrounded by amazing talent….that definitely leads to inspiration and flow.

  Is there a list of people you would like to work with again?

Kellie-Bea and Doug Cooper, all the guys at Radar…they really know their stuff and are a lot of fun.  Joey Depakakibo who I met working in Chicago…he’s a lot of fun and an amazing illustrator…if anyone needs an illustrator who specializes in freaks and creeps give that guy a call!

  What are some of your favorite movies?

Let me explain, no…too much.  Let me sum up:  Some of my favorites are Fifth Element, Fight Club, Galaxy Quest, Toy Story 1 & 2, Army of Darkness, the list goes on…

  What scene would you have loved to work on, and what would you have done with the scene?  (This doesn't necessarily mean on a project you were involved with, it could be anything.)

Oh jeese, there are plenty but the one that I would have wanted to change is doing “good” facial animation for Final Fantasy, instead of what got by.  That movie is so hard to watch because of the facial animation.

  What project or scene would you love to work on- your dream project? The one you've always seen run through your head that plays so perfectly.

II have a short film that has been in my mind for a long time that is Star Wars-esque (I know, I know) but it’s got stuff in it no one has seen before!  (No it’s not the death of Jar Jar)  If I had 10 grand and a film crew I’d be all over that project.  If anyone wants to give me a grant J  Mr. Lucas?

  If you could step into another crew members shoes for one day, whose shoes would you be wearing?

Director, totally the Director.  I have some pretty crazy images in my head and being able to direct them to completion would be too fun.

  Do you have a list of people you would like to thank or give credit to?

I want to give thanks to all the people who gave me a chance and mentored me: Kellie-Bea and Doug Cooper, the people at Film Workers Club and Radar, my old colleague and teacher Chris Blake, Most especially my parents because if they hadn’t supported me I’d probably be a scientist right now.

 

Copyright © 2002 Firewalk Digital, Renee Dunlop. All rights reserved worldwide

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