TDL Tiki Room - Stitch rehab (2008)

Project History

The list below represents the bulk of the projects I significantly contributed to over the last 30+ years.

Projects not in public view - unfinished, cancelled or otherwise not released - are labelled as "Undisclosed".

2020

Undisclosed D-Ticket (USO)

bluesky/concept support, animation team direction.

2020

Undisclosed E-Ticket (IOA)

bluesky/concept support, animation team direction.

2020

Technical Development
- Integrated Show Development Pre-vis System

concept, UI/UX design.

2019
-2020

Undisclosed E-Ticket (IOA)

bluesky/concept support, animation team direction, performance samples, schematic package.

2019
-2020

Undisclosed Interactive (Epic)

bluesky/concept support, animation team direction,.

2019
-2020

Undisclosed Interactive (Epic)

bluesky/concept support, animation team direction.

2019
-2020

Technical Development
- Interactive System Design (Epic)

bluesky/concept support, animation team direction.

2019
-2020

Undisclosed Area Figures (Epic)

bluesky/concept support, animation team direction, performance samples, schematic package.

2019
-2020

Undisclosed Area Figures (Epic)

bluesky/concept support, animation team direction, performance samples, schematic package.

2019
-2020

Undisclosed Area Figures (Epic)

bluesky/concept support, animation team direction, performance samples, schematic package.

2019
-2020

Technical Development
- FA R&D Project

bluesky/concept support, system design, animation team direction, integration support and programming.

2018
-2020

Undisclosed E-Ticket (Epic)

bluesky/concept support, animation team direction, performance samples, schematic package.

2018
-2020

Undisclosed E-Ticket (Epic)

bluesky/concept support, animation team direction, performance samples, schematic package.

2018
-2020

Technical Development -
Responsive Character System Development
- E-Ticket (Epic)

bluesky/concept support, animation team direction, performance samples, schematic package.

2018
-2020

Technical Development
- Playback/Control System Design

concept, integration design support, animation team direction and creative direction.

2018
-2020

Technical Development
- CG/FA Editing System Design

concept, integration support, animation team direction and creative direction.

2018
-2020

Technical Development
- Mobility Robotics Performance Development

animation team direction, creative direction and programming oversight.

2018
-2020

Technical Development
- Prototype Figure Design

program leadership, animation team direction and creative direction.

2018
-2020

Technical Development
- Programming & Control System Design

creative direction, animation team direction and UI/UX design.

2018
-2020

Jurassic World (USH)

pre-programming, animation team direction, installation leadership/programming and control/playback design.

This was a major rehab to the existing Jurassic Park attraction. My UC figure animation team - myself, Lee Wilson and Megan Robinson - animated the figures for this update, working closely with the USH team and a number of vendors. New additions included two I-Rex figures, one full-sized - walking in and chomping right over the heads of Guests. This figure required an intricate control strategy to maintain good show for various permutations of ride situations. Thanks to Chris Stuart for working those issues out with me.

2018

Undisclosed E-Ticket (IOA)

bluesky/concept support, animation team direction, mockups, performance samples.

2018

Undisclosed Theater Show (UBR)

bluesky/concept support, animation team direction, performance samples, data charts, vendor direction.

2020

Undisclosed E-Ticket Rollercoaster

concept support, animation team direction, performance samples, estimation-level schematic package.

2018
-2020

Undisclosed FA Attraction

concept support, animation team direction, performance samples, schematic package, vendor direction.

2019

Undisclosed FA Attraction

concept support, mockup samples, patent development, performance samples.

2017
-2020

Undisclosed D-Ticket (UBR)

concept support, animation team direction, FA design, performance samples, contractor mgt, vendor direction, schematic package.

2017
-2020

Undisclosed E-Ticket (UBR)

concept support, FA design, animation team direction, performance samples, vendor support, animator oversight.

2017
-2020

Undisclosed D-Ticket (UBR)

bluesky/concept support, animation team direction, performance samples, schematic package, vendor support, animator oversight.

2020

Undisclosed E-Ticket (UBR)

blue-sky/concept support, animation team direction, vendor support, animator oversight.

2017
-2019

Hagrid’s Motorbike Adventure (IOA)

blue-sky & concept, FA design, performance samples, animation team direction, schematic package, vendor direction, FA animator oversight, installation support.

This project is a good example of the importance of vendor selection and communication. Two figures were built by a contractor that had limited experience with high profile figures but worked closely and diligently with the UC animation team and delivered figures that had good performance capabilities. By contrast, two other figures were contracted to a vendor that had more experience but didn't take direction, resulting in a number of issues and in disappointing performances.

Ying Wu was the Lead Animator for D&P and Installation, with support from myself, Chant Lin Ho and Lee Wilson.

2017
-2019

Sing (USJ)

concept support, FA design, animation team direction, performance samples, and schematic package.

For the USJ Sing project, the UC animation team, with the assistance of David Gottlieb, provided full blue-sky and concept development support, final performance samples and schematic package generation. Garner Holt was contracted for D&P and programming.

2017
-2019

Undisclosed E-Ticket (UBR)

bluesky/concept support, animation team direction, performance samples, schematic package.

2017
-2020

Pets (USH)

bluesky/concept support, performance samples, schematic package, installation support.

Pets required significant Blue-sky and Concept support, working closely with the Illumination studio team during the early phases.

The vendor contracts precluded FA Team support during Design, Production and Installation.

2016
-2020

Nintendo (USJ) - Walkaround Figures (Heads)

bluesky/concept support, performance samples, schematic package, vendor support.

A significant amount of effort went in to trying to get as much life as possible out of the Mario, Princess Peach and Luigi heads, while both staying on-model and preserving the ability of the performer to comfortably and effectively engage with Guests. The UC animation team established the target specifications, in conjunction with the Creative Director and vendor to put the project on a solid path.

2016
-2020

Nintendo (USJ) - Donkey Kong

bluesky/concept support, performance samples, schematic package, vendor support.

This attraction will open in the near future.

2016
-2020

Nintendo (USJ) - Mario Kart

bluesky/concept support, performance samples, schematic package, vendor support.

Most of the animation in this attraction is show action equipment, with a few exceptions. Tight show timing made pre-vis work particularly valuable.

The UC animation team delivered schematic specifications to guide SAE design and production.

2016
-2020

Nintendo (USJ) - Yoshi's Adventure

bluesky/concept support, performance samples, schematic package, vendor support.

The animation in this land isn't terribly complex, but there is a lot of it. My team worked with the Creative Director to help mediate communication between the IP, UC and vendors. The main challenge was to define the right level of movement to meet show quality expectations and budget constraints.

2016
-2020

Nintendo (USJ) - Area Development

bluesky/concept support, performance samples, schematic package, vendor support.

As with the Yoshi ride, the challenge was how to get the most expression out of the least movement, with the added challenge of designing animatronics for an outdoor environment.

This set of projects is expected to open soon with the lifting of Covid-19 restrictions.

2016

Undisclosed rehab

concept support, installation support.

2016

Undisclosed E-Ticket (UBR)

bluesky/concept support, performance samples.

2016

Undisclosed R&D Project

concept support and animation.

2016

Undisclosed E-Ticket (UBR)

bluesky/concept support.

2016

Undisclosed E-Ticket (UBR)

bluesky/concept support.

2016
-2017

Vol Live Interactive CG Character (Volcano Bay)

bluesky/concept support, UI/UX design support, development oversight.

Vol is a live interactive venue with a backstage performer controlling the CG face display. We provided both conceptual and technical guidance on character/show design and interactive system/UI design.

2016

Undisclosed D-Ticket (UBR)

bluesky/concept support.

2016

Undisclosed E-Ticket (USH)

bluesky/concept support.

2016

Nintendo (USJ)

bluesky/concept support.

2016

Skull Island: Reign of Kong (IOA)

production oversight, figure checkout/animation.

2015

Spongebob Subpants (Moody Gardens)

CG production lead, interactive performance system design, UI/UX design, installation lead, control system integration.

This was a live, interactive venue with Patrick as a CG character controlled in real-time by a puppeteer integrated with overlapping live controls, pre-rendered 'bit' triggers and branched pre-rendered CG segments and audience interaction gags.

The performance control system was designed by i2i Animation in conjunction with a talented Unity developer and the system won a THEA award for innovation.

A complex set of show control, character performance and interactive requirements was integrated into a single-operator control system.

2015

Diagon Alley: Exchange Goblin (USO)

CG production lead, interactive performance system design, UI/UX design, installation lead, control system integration and animatronic animation.

This was a live, interactive venue with the animatronic figure controlled by a off-stage operator and integrated with branched pre-rendered segments to control audience interaction gags and orientation to look at a specific Guest.

i2i Animation provided animation, interactive performance design and wrote the original Medialon code for the operator UI control system.

2014

Escape from Gringott's Pre-Show (Universal Creative)

figure analysis & mid-production specification, pre-programming, installation leadership and animatronic animation.

10 Goblin bank tellers surround the main queue atrium. The figures were built by Advanced Animations with mid-production specification modifications, figure checkout and animation by i2i Animation.
The Bank Manager design worked particularly well, using carefully managed sightlines to make the right arm seem more complex than it is.

2013

Madagascar Play Area (Super78/Universal)

CG modeling, texturing, rigging and posing (for tooling/sculpting).

2013

Identity & Web Dev (Pinnacle Sports)

logo, identity, UI/UX and web design.

2012

Motionbuilder Rigging (Hinge Digital)

mocap editing, rigging and MB training.

2012

Identity & Web Dev (Therablessing)

logo, identity, UI/UX and web design.

2012

Custom Game of Life (Undisclosed)

concept, game, copywriting, visual design, prototype fabrication and print art.

2011

Star Tours II - WDW MK (WDI)

animatronic animation.

Installed the 20 minutes of data produced for the DL version of G2-9T (see below). Data needed to be adjusted for variations in the relationships between the figure and queue (flipped plan and differences on ramp rake and positioning) in addition to some minor figure differences.

Also animated were the Calimari, some touchups on C3PO, R2D2, C3PO's display panel and various other F/X.

2011

Star Tours II - DL (WDI)

animatronic animation.

A 20 minute dialog loop was edited for this scene. There were just four weeks for programming and I was given the option of doing a 10 minute loop instead. I took the challenge and delivered the full 20 minute show on time, averaging one minute of Guest-ready animation per day.

That's a significant achievement, even considering that the figure is of medium complexity. While there are fewer choices to make there's also increased difficulty in achieving a compelling, unique performance for that extended duration.

2011

Undisclosed Animation Editing System (GHP)

concept development, UI/UX design, system specification.

2011

Howe Caverns (GHP)

animatronic pre-programming animation.

This figure was produced by Garner Holt for Howe Caverns in New York, a likeness of Lester Howe that gives an introduction to the history of the caverns.

This is a pneumatic figure that was pre-programmed over the course of about a week as it was assembled bit by bit. It was about the only time I can remember animating a figure in pieces - an arm one day, the torso the next, head but no face the next, etc. There were just a few hours with the whole figure together to clean up the show on the final day as it was packed for shipment.

2011

Undisclosed IAAPA '11 Show (GHP)

editing system design support, animatronic animation.

2011

Military Simulation (GHP)

animatronic animation and figure installation support.

2010

Donkey Live (Super 78/RWS)

interactive system design/development, system specification, project management, UI/UX design, system integration, field installation.

The character control system had to be designed from the ground up on a shoestring budget. I designed, spec'd and project-managed a customized control UI and a standalone real-time animation playback system driving an off-the-shelf real-time CG application (MotionBuilder).

Serious issues with animation production scoped to other vendors required in-field system modifications to compensate for a range of content problems at the engine design level.

2010
-2011

Journey to Madagascar (GHP/RWS)

installation leadership, animatronic animation, control coding, electrical/mechanical/pneumatic support, integration support.

This show involved two full installation efforts as there was a major redesign immediately after park opening.

In addition to figure animation and F/X programming, I provided coding and design support for the Opto-22 based control system, integration support, mechanical and electrical installation support, and pneumatic T&A as well during both installation efforts.

2009

Atlanta Christian Family (ACF)

graphic design, magazine layout.

2008

Tiki-Room/Stitch rehab TDL (WDI)

pre-programming, animatronic animation, installation support.

This was a major rehab that included replacing the center fountain of the original TDL Tiki Room with a high-performance Stitch figure.

I worked with the WDI Show Animation & Programming team on overall installation, programming birds and F/X, but my main responsibility was delivering Stitch's performance.

2008

Mr. Potatohead - DCA & WDW MK (WDI)

CG pre-programming and animatronic animation.

Mr. Potatohead is an interactive show that included around 700 individual animation segments. My contribution was three songs, the longest class of segment, and a dozen or so of the interstitial bits.

Although I wasn't involved with this show during concept or interactive design, many of the pre-vis, interactive control and hybrid figure innovations I spear-headed in the late 90's were utilized on this project.

2007

Spaceship Earth - Epcot (WDI)

installation leadership, animatronic animation.

When I was brought in the installation effort was significantly behind and not expected to meet the targeted opening date. Working closely with Maintenance and directing other animators, we delivered on-time.

Figures animated included the Shaman, Roman, Greek, Renaissance, 20th century and Computer Age scenes, providing support and direction for animators working the other scenes.

2007

Sindbad's Storybook Voyage rehab - TDS (WDI)

installation leadership and animatronic animation.

This rehab included a replacement of all music, much of the dialog and the addition of some figures. All figures in the show were animated from scratch to match the new material, show elements and cadence.

The project was almost six weeks behind when I arrived. I animated 45 characters (one minute loops for each) in five weeks to get it back on track.

2006

Jungle Cruise HKDL (WDI)

installation leadership and animatronic animation.

This project scope was initially limited to installation and animation of a few new gorilla figures. After reviewing the show, there were enough performance and data issues with other parts of the show that the scope was expanded to include re-animation or fixes on most of the animation as well as providing documentation updates within the same timeframe originally alloted.

The main challenge was that it was monsoon season and to complete the work we needed to work late into the night. The image at right doesn't show all of the flying and crawling insects using my clothes as a safe haven. Ken Swapp worked with me throughout the action-packed final weeks in spite of the fact that we both were ill - Thanks for all the help Ken!

2006
-2007

InterCasino (Cryptologic)

art direction, Content team leadership, game concept, aesthetic development, UI/UX design.

For two years I commuted from Portland, Oregon to Toronto, Canada to provide visual development leadership for the Content team.

A key objective was managing the tension between the corporate objectives of breaking new, innovative (marketable) ground and at the same time maintaining a well-established brand identity. One of the solutions developed was using multi-layered parallax panning to give players a feeling of exploring a real casino while maintaining 2D game assets for the on-line lobby.

2006

Yourself Fitness! (ResponDesign)

mocap editing, character animation, video editing.

This was a release meant to help people do yoga. The simple fact that yoga inherently pushes the edges of human range-of-motion created havoc with the motion capture data/rigs. In some cases the data could be un-wound and cleaned up, with careful application of MotionBuilder tricks, but in many situations the animation had to be hand-keyed based on video reference from the mocap sessions.

2005

Undisclosed Game Project (Enigma Games)

character modeling, texturing, rigging and animation.

2004

Phoenix Animation System (i2i Animation, Inc.)

concept development, UI/UX & system design and specification.

2003

Undisclosed Game Project (Loud Games)

character modeling, texturing, UI assets.

2003

Chariots: The First Olympics (Candella Software)

modeling, LOD breakdowns, texturing, rigging, animation, graphic design.

2003

Vic Valiant Demo (Bellyfire Games)

concept, game design, scriptwriting, character development, modeling, rigging, animation, graphic design.

This project concept revolved around the idea of a kid being able to transform into his idea of a hero, with distinct gameplay for both versions of the character. There were a couple things I enjoyed about this project: it allowed us to create two parallel experiences - totally different sets of adventure path details and adversaries - depending on whether he was kid-focused or adult-focused; and while the adult path was less chaotic, the kid path had better rewards. The balance felt good and was great fun to write.

2003

Undisclosed Game Project (Vision Games)

character modeling, texturing, rigging and animation.

2002

Undisclosed Game Project (Syndrome Games)

character modeling & texturing.

2002

Stich's Great Escape (WDW MK)

bluesky/concept support, animatronic specification, and animator training.

2002

Mickey's Philharmagic (WDW MK)

Pre-vis CG modeling, texturing, rigging, animation. AA figure design and project lead, and animator training.

This is not the earliest, but an early example of using pre-vis/digital design for animatronic development. Architectural details were brought in and integrated with character elements and then animated using WDI's real-time editing/control system. The data generated through the pre-vis could then be utilized for real-world evaluation as the figure went through production.

2001

Tappi Firefly (WDAK)

CG rigging and animation, and animator training.

This character was part of a set of environmental-themed kiosks in Animal Kingdom.

Doug Griffith led the character design and CG modeling on this project. This was probably the first time a Disney theme park CG character was designed and animated in-house by WDI. We used the pre-vis real-time editing system I'd developed a couple years before to generate a significant amount of animation in a short time, and also train other animators on the process.

2001

Buzz Lightyear Atro Blasters (DL/WDW MK)

bluesky/concept support, figure specification and production support, and animator training.

This is an example of a hybrid figure - part animatronic and part CG/projection.

John Cutry animated this figure for the initial installation. As with all of the animatronics developed for Pixar and/or Disney Studios, there is a lot of cooperative effort to make sure we get the best balance of character performance, staying on-model, and providing the parks with a maintainable show.

2001

Undisclosed E-Ticket Attraction (DL)

bluesky/concept support, pre-vis modeling, texturing, rigging and animation.

2001

Undisclosed E-Ticket Attraction (DSP)

bluesky/concept support, pre-vis modeling, texturing, rigging, animation, and animator training.

2001

Undisclosed C-Ticket Attraction (DL)

blue-sky/concept lead, storyboard, pitch presentation, system design, CG modeling, texturing, rigging, animation, animator training.

2001

Undisclosed Technical Development (DL/WDW MK)

bluesky/concept support, CG modeling, texturing, rigging, animation, animator training.

2001

Technical Develpoment - Advanced Facial Expression

cg modeling, animation. AA design, animator training, AA production direction.

2001

Magic Lamp Theater - Pre-show Cobra (TDS)

integration & installation support, main-show programming support and animator training.

David Gottlieb did the field installation for the Bahkeet figure. I had done pre-programming and supported the field effort by making sure the integrated editing system for the hybrid AA/CG figure worked, as well as final rendering for the video eyes after editing was complete, also supporting animator training/oversight and the main show programming effort.

2001

Technical Development - Digital Design Pipeline

concept, modeling, rigging, animation, animator training & team direction.

2001

Meeko & Pocahontas (DL)

concept development, CG modeling, texturing, rigging, animation. AA design, production direction, audio production, AA animation, animator training and show test support.

This was WDI's first completely portable animatronic figure. Pocahontas carried the basket out with her, told a story and controlled Meeko's responses and Guest interaction via a hand-held prop. The system included figure control, audio and a "Meeko spit" function.

The project was conceived, designed, produced and tested by the Production Division's technical development team.

2001

Jungle Cruise (HKDL)

bluesky/concept support and pre-vis development.

2000

Undisclosed Area Development Show (TDL)

bluesky/concept lead.

2000

Undisclosed E-Ticket (WDAK)

bluesky/concept support, CG pre-vis modeling, rigging, animation and large-scale presentation, animatronic design and specification.

2000

Muppetvision 3D (DCA)

figure specification, production direction, animator training & oversight.

2000

It's Tough to be a Bug (DCA)

figure specification, production direction, animator training & animation oversight.

2000

20,000 Leagues Under the Sea (TDS)

bluesky/concept support, character design, technical development and mockup direction, animatronic design direction and figure specification.

This attraction required innovation to get the look of floating/swimming Atlantean figures on a dry-for-wet set. The technical development team experimented with a number of methods to find solutions that met both Creative requirements and budget constraints.

2000

Journey to the Center of the Earth (TDS)

bluesky/concept support, performance samples, schematic package, animation team direction/training and installation support.

Journey has mostly fairly simple animatronics and F/X with one very large figure. John Cutry was the lead animator for pre-programming and installation. I was involved mostly during the initial blue-sky, concept and figure specification phases, but also did some work on installation.

2000

Magic Lamp Theater (TDS)

bluesky/concept support, character design, animatronic specification, technical development leadership, production direction, hybrid figure editing system development and animator training.

The pre-show Bahkeet cobra required a number of technical development solutions to bring it to life, including some of WDI's first internally digitally designed parts, video eyes, a complex skin/substructure system, and a special hybrid-figure editing system so the eyes and the body could be animated as a single unit.

2000

Technical Development (TDS)

concept leadership, interactive system design, integration, test & adjust and play-testing.

2000
-2001

Sindbad's Storybook Voyage (TDS)

bluesky/concept support, figure specification, production direction, figure test-adjust, mockup support, animatronic animation, animator training and installation support.

Sindbad is one a the largest animatronic shows ever built, with 150 figures. Eight animators assisted with the initial figure animation prior to installation. The figures are highly stylized but still expressive. Working on this attraction was a joy.

2000

Superstar Limo (DCA)

figure specification, production direction, figure checkout, pre-programming and animator training.

2000

Undisclosed Technical Development

team leadership, evaluation/direction and presentation support.

2000

Undisclosed Technical Development

concept development, specification, project management, evaluation/direction and presentation development/direction.

2000

Undisclosed Technical Development

concept development, specification, project management, evaluation/direction and presentation development/direction.

2000

Undisclosed Technical Development

aesthetic direction, and presentation development/direction.

2000

Undisclosed Technical Development

concept development, specification, aesthetic direction, and presentation development/direction.

1999

Pirates of the Carribean rehab (DL)

installation leadership, animatronic animation and animator training.

Pirates gets a touch-up every once in a while. I was involved in probably three major rehabs and a few smaller ones while at WDI. if a figure is working pretty well, we may just tune it up and move on, but it's often easier to just re-animate rather than try and undo all of the adjustments that have been made in the course of daily maintenance to try and make the existing data play correctly.

1999

Winnie the Pooh (TDL)

bluesky/concept support, figure specification, production direction.

1999

Innoventions - Minimatronic (Epcot)

concept support, animator training and programming support.

1999

Technical Development

D&P/R&D cooperative development, design support, evaluation, character animation.

1999

Technical Development

aesthetic direction for mechanical and skin system development.

2020

Technical Development

aesthetic direction for facial expression development.

1998

Undisclosed Interactive Project (DCA)

bluesky/concept support, character design, figure specification, robotics IP interface, system development, interactive performance design.

1997
-1998

It's Tough to be a Bug (WDAK)

bluesky/concept support, character design, figure specification, production direction, technical development direction, system development, integration, FX programming, installation leadership, animatronic animation, animator training.

This was a challenging project. It was set to open before "It's a Bug's Life" would be released, something we'd never done before with an IP-driven design. We wanted to be sure our figures matched the film, but they hadn't been developed yet, so it took some doing. Plus Hopper is huge - 9.5 tall - with arms that had demands beyond our tech at the time (and he has four of them).

Hopper was the most complex figure every built for an attraction (at that time), with 68 functions. Between Flik and Hopper we probably developed a dozen or more new innovations in mechanical design, skin, substructure design, materials and digital development. All for about a minute of stage time per figure.

1997

Technical Development

creative leadership & direction.

1997

Technical Development

creative direction.

1996
-1997

Tiki Room upgrade (WDW MK)

bluesky/concept support, character design, figure specification, production direction, figure checkout, animator training, animatronic animation.

This project added Iago, Zazu and a tiki god named Uh-oa to the existing show with new songs and dialog.

The mechanical team did an amazing job of stuffing the two MC birds with as much mechanical movement as possible, but my favorite figure was Uh-oa. For the small number of animated axis she had, she could hold the stage quite well.

1996

Ellen's Energy Crisis (Epcot)

bluesky/concept support, character design, figure specification, production direction, figure checkout, integration, FX programming, installation leadership, animatronic animation.

This project was a big object lesson for me about the importance of taking a confident, aggressive approach to creative direction, particularly in areas where I have conviction. A couple of key team members insisted that they didn't need oversight or direction (one being an executive producer and the other a mechanical design lead, both with decades more tenure than myself). Foolishly, I didn't push back hard enough and by the time problems were identified it was too late to make changes. Among other issues, the face came out looking nothing like Ellen. The large functions moved pretty well though, so the overall performance didn't look too bad from a distance, but close-up it wasn't good show, but we had to make some drastic changes in-situ that changed the staging significantly.

1996

Innoventions Sky Cyberguy (Epcot)

installation leadership and animatronic animation.

This show included sixteen minutes of animation to support a degree of Guest interaction - basic branching at a few well-defined points in the show.

The main challenge was just on-time delivery. There were four weeks allotted for programming, which meant completing four minutes per week. Even with a 60-80 hour week, when considering time lost to maintenance and/or operational downtime, that meant delivering 45-50 seconds of finished animation per day. On a high-performance human figure with over 30 functions, that's a whole lot. Fortunately, the editing system Steve Silverstein and I designed allowed for a high-efficiency animation workflow and the show was delivered on-time.

1996

Fighting Pirate rehab (DLP)

installation leadership and animatronic animation.

1995

Technical Development

concept, UI/UX & system specification, development direction, test & adjust.

1995

Transportarium (WDW MK)

installation leadership and animatronic animation.

While working on Sonny Eclipse, I heard that the Transportarium team had been having difficulty with the Timekeeper figure. So, for a while, after finishing my shift working on the Tomorrowland Terrace show (see next) I moved my equipment over to the Transportarium theater. I found a variety of show data and performance issues, cleaned them up, re-documented and got back to my primary project responsibilities as soon as I could.

1995

Sonny Eclipse (WDW MK)

installation leadership and animatronic animation.

The big challenge of Sonny Eclipse is managing the keyboard playing. For maintenance and figure safety reasons, we can't physically touch the keyboard, but Guests walking outside the Tomorrowland Terrace restaurant can look directly at Sonny from the back, so he has to get very close to the keys to avoid looking silly.

There are hundreds, maybe thousands of keypress gestures in the show - 32 minutes of animation - most of it with Sonny singing and playing eight songs on his "Astro Organ". With compound motions of the arms and body it is very labor-intensive to adjust for tight finger-key registration. Then, once it looks great, something changes on the figure (in mechanics and/or control) and you get to start again. Three animators worked on the initial animation - I believe I animated four of the songs and most of the interstitial segments during pre-programming and then installed the show at Tomorrowland Terrace during the night shift.

1995

Fighting Pirate rehab (DLP)

installation leadership and animatronic animation.

1995

Alien Encounter - 2nd installation (WDW MK)

installation leadership, integration, FX programming, animatronic animation.

For the second installation Doug Griffith assisted with animation, taking on the S.I.R. figure while I worked on the two Skippy figures in the pre-show and the Main Show figures, splitting FX programming in each of the two theaters with Eric Swapp.

This second installation had clearer story and character development.

1994

Alien Encounter (WDW MK)

production direction, figure checkout & test & adjust, pre-programming, installation leadership, integration, FX programming, animatronic animation.

On the first installation, there was a different script, dialog and aesthetic direction. Most of the physical show elements were the same in both installations, but the content changed.

I handled figure animation and worked with Eric Swapp on FX programming.

1994

Bear Band Vacation Show (TDL)

installation leadership, animatronic animation.

We re-programmed both the existing show and the vacation show so the seasonal shows could be swapped out quickly without figure adjustments.

It was always a pleasure working with the TDL Maintenance team. They do an extraordinary job of keeping the figures working properly and provide exceptional installation support. I appreciate that for many reasons - one being that it gives me more focused time to add expressive details to the show, little moments that really bring the characters to life.

1994

Technical Development

concept, UI/UX design, production direction, test & adjust, field testing.

1993

Carousel of Progress rehab (WDW MK)

lead animatronic animator, installation leadership.

This was a major update, re-animating the entire show with a new script and new staging in the finale scene. Bob Koch animated two of the scenes and I took care of the rest. Steve Silverstein and Eric Swapp supported us with show programming and Steve also did software development, creating an application driving some of the visual effects in the finale.

This was a fun project to work on, partly because it was a great project team and partly because I had fond memories of seeing the show as a kid at Disneyland in the late 60's.

1993

Food Rocks (Epcot)

figure checkout & test & adjust, animatronic animation.

1993

Roger Rabbit Car Toon Spin (Epic)

design support, figure specification, production direction, figure checkout and test & adjust, pre-programming & play-testing, installation leadership and animatronic animation.

Working with Joe Lanzisero and the rest of this project team was a joy. The playful nature of the subject matter coupled with Joe's creativity and leadership style were a perfect match.

The image at right is a photo of Joe Lanzisero taken a few years ago (he's the one on the left).

1993

Technical Development

concept, production direction, test & adjust and field testing.

1993

Star Tours Post-Show - Rox-n (DLP)

design support, figure specification, production direction, figure checkout and test & adjust, pre-programming & play-testing, installation leadership and animatronic animation.

This was one of the first interactive shows I worked on and it taught me the importance of full-mockkup play-testing. Ultimately, by the time any given Guest pressed a button there was such a backlog for the playback system queue to service that the relationship between Guest action and figure response was broken - the figure may as well have been on a simple loop.

The character was fun to animate. Of medium complexity, but since it was an abstract, robotic design the character could hold the stage more easily than a more naturalistic human of the same complexity might.

1992

Visionarium (TDL)

figure checkout, test & adjust and animatronic animation.

Translating the show into Japanese from the original French (for Disneyland Paris) required re-programming from scratch.

I did the initial animation and animation used for the pre-show video as well as support for the video shoot and Bob Koch handled the field installation.

1991
-1992

Overall Park Animation (DLP)

installation leadership and animatronic animation.

There were a bunch of smaller animation and show programming tasks around the park. I supported Lead Show Programmer Eric Swapp on any and all tasks that needed attention.

The design and fabrication work we had done in 1989-1990 to develop the Portacon made effective park-wide animation and show programming possible. One person was able to carry all the equipment needed to do most tasks, allowing us to work independently and move around quickly to respond to the constantly changing installation requirements of the many different project teams.

1991
-1992

Visionarium (DLP)

figure checkout, test & adjust, installation leadership, external FX (spires) and animatronic animation.

Four other animators were assigned to the field installation for Timekeeper (Dave Feiten, Bob Koch, Deborah Short and Michael Sprout) while I handled most of the rest of the animation in the park. A couple of them became ill and I took over for a couple weeks to keep the project on-schedule and assist during a video shoot for the pre-show.

1991
-1992

Dragon's Lair (DLP)

installation leadership and animatronic animation.

This is an example of great animatronic design, passive storytelling and Guest engagement. The dragon sleeps most of the time, with a collar and chain clearly visible and indicating that it is constrained. Once in a while it wakes up and raises its head to reveal that the chain is broken.

This is masterful not only because it gives Guests, especially young ones, a thrill, but it also provides story and staging cover for the fairly limited animation in the figure - to keep a fully free and alert dragon alive would have required significantly more complexity.

1991
-1992

Fountains of Death (DLP)

installation leadership and FX programming.

1991
-1992

Alice in Wonderland Hedgemaze (DLP)

installation leadership, animatronic and FX animation.

1991
-1992

Big Thunder Mountain (DLP)

figure checkout, test & adjust, installation leadership, FX programming and animatronic animation.

I worked with Eric Swapp on this attraction. Most of the animation was simple figures or FX programming. The challenge was access, as is often the case with rollercoasters. To get to the work we either had to row across the surrounding moat in a small boat, or brave the path through the track tunnel, which had its own challenges.

1991
-1992

Star Tours (DLP)

figure checkout, test & adjust, installation leadership, FX programming and animatronic animation.

This installation, like all the rest in the park was done in the middle of the Paris winter. Freezing temperatures and snow in December and January made some things harder. For example, there was no heat in the building yet, so the temperature of the hydraulic system was much lower during initial animation than a few months later, making C3PO much more exuberant (and look worse) in the Spring and requiring that I go back in and modify the data.

1991
-1992

Pirate Ride (DLP)

figure checkout, test & adjust, installation leadership, FX programming and animatronic animation.

Doug Griffith provided most of the initial animation for this attraction, though I animated a few of the figures, and Bob Koch was the lead during installation, although I popped in from time to time to help out as needed with both figures animation and show programming tasks.

This was a gorgeous attraction, as was the area development for the entire land.

1991
-1992

Phantom Manor (DLP)

field installation direction, figure checkout, test & adjust, installation leadership, FX programming and animatronic animation.

Bob Koch had done most of the pre-programming, although I did a few figures during pre-programmin. I handled the Phantom installation. The main challenge - as is often the case in a ride - is getting time to work since show set work, ride installation, integration and testing absorbs most of the installation schedule. My window tended to be 10pm to 6am.

I was grateful we had designed the programming equipment to be portable, as I often had to work multiple attractions simultaneously, moving from one to the other all over the park as other work crews had openings. being able to lug everything in one trip saved a bunch of time and helped us keep on schedule.

1991
-1992

Technical Development

UI/UX design, fabrication direction, test & adjust and field testing.

1991

Splash Mountain (TDL)

figure checkout, test & adjust and animatronic animation.

1991

Splash Mountain (WDW MK)

figure setup and animatronic animation.

1991

Bear Band rehab (DL)

figure setup and animatronic animation.

1991

Park Support - various attractions (DL)

figure setup, FX and animatronic animation.

1990
-1991

Muppetvision 3D (WDW Studio Tour)

figure checkout, pre-programming, interface with Henson Puppeteers and Creature Shop, installation leadership, animatronic animation and FX programming.

This was my first lead role on a project. Muppets was a great mix of Muppet showmanship, old-world theatrical tricks, FX and new technology.

Probably the most valuable part of the experience for me was getting to work closely with both the Henson Creature Shop and a couple of the Muppet puppeteers, Dave Goelz and Richard Hunt, in addition to getting to spend some time with Jim Henson. Learning about their process and perspective has strongly informed my understanding of important aspects of animation and character performance as an organic process.

1991

Queen Mary Queen Party 'I'm Going Slightly Mad' (Hollywood Records special event)

figure setup and animatronic animation.

Hollywood Records threw a press party on the Queen Mary II to celebrate signing Queen and releasing 'Innuendo'. The event was filled with music industry greats and other celebrities. I animated a human figure to 'Slightly Mad', requested by Michael Eisner, to add a bit of Disney-ness to the festivities.

1990

Technical Development

R&D development support and animatronic animation.

1989

Pirates of the Carribean rehab (DL)

figure setup, installation leadership and animatronic animation.

1989

Star Tours Preshow (WDW Studio Tour)

figure setup, FX and animatronic animation.

G2-4T was the first figure I animated for a Guest-facing performance (previous work had been on training figures or FX & Lighting). Doug Griffith was the lead animator on the project.

Minor trivia note: the figure just up the pre-show ramp - G2-9T - was the last figure I animated for WDI in 2012, 23 years later during the Star Tours II rehab.

1989

Wonders of Life Pavilion - Cranium Command (Epcot)

show programming, lighting support, animation support and FX animation.