UNIQUE
David Dozoretz had me join the pre-production team where we spent several months helping to develop previz animation pitch material for an original film with writer/director David S. Goyer for The Walt Disney Company. My focus was primarily on the cinematography and animation of everything not human…
© Disney
ZAFARI
This was a project I worked on back in 2002 with David Dozoretz. He was freshly minted from the Star Wars Prequels and wanted to get an IP of his own going. I was new in the industry and at the recommendation from his Star Wars art department friend, Iain McCaig, David hired me to develop some storyboards and visual development pieces for the initial studio pitch.
I initially produced a series of storyboards (below) that served as a “test” from David before I moved into keyframe illustrations for specific scenes from the animated feature film (as it was planned at the time). It was also a stretch, creatively, because realistic animals were not necessarily my strength. The style ultimately shifted as seen in the above poster, nevertheless it was a welcome growth opportunity.
David finally brought his project to light using the real-time Unreal Engine (the first to do so on a commercial production). Click here to learn more about the process.
© Zafari Holdings, Ltd.
VERIZON
The studio asked me to explore some new design aesthetics for the Verizon “eye” that would be an automated feature of the new line of Android phones. It was a great opportunity to dust off my product design skillset.
It was seen briefly by Verizon sponsorship in tv show Marvel’s Agents of SHIELD.
© mcgarrybowen
ROOSTER TEETH
The studio approached me to produce some designs for a dark tongue-in-cheek game they were developing of an alien delicatessen where the company was illegally creating exotic meat products from alien lifeforms. My job was to quickly sketch out the details of what the processing floor and labs would looks like.
REEL FX 2002-2005
It’s always nice to reflect on where you come from as an artist. The following encompass samples of work from my time at Reel FX in its early days. The benefit of a small boutique studio is the many hats you are required to wear on any given project: commercials, storyboards, creative direction, marketing and print, conceptual art for themed, feature, vfx, and animated projects.
