Spirit Halloween — Times Square Billboard

I worked directly in the Times Square animation scene and kept the production Blender files moving.

I rendered the billboard sequence and chased compositor and render-farm problems until the output was reliable. Later I went back in for lip-sync polish on specific Jack Reaper lines. Those moments are small, but on a screen that size a sloppy mouth is all you see.

I also built the breakdown materials we used later: viewport, shaded, clay, wireframe. And I kept the Times Square context scene so the shot could be shown in-camera, not only as the final plate.

This is a good example of the work I like. The performance has to be right, and the file has to get through a farm and a real display constraint.

Forced perspective only works from a specific sidewalk angle. Every camera and layout decision is in service of that view.

VR preview was not a gimmick. It was how we checked whether the punch read as volume or as a sticker.

Render-farm compositor behavior can silently drop what you think you delivered. I treated that as part of the animation job.

This was a team piece. I did not model Jack, design the whole board, or animate every element. I animated and polished inside the production scene, fixed the technical delivery, and owned the files we shipped from.

The production was widely awarded, including NYX Marcom Grand (Billboard), Hermes Gold, Muse Platinum, Horizon Gold (twice) and Silver, Vega Canopus, and a Communicator Award of Distinction. Those belong to the campaign.