NRO


sTARTING FROM A LOT OF SKETCHES

When CACI APPROACHED ME WITH THE IDEA TO CREATED A CINEMATIC PIECE THAT


hidden in plain sight

To name drop, one thing Angus MacLane taught me was to control the viewers eyes in every way. Using speed in a cut is one; but timing and spacing in how pieces move in a match cut can be the diamond in the rough. You can see that in the simpliest way here. our design has the shards line up with the roof of the house and sky in the next shot. The subtle details.


time remap + taylor yontz

i wish i could say this is footage of taylor, and while it isn’t, who am i to take that possiblity away from you?

that said, while working on this shot, taylor suggested, “what if you make her go from sitting to standing up?”

Turns out, just animating the y-position with a lot of dumb luck and graph editor love sold the effect.



worst birthday cake ever

This might be the most complex simple shot I had. to get the graphic look, projecting on geo was our best solution. we also needed moving lights and shadows. animated a displacement map for the scratch in the floor.

so while this looks simple, there are so many moving pieces designed for one purpose. draw your eye to the center, pulling you into our next shot.



Check out even more BTS from Taylor Yontz here.


american horror stories - bloody mary

Client: American Horror Stories
Directed by:
Elastic
Executive Creative Director:
Hazel Baird
Art Direction:
Erica Gorochow
Storyboard:
Erica Gorochow
Design:
Erica Gorochow
2D/3D Animation:
Erica Gorochow, Taylor Yontz, Steve Savalle, Bruno Ferrari
Compositing: Erica Gorochow, Taylor Yontz, Steve Savalle, Bruno Ferrari
Editor: Rachel Fowler
Executive Producer: Kate Berry
Producer: Mitchell Fraser
Color Management: Andrew Young
Coordinator: Zak Micciche
Managing Director: Jennifer Solo Hall