An Update on Adventures

'Wolverine & Deadpool', 'Star Wars: Skeleton Crew', VanCAF, and things

Hello,

How are you? I would love to hear from any readers out there. I welcome any comments on the Substack, or any email replies. I would love to know who out there are reading these update newsletters.

OK, let’s get to it.

𝗦𝗣𝗔𝗖𝗘𝗖𝗔𝗧

SpaceCat admittedly has been on a bit of a pause lately. If you have been following me over the years, you know that I will return to SpaceCat, but it comes and goes. If you are here for SpaceCat, please stick around with the newsletter.

The Vancouver Comic Arts Festival (VanCAF) was a huge success. I printed new color copies of my “Adventures of SpaceCat” comic, and sold quite a few at the show.

The original paintings were also a hit, and I sold all of the SpaceCat ones the first day. I made two more that night and sold one the second day. The final one went home with a friend a weeks later.

I’ve been really busy with my visual effects job (see below), but I’m hoping to get back into SpaceCat and posting art once again soon.

𝗩𝗜𝗦𝗨𝗔𝗟 𝗘𝗙𝗙𝗘𝗖𝗧𝗦 𝗮𝘁 𝗜𝗟𝗠

The visual effects industry has been adjusting after the various strikes, but thankfully that has not slowed down Industrial Light and Magic. I have spent most of the year working with the amazing team on ‘Deadpool & Wolverine’. I am a Creature Supervisor at ILM. That means that my team handles setting up the controls and joints for the digital characters (Rigging), and going Cloth and Hair Simulation for those characters as well. If you are interested in what parts of the movie that we worked on at ILM, scroll down to the bottom.

Before ‘Deadpool & Wolverine’, I was working on and off for about a year on the upcoming Star Wars show ‘Star Wars: Skeleton Crew’. I was Creature Supervisor on the show as well. It comes out Dec. 3 on Disney+, so please keep it on your list.

They recently released some images and trailer for the show.

𝗦𝗧𝗨𝗗𝗬𝗜𝗡𝗚 𝗔𝗡𝗜𝗠𝗔𝗧𝗜𝗢𝗡

I love animation, and there is always new things to learn about the craft and filmmaking in general. I stumbled upon a fun YouTube channel by Dami Lee, an architect in Vancouver. The video below is a beautiful analysis of how the sense of place and space are essential for the emotional power of Studio Ghibli’s films. I highly recommend you check it out.

𝗗𝗘𝗔𝗗𝗣𝗢𝗢𝗟 & 𝗪𝗢𝗟𝗩𝗘𝗥𝗜𝗡𝗘 - 𝗩𝗙𝗫 𝗪𝗢𝗥𝗞

░S░P░O░I░L░E░R░S░ ░A░H░E░A░D░

For those interested, i wanted to talk about the work that ILM and my Creature team did on ‘Deadpool & Wolverine’.

ILM was responsible for pretty much everything in the Void desert. This includes the first fight between Deadpool and Wolverine in the desert, the whole bit with Johnny showing up, and the trip to the Antman Arena, up until they fly off on the sentinel leg.
Then later on, we did all the Antman Arena battle shots with the gang driving in in their Honda Odyssey and fighting all the cast of villains.

Our Creature team did a lot of digital double shots with Wolverine and Deadpool and the henchmen. All the blue Avengers/Anarchy flags. We did hair and cloth sims for most of the Johnny shots.

The other ILM teams did an amazing job on the Alioth cloud monster and the Antman Arena, which was a huge set.

The work I personally worked on the most were the shots with Cassandra’s fingers inside Deadpool’s mask/face. I had to figure out how to simulate the fingers being partially inside and outside of the mask. There were lots of iterations and changes, but the end result turned out pretty cool I think. I am really proud of the team and proud to be a part of a film that has been so well received.

Ok, that about does it. See you around.