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Sesame Workshop Films
This is one of the best productions I ever worked on and I would happily do so again. Corny Cole, a former teacher of mine said that as artist, some time in your career, you will encounter a project that you will work on for free. This was the one. The Electric Company was an internship I took on in the summer of 2009. It paid 150.00 a week an that barely covered room and board—but I was HAPPY.
Here are my contributions to the project. I did illustrations for matte painting and props, maya modeling and rotoscope. I worked on the episodes, One Smart Cookie and One Bad Apple. I also storyboarded several PSA’s.
In internships, you get to do everything! Yay!
These are BG pastels for a matte painting in the episode: One Bad Apple. The setting is a Western that takes place in a refrigerator.
Storyboards. The 5 boards for the following videos were done fast and furious over a weekend in the floor of my Harlem room and a bottle of Muscat! The Punctuation Rap was the most challenging and Short Vowel Sounds was the last one and the loosest. Peculiar how that turned out the best! This was no doubt thanks to the VFX crew at Sesame who gave me the following advice: Make your boards more cinematic! I’m still trying to figure out what that means. Oh, for a story revisionist job in LA to learn what this term means and practice it!
Short Vowel Sounds
Unfortunatley, these boards were never made, but they were an awful lot of fun. I even spoofed the Yellow Submarine’s Sea of Holes for the Whack a Mole gag. Perhaps they will be made at a later time:)
Texture and Bump Maps
This is a spoof on Abbot and Costello’s Who’s on First with punctuation marks.
Finally the tv ad with CHICKEN. I got to use my Flash and Illustrator skills for this last task at Sesame:)
So ends a FANTASTIC summer at Sesame. Many thanks to Todd Rutt the graphics producer who hired and kept me on depsite my rudimentary After Effects skills and found other things for me to do. Thanks to Peter Gagnon who finished teaching me After Effects and providing so much humor and support. Thanks to Gloria Lau and Ed who turned my storyboards into MAGIC in Maya and After Effects. Thanks to Leah Baker, Shakka Manu, Lena House, Angel Minor and Stephanie Olivieri for helping me survive in big scary New York City. Last but not least, thank you, Chris Weinstein, Scott Cameron and Karen Fowler who made me feel SO important for having drawing skills when I really thought for the past 10 years that I was just a 90’s era has-been.
Thank you Sesame Workshop. I am forever grateful ^_^