Reel and Breakdown

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Tangled 2010
Responsible for all character/prop animation, using Maya software and proprietary studio tools.

It isn’t easy to sum up this once-in-a-lifetime experience; Working among the industry’s most talented artists, in a studio atmosphere steeped in legacy, was a dream come true. The creative bar was set extraordinarily high on this project in every respect, and the guidance provided by animation legend Glenn Keane turned every dailies into a lesson detailing how to reach such a lofty standard. Overcoming the challenges presented by such a demanding production rewarded everyone involved with a better eye, more confident hand, and enriched spirit.


Surf’s Up 2007
Responsible for all primary character and prop animation, using Maya software and proprietary studio tools.

Following my involvement with Imageworks’ animation rig testing group, I was excited to be added to the crew for my first fully-keyframed animated feature, joining the ranks of the studio’s most accomplished artists midway through the production. Despite losing some quality footage to story improvements along the way, I was given rewarding assignments yielding performances I enjoy reviewing to this day. I feel I made significant advances not only in how to approach my work most effectively, but also in recognizing the steps necessary to best capture the director’s vision.


Arthur Christmas 2011
Responsible for all primary character, animal, and prop animation, using Maya software and proprietary studio tools.

I was fortunate to join the crew of this brilliant Aardman production midway through as well, eagerly joining forces with a number of long-admired veterans of the legendary stop-motion studio. Being a lifelong fan, the story's British humour and charm were nicely aligned with my own tastes, making this project a pleasure of which to have been a part.


First Love 2008
Responsible for choreography and all character/prop animation, using a studio-rigged character on Maya software.

Working with Ken Duncan for the first time was the highlight of my home studio freelance work, allowing me the chance to take a short project from abstract through animation, serving as the proof-of-concept element for a feature development pitch. In less than three weeks -- after establishing the parameters of the scene with the client and studying hours of dance reference -- the layout, choreography and animation was rendered and delivered, exceeding the clients’ own high expectations. It also marked the conclusion of a year spent making the most of modest resources, finding creative solutions to a variety of technical and aesthetic challenges, and testing my own self-reliance to great benefit.

Cloudy With A Chance of Meatballs 2009
Responsible for all primary character, vehicle, and prop animation, using Maya software and proprietary studio tools.

This was one of the best experiences of my animation career, and I consider myself fortunate to have been given the opportunity to contribute to such an entertaining film. The crew was a remarkable mix of artists I had worked with before and respected highly, along with a number of talented newcomers to the studio -- the whole group producing wonderfully inspirational work. The novel stylistic approach taken by directors Chris Miller and Phil Lord provided challenges to be met in equally novel ways, all while fostering artist collaboration in a creative environment which valued the team’s input. I feel that this shared sense of investment and ownership resulted in a stronger film, and a very fulfilling experience for everyone involved.

Rig Test 2007
Responsible for all character animation, using Maya software and proprietary studio tools.

Résumé


Ron Smith

Senior professional with over 20 years of diverse experience, including development and direction of a children’s direct-to-video series, supervision of various production teams, and animating on dozens of unique projects. After directing, returned to animation at the feature level, collecting valuable experiences amid the talented crews contributing to a variety of cinematic approaches - primarily keyframe, but live-action integration and performance capture, as well. Proven track record of creative, low-impact problem solving, combined with a comprehensive knowledge of long-form animation production.


PROFESSIONAL HISTORY

Blue Sky Studios Greenwich, CT
2012 to present
Character Animator Epic


Sony Imageworks Culver City, CA
2005 to 2012
Senior Character Animator
Monster House, Surf’s Up, Beowulf, I Am Legend,
Cloudy With A Chance of Meatballs, Arthur Christmas,

Hotel Transylvania,
Tim Burton’s Alice in Wonderland,
Smurfs
, ART - Imageworks’ Animation Rig Testing group

Experience on numerous projects covering several genres: crafting keyframe character animation, live-action integrated CG, and performance-capture enrichment, each based on its own unique production pipeline. Animation representative for ART rig development program, focusing primarily on facial setup and practical testing.

Walt Disney Feature Animation Studios
Burbank, CA
2010
Character Animator Tangled

Making the most of all that this legendary studio has to offer: the vast animation experience and guidance provided by a remarkable team led by Glen Keane, as well as countless classes, seminars, lectures and screenings enlightening every aspect of my approach to, and appreciation of the craft.


Freelance Los Angeles, CA
2004, 2008, 2011
Reel FX Entertainment, Character Animator
Open Season 2
, Action Man (Animation Lead), G.I. Joe Ninja Battles

nVidia, Character Animator
Medusa” demo of real-time rendering hardware

Duncan Studio, Solo Character Animator
First Love” PoC short, OiuDo Entertainment

Sony Computer Entertainment America, Character Animator
Uncharted 2” bid cinematic (awarded), "Uncharted 3" cinematic character animation

Rhythm & Hues Studios Los Angeles, CA
2003 to 2004
Character Animator Scooby Doo 2: Monsters Unleashed! and Garfield – The Movie

Big Idea Productions Chicago, IL
1994 to 2003
Director, Co-Writer, Animation Supervisor
Series Developer, Director and Co-Writer 3-2-1 PENGUINS! 2000–2003
Animation Supervisor Larry Boy and the Rumor Weed 1999
Animator for nearly a dozen VeggieTales episodes
Animation representative for software evaluation team



EARLY CAREER

Freelance Videographer Chicago, IL 1992–1993
Production Assistant, Hoffa and Little Man Tate 1990–1991
Grip, A Rage in Harlem 1990
Design Intern, Telezign Computer Graphics and Animation
New York, NY 1989


TEACHING/SPEAKING
Instructor, Computer Animation II Columbia College, Chicago 1996 to 1998
Featured Speaker at Kalamazoo Animation Festival International 2002

EDUCATION

Internship, Telezign Computer Graphics and Animation, New York NY 1989

BA, Communications, Ohio University, Athens OH 1989

Additional coursework in Computer Animation, Columbia College, Chicago 1991–1993


PROFESSIONAL DEVELOPMENT

Bruce Block The Visual Story Seminar 2002

Richard Williams’ Animation Master Class 1998