NON REALTIME
From lifelike motion to stylized exaggeration, precision meets flexibility: animators can push performances freely while the rig manages the complexity under the hood.
CERATOSAURUS
This project was developed in collaboration with Eyecandy.xyz, where we built the entire piece from scratch, from concept and modeling to final rendering. My role on the project was focused on rigging, with special attention to performance, usability, and realism.
From the beginning, the goal was to create a rig that was lightweight and fast to use, because the final product was intended to be sold on Gumroad and used by a wide range of users, from junior artists to professional riggers and animators. We wanted the asset to be easy to handle, responsive, and clean, without relying on heavy muscle simulations or overly complex systems that could slow down a scene.
The main challenge was achieving believable and realistic deformation while keeping the rig efficient. To solve this, I developed a custom setup that included multiple secondary controllers, jiggle systems, and dynamic elements, as well as a specialized setup to simulate swallowing. All these features were designed to add realism while keeping the rig animator friendly and performant.
The final result is a rig that feels fluid and responsive, capable of achieving realistic motion and subtle secondary deformation, while remaining lightweight enough to be used comfortably in production and by individual artists working on personal projects.
I want it
the light of aisha
For the clay-styled animated feature La luz de Aisha, produced by Mago Productions and released with Filmax, I was responsible for rigging a variety of animals and several key human characters, including the two main protagonists. The film’s tactile clay aesthetic required rigs that respected volume, exaggeration, and the expressive nature of the sculpted forms.
A major challenge was preventing volume loss and intersections, particularly for characters with thick limbs or flowing garments. To solve this, I created automated skirt rigs with a hybrid IK/FK system that reacted to motion via NURBS-based collision detection, combined with corrective joints in flexion areas to maintain solid silhouettes.
Facial rigging posed a unique challenge. While the faces were primarily joint-driven, the mouths used a fully 2D expression system. Through layered controls and a network of utility nodes, we enabled animators to manipulate lips, teeth, tongue, and inner mouth intuitively, achieving expressive performances that matched the handcrafted clay aesthetic.
The final rigs delivered consistent volume, no interpenetration, and full expressiveness, allowing animators to push characters with confidence while preserving the tactile charm of the clay look.
PIPISTRELLO
This project was developed in collaboration with SPC (Supercontinent VE GmbH) for an Austrian feature film, where we handled the full production pipeline of the bat character, from concept and modeling to animation and grooming. My role focused on rigging, making sure the character could move naturally while maintaining realism and animator-friendly controls.
One of the main challenges was the wing rig. Bat wings have a unique structure, combining thin membranes and multiple joints, making folding and flapping particularly tricky. To address this, I designed a hybrid rig using both bones and blendshapes, allowing the wings to fold correctly while still giving animators precise control over deformation and motion.
The eyes presented another challenge. The character had oversized eyes, so a standard blink setup would have caused the eyelids to intersect the eyeball. I developed a custom eyelid rig that perfectly follows the curvature of the eye during blinking, keeping both stylized expression and anatomical correctness.
The final rig allows smooth, realistic motion across wings, body, and facial features, giving animators a flexible, responsive setup. The bat moves fluidly, conveys personality, and works efficiently in production, all while retaining high visual fidelity.
icy silence
This collaborative short with Time Warp Animation was created as a showcase for candidates in the Dota 2 2025 contest. I rigged all characters and creatures, focusing on creating setups that could perform naturally in a fantastical world that leans toward realism without becoming fully lifelike.
The project blended multiple animation workflows—hand animation, motion capture, and automated rig systems like Advanced Skeleton and MetaHuman. My rigs were designed to adapt seamlessly to these methods, providing smooth deformations, intuitive controls, and reliable secondary motion for both creatures and stylized characters.
A key challenge was balancing expressive performance with physical believability. Characters with exaggerated proportions or thick limbs required careful rigging to avoid intersections, preserve volume, and maintain consistency during dynamic poses. The final rigs are flexible, expressive, and efficient, supporting a rich range of movement while keeping the world grounded in a slightly realistic, fantastical style.
robbin commercial
This project was a commercial for ÖBB, Germany’s leading railway company, where I was responsible for rigging all the birds featured in the advertisement. The main challenge was obvious: the sheer number of wings and the variety of bird species required rigs that could handle complex flapping, folding, and subtle secondary motions.
To achieve realism without overloading the scene, I developed lightweight wing rigs that combined joint chains with secondary controllers for feathers and subtle jiggle, ensuring fluid, natural motion across large flocks. Special attention was given to wingtip deformation and collision avoidance between overlapping birds, so every movement felt believable and organic.
tinies trailer
This project was part of Tinies, a game developed by Elixir Games that, although currently on standby, has strong potential to move forward. Tinies draws inspiration from dynamic, team‑based arena games in the vein of Brawl Stars, featuring vibrant characters with exaggerated proportions and playful personalities. For the game’s promotional trailer, I was responsible for creating high‑quality rigs that elevated the characters beyond the highly optimized setups intended for gameplay.
Because game rigs must be extremely lightweight, the trailer rigs allowed us to prioritize artistic performance without sacrificing production efficiency. One of the standout challenges was rigging the mouths in 2D , a first for me , creating expressive facials that worked convincingly within the stylized aesthetic. It was a fun technical adventure that pushed me to balance aesthetics and practicality.
The result is a set of rigs that deliver both visual polish and expressive animation, supporting the game’s energetic feel while showcasing character performances that resonate with players and viewers alike.
the monster
For La Liga’s anti-bullying campaign, I rigged a bipedal monster designed to embody fear itself. The character required a high level of facial expressiveness, so I developed a hybrid setup combining joints and blendshapes to animate wrinkles and subtle facial nuances, keeping the controls fast and intuitive for animators.
The body posed a separate challenge: heavily muscled and dense, it demanded realistic secondary motion. Instead of relying on muscle simulations, I crafted a full bone-driven system with jiggles and corrective joints, preserving volume and ensuring every twist and flex felt solid yet alive. Blendshapes were also used to simulate breathing and small deformations, adding subtle realism without slowing down the scene.
This rig delivers a perfect balance between power and subtlety: animators can push the monster into extreme poses while maintaining consistent volume, expressive facial detail, and fluid movement—all optimized for production efficiency.
MOre comming soon…..
More Projects
NON REALTIME
From lifelike motion to stylized exaggeration, precision meets flexibility: animators can push performances freely while the rig manages the complexity under the hood.
CERATOSAURUS
This project was developed in collaboration with Eyecandy.xyz, where we built the entire piece from scratch, from concept and modeling to final rendering. My role on the project was focused on rigging, with special attention to performance, usability, and realism.
From the beginning, the goal was to create a rig that was lightweight and fast to use, because the final product was intended to be sold on Gumroad and used by a wide range of users, from junior artists to professional riggers and animators. We wanted the asset to be easy to handle, responsive, and clean, without relying on heavy muscle simulations or overly complex systems that could slow down a scene.
The main challenge was achieving believable and realistic deformation while keeping the rig efficient. To solve this, I developed a custom setup that included multiple secondary controllers, jiggle systems, and dynamic elements, as well as a specialized setup to simulate swallowing. All these features were designed to add realism while keeping the rig animator friendly and performant.
The final result is a rig that feels fluid and responsive, capable of achieving realistic motion and subtle secondary deformation, while remaining lightweight enough to be used comfortably in production and by individual artists working on personal projects.
I want it
the light of aisha
For the clay-styled animated feature La luz de Aisha, produced by Mago Productions and released with Filmax, I was responsible for rigging a variety of animals and several key human characters, including the two main protagonists. The film’s tactile clay aesthetic required rigs that respected volume, exaggeration, and the expressive nature of the sculpted forms.
A major challenge was preventing volume loss and intersections, particularly for characters with thick limbs or flowing garments. To solve this, I created automated skirt rigs with a hybrid IK/FK system that reacted to motion via NURBS-based collision detection, combined with corrective joints in flexion areas to maintain solid silhouettes.
Facial rigging posed a unique challenge. While the faces were primarily joint-driven, the mouths used a fully 2D expression system. Through layered controls and a network of utility nodes, we enabled animators to manipulate lips, teeth, tongue, and inner mouth intuitively, achieving expressive performances that matched the handcrafted clay aesthetic.
The final rigs delivered consistent volume, no interpenetration, and full expressiveness, allowing animators to push characters with confidence while preserving the tactile charm of the clay look.
PIPISTRELLO
This project was developed in collaboration with SPC (Supercontinent VE GmbH) for an Austrian feature film, where we handled the full production pipeline of the bat character, from concept and modeling to animation and grooming. My role focused on rigging, making sure the character could move naturally while maintaining realism and animator-friendly controls.
One of the main challenges was the wing rig. Bat wings have a unique structure, combining thin membranes and multiple joints, making folding and flapping particularly tricky. To address this, I designed a hybrid rig using both bones and blendshapes, allowing the wings to fold correctly while still giving animators precise control over deformation and motion.
The eyes presented another challenge. The character had oversized eyes, so a standard blink setup would have caused the eyelids to intersect the eyeball. I developed a custom eyelid rig that perfectly follows the curvature of the eye during blinking, keeping both stylized expression and anatomical correctness.
The final rig allows smooth, realistic motion across wings, body, and facial features, giving animators a flexible, responsive setup. The bat moves fluidly, conveys personality, and works efficiently in production, all while retaining high visual fidelity.
icy silence
This collaborative short with Time Warp Animation was created as a showcase for candidates in the Dota 2 2025 contest. I rigged all characters and creatures, focusing on creating setups that could perform naturally in a fantastical world that leans toward realism without becoming fully lifelike.
The project blended multiple animation workflows—hand animation, motion capture, and automated rig systems like Advanced Skeleton and MetaHuman. My rigs were designed to adapt seamlessly to these methods, providing smooth deformations, intuitive controls, and reliable secondary motion for both creatures and stylized characters.
A key challenge was balancing expressive performance with physical believability. Characters with exaggerated proportions or thick limbs required careful rigging to avoid intersections, preserve volume, and maintain consistency during dynamic poses. The final rigs are flexible, expressive, and efficient, supporting a rich range of movement while keeping the world grounded in a slightly realistic, fantastical style.
robbin commercial
This project was a commercial for ÖBB, Germany’s leading railway company, where I was responsible for rigging all the birds featured in the advertisement. The main challenge was obvious: the sheer number of wings and the variety of bird species required rigs that could handle complex flapping, folding, and subtle secondary motions.
To achieve realism without overloading the scene, I developed lightweight wing rigs that combined joint chains with secondary controllers for feathers and subtle jiggle, ensuring fluid, natural motion across large flocks. Special attention was given to wingtip deformation and collision avoidance between overlapping birds, so every movement felt believable and organic.
tinies trailer
This project was part of Tinies, a game developed by Elixir Games that, although currently on standby, has strong potential to move forward. Tinies draws inspiration from dynamic, team‑based arena games in the vein of Brawl Stars, featuring vibrant characters with exaggerated proportions and playful personalities. For the game’s promotional trailer, I was responsible for creating high‑quality rigs that elevated the characters beyond the highly optimized setups intended for gameplay.
Because game rigs must be extremely lightweight, the trailer rigs allowed us to prioritize artistic performance without sacrificing production efficiency. One of the standout challenges was rigging the mouths in 2D , a first for me , creating expressive facials that worked convincingly within the stylized aesthetic. It was a fun technical adventure that pushed me to balance aesthetics and practicality.
The result is a set of rigs that deliver both visual polish and expressive animation, supporting the game’s energetic feel while showcasing character performances that resonate with players and viewers alike.
the monster
For La Liga’s anti-bullying campaign, I rigged a bipedal monster designed to embody fear itself. The character required a high level of facial expressiveness, so I developed a hybrid setup combining joints and blendshapes to animate wrinkles and subtle facial nuances, keeping the controls fast and intuitive for animators.
The body posed a separate challenge: heavily muscled and dense, it demanded realistic secondary motion. Instead of relying on muscle simulations, I crafted a full bone-driven system with jiggles and corrective joints, preserving volume and ensuring every twist and flex felt solid yet alive. Blendshapes were also used to simulate breathing and small deformations, adding subtle realism without slowing down the scene.
This rig delivers a perfect balance between power and subtlety: animators can push the monster into extreme poses while maintaining consistent volume, expressive facial detail, and fluid movement—all optimized for production efficiency.
MOre comming soon…..
More Projects
NON REALTIME
From lifelike motion to stylized exaggeration, precision meets flexibility: animators can push performances freely while the rig manages the complexity under the hood.
CERATOSAURUS
This project was developed in collaboration with Eyecandy.xyz, where we built the entire piece from scratch, from concept and modeling to final rendering. My role on the project was focused on rigging, with special attention to performance, usability, and realism.
From the beginning, the goal was to create a rig that was lightweight and fast to use, because the final product was intended to be sold on Gumroad and used by a wide range of users, from junior artists to professional riggers and animators. We wanted the asset to be easy to handle, responsive, and clean, without relying on heavy muscle simulations or overly complex systems that could slow down a scene.
The main challenge was achieving believable and realistic deformation while keeping the rig efficient. To solve this, I developed a custom setup that included multiple secondary controllers, jiggle systems, and dynamic elements, as well as a specialized setup to simulate swallowing. All these features were designed to add realism while keeping the rig animator friendly and performant.
The final result is a rig that feels fluid and responsive, capable of achieving realistic motion and subtle secondary deformation, while remaining lightweight enough to be used comfortably in production and by individual artists working on personal projects.
I want it
the light of aisha
For the clay-styled animated feature La luz de Aisha, produced by Mago Productions and released with Filmax, I was responsible for rigging a variety of animals and several key human characters, including the two main protagonists. The film’s tactile clay aesthetic required rigs that respected volume, exaggeration, and the expressive nature of the sculpted forms.
A major challenge was preventing volume loss and intersections, particularly for characters with thick limbs or flowing garments. To solve this, I created automated skirt rigs with a hybrid IK/FK system that reacted to motion via NURBS-based collision detection, combined with corrective joints in flexion areas to maintain solid silhouettes.
Facial rigging posed a unique challenge. While the faces were primarily joint-driven, the mouths used a fully 2D expression system. Through layered controls and a network of utility nodes, we enabled animators to manipulate lips, teeth, tongue, and inner mouth intuitively, achieving expressive performances that matched the handcrafted clay aesthetic.
The final rigs delivered consistent volume, no interpenetration, and full expressiveness, allowing animators to push characters with confidence while preserving the tactile charm of the clay look.
PIPISTRELLO
This project was developed in collaboration with SPC (Supercontinent VE GmbH) for an Austrian feature film, where we handled the full production pipeline of the bat character, from concept and modeling to animation and grooming. My role focused on rigging, making sure the character could move naturally while maintaining realism and animator-friendly controls.
One of the main challenges was the wing rig. Bat wings have a unique structure, combining thin membranes and multiple joints, making folding and flapping particularly tricky. To address this, I designed a hybrid rig using both bones and blendshapes, allowing the wings to fold correctly while still giving animators precise control over deformation and motion.
The eyes presented another challenge. The character had oversized eyes, so a standard blink setup would have caused the eyelids to intersect the eyeball. I developed a custom eyelid rig that perfectly follows the curvature of the eye during blinking, keeping both stylized expression and anatomical correctness.
The final rig allows smooth, realistic motion across wings, body, and facial features, giving animators a flexible, responsive setup. The bat moves fluidly, conveys personality, and works efficiently in production, all while retaining high visual fidelity.
icy silence
This collaborative short with Time Warp Animation was created as a showcase for candidates in the Dota 2 2025 contest. I rigged all characters and creatures, focusing on creating setups that could perform naturally in a fantastical world that leans toward realism without becoming fully lifelike.
The project blended multiple animation workflows—hand animation, motion capture, and automated rig systems like Advanced Skeleton and MetaHuman. My rigs were designed to adapt seamlessly to these methods, providing smooth deformations, intuitive controls, and reliable secondary motion for both creatures and stylized characters.
A key challenge was balancing expressive performance with physical believability. Characters with exaggerated proportions or thick limbs required careful rigging to avoid intersections, preserve volume, and maintain consistency during dynamic poses. The final rigs are flexible, expressive, and efficient, supporting a rich range of movement while keeping the world grounded in a slightly realistic, fantastical style.
robbin commercial
This project was a commercial for ÖBB, Germany’s leading railway company, where I was responsible for rigging all the birds featured in the advertisement. The main challenge was obvious: the sheer number of wings and the variety of bird species required rigs that could handle complex flapping, folding, and subtle secondary motions.
To achieve realism without overloading the scene, I developed lightweight wing rigs that combined joint chains with secondary controllers for feathers and subtle jiggle, ensuring fluid, natural motion across large flocks. Special attention was given to wingtip deformation and collision avoidance between overlapping birds, so every movement felt believable and organic.
tinies trailer
This project was part of Tinies, a game developed by Elixir Games that, although currently on standby, has strong potential to move forward. Tinies draws inspiration from dynamic, team‑based arena games in the vein of Brawl Stars, featuring vibrant characters with exaggerated proportions and playful personalities. For the game’s promotional trailer, I was responsible for creating high‑quality rigs that elevated the characters beyond the highly optimized setups intended for gameplay.
Because game rigs must be extremely lightweight, the trailer rigs allowed us to prioritize artistic performance without sacrificing production efficiency. One of the standout challenges was rigging the mouths in 2D , a first for me , creating expressive facials that worked convincingly within the stylized aesthetic. It was a fun technical adventure that pushed me to balance aesthetics and practicality.
The result is a set of rigs that deliver both visual polish and expressive animation, supporting the game’s energetic feel while showcasing character performances that resonate with players and viewers alike.
the monster
For La Liga’s anti-bullying campaign, I rigged a bipedal monster designed to embody fear itself. The character required a high level of facial expressiveness, so I developed a hybrid setup combining joints and blendshapes to animate wrinkles and subtle facial nuances, keeping the controls fast and intuitive for animators.
The body posed a separate challenge: heavily muscled and dense, it demanded realistic secondary motion. Instead of relying on muscle simulations, I crafted a full bone-driven system with jiggles and corrective joints, preserving volume and ensuring every twist and flex felt solid yet alive. Blendshapes were also used to simulate breathing and small deformations, adding subtle realism without slowing down the scene.
This rig delivers a perfect balance between power and subtlety: animators can push the monster into extreme poses while maintaining consistent volume, expressive facial detail, and fluid movement—all optimized for production efficiency.