3D Animation

Welcome, this page is where I put my work-related posts and serves as my online gallery for employers to browse. My resume can be made available by requesting it from me. My contact is richardHaw888@gmail.com in case you need my resume and demoreel.

I’m only going to show works that I have done in recent years (out of my 20-year career) and only the things that I am allowed to show. Unfortunately, majority of my clients have forbidden me to show what we did and for who because we are subcontractors. I am also a Technical Supervisor so my work usually don’t show up in the final movie and mostly behind-the-scenes like fixing things and making sure things work properly and on-time.

ghostThis is what we are all busy with at the studio. I am currently heading a small team to write new scripts and tools so production will be smooth. I am also helping with designing the new pipeline that we will partially introduce once we hit the middle of the production.

Everybody is hyped with this and I hope that we make this show work. From what I have been seeing here at the studio, this project will have a fresh look and it looks great so far. I am proud to be part of this team, it’s once of my career highlights and it’s going to be something that I will bring with me to my old-age. This is my second time to work on this franchise and it looks like it’s not going to be my last.

ultra Currently working with Production I.G/Sola Digital as a Technical Director / Technical Generalist and it’s a big honor to be working at the same floor with 2 famous names in animation: Aramaki Shinji-san and Kamiyama Kenji-san. Mr. Aramaki Shinji’s work has deeply inspired me and has greatly influenced my life since he first started in the early 1980s. This is a big break for me to be working with a legend.

This is the comic-book version of Ultraman and the setting is different from the TV series wherein the original protagonist got old and had a kid who goes to battle with aliens in a powered-suit. The show is going to be released in 2019 so I cannot share much.

Here’s a preview of what we’re doing at work. It will be shown in Netflix soon so please watch it! I was involved in rigging and writing tools using Python, Extendscript and other languages for Maya, Motionbuilder and 3dsMAX.

A4GHOST_FIXI was part of the team that worked on the 360 degrees VR short movie “Virtual Reality Diver” for the classic “Ghost in the Shell” franchise. I was in charge of rigging and setting up the protagonists Major Kusanagi and her sidekick Bato.

The robots were also rigged in-house and was done by one of my friends. This is a short project with a limited time so we had to do many things just to make it work and make it on time. The facial animation blend-shaped to save time so they were provided by the modelers. Even with the short time, I managed to add some gimmicks for her gun-arm. I wrote a short article here if you want to read more.

This is a fun project and I am happy to know that this is not going to be the last that I will see Major Kusanagi again. It really helps a lot when you love what you’re doing so all the hard work involved in production is well-worth it. It was short and intense but very fun.


Here are some more screen shots of how her setup works. More images and details can be found here on the main writeup including the tools that I wrote for the other team. I enjoyed working on this teaser for the PS VR and mobile a lot just because it’s for nerds!

prime.jpgI was part of the original rigging team on the first season of Transformers: Prime. I rigged some of the vehicles, humans and props. I was also tasked to maintain the asset when something gets changed and the published asset needs to be updated.

This project is episodic so pre-production took some time. The more you spend on doing pre-production and R&D, the less time you will spend fixing things later as the show progress so you can maintain a look that is consistent.

I also made some tools for myself here so I can save time and do more things. I will never forget working for this project and for somebody who loves the series this is a big honor. It’s something that you can tell your kids about and be proud of.



I was in charge of managing the rigging of the monsters in this Final Fantasy XV TV spot. I rigged Leviathan and Titan while the skin weights for the monsters and the rigging for Behemoth were done by my colleagues that I had to manage and supervise. I worked on the Final Fantasy XV video game on one shot with Leviathan as a rigger.

Screen Shot 2015-03-26 at 12.18.59 AMI also write plugins for my own use. Here we see the overlay blending mode that we all love in Photoshop implemented in Maya as a plugin. It mimics what’s happening under the hood on Photoshop so all I had to do is copy the math make plugs for it in the code.

Screen Shot 2017-10-22 at 23.25.48.pngHere’s an image of another plugin that I wrote. It’s used to make openGL locators for use in Maya. These are easier to select and see because they are bold. They can also appear as solids and you can control their shape via transformations.

o0800056913534003059.jpgI worked on this short project wherein the deceased legendary rocker named “Hide” was resurrected in 3D. I helped with the cloth setup and simulation of some of the shots. The animation was several thousands of frames long and having an animator do it manually is not only counter-pructive but impossible and would cause the animator to go insane.

maxresdefault.jpgI made most of the layout and animation for the opening movie of Seventh Dragon 2020II for the PSP. The project was difficult because it only had a short schedule and manpower was scarce. I was a CG Generalist for some time so that helped me get through this one.

puppeteerOne of the shots on the Puppeteer video game has this really huge boss jumping around on the stage in anger and the tiles were jumping around due to his weight. I was made to animate those tiles using dynamics because having an animator do it by hand would be very tedious. I remember the shot to be very long, about 800 frames or something.


Screen Shot 2017-10-22 at 22.57.11I simulated the smoke explosion debris in 3dsMAX using Particle Flow and FumeFX. This was for a TV commercial for the mobile game “Avalon”.

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