I specialize in pre-production visualization – previs, postvis, cinematography exploration, 3D concept modeling and look development. I love creating concept art and previs for pitching and presenting everything from quick sketches to whole sequences. Experienced in cinematic language, techniques, and design, my goal is to find creative ways to help and enhance the storytelling and visual impact of each project.

Over the last 18 years in the industry, I have developed a diverse skill set working on feature film and television projects.  This includes prior production experience in animation, compositing, modeling, matte painting, environment work, tracking, FX, and render management. It helps me communicate effectively with other departments, stay flexible, and propose of a variety of solutions to production needs.

To see a full list of projects I’ve worked on, as well as a complete rundown of my skillset, please view my CV.

Previs Demo Reel

Reel Breakdown

“Warcraft” (2016)

All previs cameras, main character animation, lighting, and fx by Will Seaborn. Models and textures done by several members of the Third Floor modeling team. Background character animation was offset mocap custom made for the show and implemented by Andrew Farrell.

“Angry Birds: The Movie” (2016)

All previs cameras, character animation, lighting, and fx by Will Seaborn.  Character and set models and textures by Nadja Bonacina.  Final shots from the film by Sony Imageworks.

“Godzilla” (2014)

All previs cameras, character animation, lighting, and fx by Will Seaborn.  Models and textures by several members of the Third Floor modeling team.  Final shots by MPC.

War for the Planet of the Apes (2017)

Halon Demo Reel

Using the Unreal Engine and Maya to create visually striking previs, our Halon team on set in Vancouver worked in tandem with Halon’s head studio in L.A. to create over 40 mins of previs for the final film.  This was a true team effort – no shots were executed from start to finish by one artist, but rather our whole team worked seamlessly together to efficiently get the most out of each sequence.

Artviz Reel

On Lego Movie 2: The Second Part, and DC League of SuperPets, I had a unique role within the Art Department.  I specialized in creating “artviz” – previs that is art directed and rooted in the design exploration of environments and assets.  I would block out the 3D build of environments, explore scale and the translation of 2D concept art into 3D models, and create presentation pieces designed to showcase environments with a cinematic camera-work.

Much of my time on Lego Movie 2 was spent exploring how we could transform environments through animation and theatrically-inspired tricks, seeing if we could change locations and time of day, always keeping in mind the franchises core playful brick-building.

On DC League of SuperPets, it was all about the sprawling city of Metropolis, it’s geography, and how to translate into 3D the amazing scale and design of some wonderful concept art, as well as the design history of the city through eras of the comics.