David Pumpa

Fable

• Defined level of quality for body and face animation.
• Handled most difficult cinematic sequences, especially outward facing content like trailers or commercials.
• Reviewed cinematic animation for internal and outsource teams
• Owned new features for production to further cinematic goals
• Educated animators on best cinematic practices and helped improve their animation quality.

Fable

• Created cinematic department for the studio.
• Continuously streamlined pipeline with automation and feedback cycles.
• Documented every step of pipeline for animators and artists of all skill levels.
• Reviewed quality for internal and outsource team.
• Translated cinematic directors vision into deliverable goals.
• Focused on team's well being and career growth.
• As department matured, delegated more tasks to artists to encourage growth.

Days Gone

• Created in game cinematics, unique interactions, and cutscenes.
• Spearheaded research and development on potential new tech
• Organized and unified cinematic pipeline
• Tackled unique animation challenges using limited resources and technical skills
• Helped define cinematic language for cinematic assets
• Was responsible for documentation of new tech and processes
• Explored various pre-production methods
• Volunteered with various clubs and cultural initiatives to improve studio interaction.
• Managed and delegated work to rest of cinematics team

Ghost of Tsushima

• Responsible for realistic face animation for golden path cutscenes.
• Mostly just churned out content as studio approached its shipping deadline.
• Used FACS based face rigs.

Days Gone

• Animated most technical and challenging cinematic scenes.
• Programmed tools for both Maya and MotionBuilder to expedite production.
• Generated work-around solutions to adapt to limitations of game engine.

The Order: 1886

• Worked on grapples and prop interactions
• Created workarounds and rigging for Maya and MoCap pipeline
• Assisted animation team with technical issues

The Last of Us: Left Behind

• Versatile animator jumping between animation and motion edit on multiple projects.
• Hand keyed face animation.
• Specialized in scenes with complex character interactions.

Killzone: Shadow Fall

• Worked on video game cinematics using motion capture and hand-key animation.
• Animated body, vehicles, and props using Motion Builder.
• Set up pre-pro environments and characterized rigs on MoCap stage.
• Go-to guy for difficult MoCap scenes.
• Taught new animators proper MoCap workflow.

Call of Duty: Black Ops II

• Created in-game cinematics using motion capture and hand-key animation.
• Generated animation ideas for in-game cinematics.
• Created pre-production for cinematics.
• Directed stunt actors on MoCap stage.
• Incorporated and cleaned animations in Motion Builder.
• Exported animations in various stages to game engine.

Uncharted 3

• Worked on video game cinematics using motion capture and hand-key animation.
• Worked on body, facial, and prop animation using Maya and Motion Builder.
• Incorporated hair dynamics into scenes.

inFAMOUS 2

• Pushed MoCap performances to get maximum effect.
• Frequently worked on two person interactions.

Red Faction: Armageddon

• Cleaned and implemented Motion Capture for pre-rendered cinematics.
• Hand keyed vehicles and creatures in Maya.
• Created facial animation using tracked footage.