For all three seasons, I was the CG production manager on Duck Dodgers in the 24th and 1/2 Century. It was supposed to be a 2 month gig. Warner Television Animation hadn't used 3D CG as a regular part of a weekly series, so we were trailblazing. I set up a pipeline, established naming conventions, review and approval procedures, and broke down storyboards into potential shots, which I then reviewed with the co-creators, Tony Cervone and Spike Brandt. I conducted review sessions, sent notes to our 3D house, Liquid Animation, and made sure that they had all requested references.
As Tony and Spike got to know me, they involved me in a number of other tasks, such as custom color modeling, coming up with looks for effects animation, painting illustrations for Liquid to better define what we were going after, painting more critical backgrounds or repainting (tweaking) backgrounds from the 2D overseas studio. I also painted a number of illustrations for publicity, or as special gifts for guest stars, created a whole lot of signage. In the 2nd season I was asked to provide more creative visual imput and art direction for the 3D CG animation house as Mark Whiting had his hands full with the 2D work, all in addition to managing the flow of work. During the third season, I became, with Mark's blessing, more involved with art direction for some of the 2D work as well as the 3D work.
These clips reflect different parts of the work I did for Duck Dodgers. At the close of 2nd season, Spike and Tony created a 4 episode "epic" - Of Course You Know, This Means War. For the sequence involving the blunder bomb, I contributed lighting direction, as well as the suggestion that the bomb shrink down to a speck at the start. For the "Diamond Boogie" chase sequence, intended to test combining 2D characters with 3D environments, our 2D Korean studio having no experience with this, I created a how-to guide to follow for painting the 3D city's texture maps.
The Best of Captains features a race through an outer space obstacle course between Dodgers and his arch nemesis, Star Johnson, which I thought could be developed more fully. Spike agreed and we expanded the sequence. The before and after versions of Dodgers' ship flying in and out of a giant cheese demonstrate the difference between what was boarded, and what I added into this sequence.