Projects

You're going to make a 60 to 90 second film: write a treatment, generate the shots from it, then cut everything that doesn't earn its place until you've got something tight. The work is mostly the edit: pacing it so a stranger doesn't drift, killing shots even when you love them, deciding what stays. That's the real craft of filmmaking, the part that survives every tool change, and doing one of these tells you fast whether the cut is your thing.

You're going to make a 15 to 30 second animated piece: a loop, a micro-story, or a transition. Working in seconds forces something hard: every frame has to carry something (story, motion, meaning) or it goes. That's motion direction, the eye animators build for what to keep and what to cut, and doing one of these tells you fast whether thinking in motion is your kind of work.