Kyle Newton

“Game animator with shipped AAA experience across sports and shooter titles, including FOX NHL/NBA Live 2005, a mocap cutscene workflow on Call of Duty: Infinite Warfare, and first-person weapon work on Black Ops 7. Strong focus on gameplay-readability constraints (frame counts, key poses) and cross-team collaboration to implement animations and seamless gameplay-to-cinematic transitions, primarily using Maya/MotionBuilder and proprietary pipelines.”

Seth Hippen

Screened

Senior Character/Cinematic Animator specializing in games and feature animation

Pleasant Grove, UT25y exp

“AAA character animator with shipped experience across Respawn (Medal of Honor), Avalanche (Hannah Montana World Tour; Hogwarts Legacy), and Halon/Epic pipeline work implementing emotes/idles for Fortnite in UE5. Strong in mocap-driven performance polish and readability-focused gameplay animation, and has led outsourced animators on Hogwarts Legacy cinematics while balancing schedule and runtime rig constraints.”

“Senior gameplay animator with shipped AAA experience on Just Cause 4 (cinematics) and deep UE5 implementation experience—often operating as one of the only animators on a project. Led multiple combat-style animation sets, owned mocap cleanup/polish workflows across Maya/MotionBuilder and UE5, and partnered with engineering/tech animation on systems like AI-driven talking characters (viseme setup).”

“Gameplay/mocap animator with acting/performance background who has owned high-fidelity mocap cleanup/polish and helped build a weapons/combat animation system across multiple character types on a Star Wars title for Disney Interactive. Established a standardized anchor/zero-pose capture protocol to streamline engine integration and cleanup, and has experience optimizing animation/VFX for low-bandwidth 3D Facebook deployments; some relevant mocap work is under NDA for private review.”

“Gameplay/cinematic animator with shipped AAA experience at Naughty Dog (The Last of Us Part II) and Retro Studios (Metroid Prime 4: Beyond), spanning in-game cinematics, player interactions, and mocap cleanup/polish in Maya. Also built locomotion and combat animation for an open-world multiplayer brawler at GameFam, partnering with engineering on hit/reaction prioritization and interruption rules to keep combat readable and coherent in real time.”