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SHOWREEL
GET TO KNOW WILLIAMS
Can you describe the extent of any relevant work experience you might have?
Whilst I haven't had direct work experience working within the industry I have been going to animation gatherings and meets ups of industry peoples where I had the chance to increase my network and get an understanding of requirements I need to meet that would help me when going into the industry. I have also been going to screenings of films where everyone gets to ask Q&A at the end to the director/producers of the film. This really helped my understanding of how the films were made, changes people face during different stages of the pipeline, and how teams are managed in a large project.
How would you describe your contribution to your group project?
During my 3rd year in my first group project, my contribution was focused on animation and texturing. I animated several key shots, ensuring that the movement was clear and expressive, while also helping to texture assets using software like substance Painter and Photoshop. These experiences allowed me to understand different parts of the pipeline and how they connect, which has really informed how I approach rigging now — with a more holistic view of the production process.
In my second group project, I was solely responsible for the rigging. I created the full character rig, focusing on clean joint placement, smooth deformations, and creating a rig that was easy for the animation team to use. I worked closely with the animators to gather feedback and made adjustments to ensure the rig supported the desired performance.
What do you specialise in and what made you choose that specialism?
I specialize in character rigging. I was initially drawn to rigging through my background in animation — it became clear to me how much the quality of a rig impacts an animator’s ability to perform well. After working with some rigs that were difficult to use or lacked flexibility, I became really interested in solving those problems myself.
What I enjoy most about rigging is the problem-solving aspect. I like figuring out how to create systems that are both technically solid and intuitive for animators to use. I also enjoy collaborating closely with animators to understand what they need from a rig and making sure the tools I create support their workflow. For me, rigging is the perfect balance of technical challenge and creative contribution, and I’m passionate about building rigs that make the animation process smoother, faster, and more enjoyable.
What would your ideal first role in the industry be?
Junior Rigging Artist
Which of your student projects are you most proud of, and why?
The student project I’m most proud of is my final group project, 'AFK', where I took on the role of lead rigger. I was responsible for rigging two character models, which was both a challenging and rewarding experience. This project really pushed me as a rigger — I had to troubleshoot unexpected issues, experiment with new rigging techniques, and constantly refine my work based on feedback from the team.
What made it especially valuable was how collaborative the process was. I worked closely with both animators and the 3D VFX team, including modellers, to make sure the rigs met both visual and functional needs. This constant communication helped me grow not just technically, but also as a team member. I learned how to take on feedback constructively, adapt my work quickly, and clearly communicate ideas across departments — all of which are crucial skills in a studio pipeline.
Looking back, I’m really proud of how much I grew during this project. I don’t think I would’ve gained the same depth of understanding or confidence in my rigging if I hadn’t had the chance to lead and collaborate so closely with others. It was a defining part of my time at Escape Studios.
What’s a piece of media (film, game, animation) that changed the way you think about your discipline?
There isn’t just one specific title, but watching high-quality animation and film in general has really shaped the way I think about rigging. Seeing how characters move, express emotion, and interact with their environment made me realise how essential rigging is to bringing those moments to life. Rigging is the invisible foundation that allows animators to tell compelling stories — if a rig doesn’t work well, it limits how far animation can go.
What really changed my mindset was noticing the subtlety in great animation — how even the smallest facial movement or body shift needs support from a well-constructed rig. It made me think beyond just functionality and focus more on control, flexibility, and creating intuitive setups that let animators perform at their best.
It also gave me a greater appreciation for the collaboration between departments. Film and animation are so seamless when everything works together — modelling, rigging, animation, and beyond — and it made me want to be the kind of rigger who supports that pipeline effectively. Now, whenever I watch animated films or shows, I find myself analyzing how the rigs might have been built, and it constantly inspires me to improve my craft.
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