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I've spent 15 years obsessing over the craft of character animation — the weight of a landing, the honesty of a blink, the split-second that makes a performance feel lived-in rather than performed. Across AAA shipped titles, animated features, and long-running broadcast series, I've built a body of work that moves between semi-realistic game characters and highly stylised film performances without losing what matters in either: conviction in the pose, clarity in the line of action, and truth in the face. I bring deep experience in English keyframe lipsync, mood-driven facial performance, and LOA-led body mechanics — built over thousands of shots in Maya across games (Gotham Knights, NBA 2K, WWE 2K), feature film (Boss Baby), and series pipelines (Noddy, Mia & Me). I work cleanly inside production schedules, mentor junior animators, and care about the frame next to mine as much as my own.…I've spent 15 years obsessing over the craft of character animation — the weight of a landing, the honesty of a blink, the split-second that makes a performance feel lived-in rather than performed. Across AAA shipped titles, animated features, and long-running broadcast series, I've built a body of work that moves between semi-realistic game characters and highly stylised film performances without losing what matters in either: conviction in the pose, clarity in the line of action, and truth in the face. I bring deep experience in English keyframe lipsync, mood-driven facial performance, and LOA-led body mechanics — built over thousands of shots in Maya across games (Gotham Knights, NBA 2K, WWE 2K), feature film (Boss Baby), and series pipelines (Noddy, Mia & Me). I work cleanly inside production schedules, mentor junior animators, and care about the frame next to mine as much as my own.

Ayan Das

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I've spent 15 years obsessing over the craft of character animation — the weight of a landing, the honesty of a blink, the split-second that makes a performance feel lived-in rather than performed. Across AAA shipped titles, animated features, and long-running broadcast series, I've built a body of work that moves between semi-realistic game characters and highly stylised film performances without losing what matters in either: conviction in the pose, clarity in the line of action, and truth in the face. I bring deep experience in English keyframe lipsync, mood-driven facial performance, and LOA-led body mechanics — built over thousands of shots in Maya across games (Gotham Knights, NBA 2K, WWE 2K), feature film (Boss Baby), and series pipelines (Noddy, Mia & Me). I work cleanly inside production schedules, mentor junior animators, and care about the frame next to mine as much as my own.…I've spent 15 years obsessing over the craft of character animation — the weight of a landing, the honesty of a blink, the split-second that makes a performance feel lived-in rather than performed. Across AAA shipped titles, animated features, and long-running broadcast series, I've built a body of work that moves between semi-realistic game characters and highly stylised film performances without losing what matters in either: conviction in the pose, clarity in the line of action, and truth in the face. I bring deep experience in English keyframe lipsync, mood-driven facial performance, and LOA-led body mechanics — built over thousands of shots in Maya across games (Gotham Knights, NBA 2K, WWE 2K), feature film (Boss Baby), and series pipelines (Noddy, Mia & Me). I work cleanly inside production schedules, mentor junior animators, and care about the frame next to mine as much as my own.

Available to hire

I’ve spent 15 years obsessing over the craft of character animation — the weight of a landing, the honesty of a blink, the split-second that makes a performance feel lived-in rather than performed. Across AAA shipped titles, animated features, and long-running broadcast series, I’ve built a body of work that moves between semi-realistic game characters and highly stylised film performances without losing what matters in either: conviction in the pose, clarity in the line of action, and truth in the face.
I bring deep experience in English keyframe lipsync, mood-driven facial performance, and LOA-led body mechanics — built over thousands of shots in Maya across games (Gotham Knights, NBA 2K, WWE 2K), feature film (Boss Baby), and series pipelines (Noddy, Mia & Me). I work cleanly inside production schedules, mentor junior animators, and care about the frame next to mine as much as my own.

Skills

Experience Level

Expert

Expert

Expert

Expert

Expert

Expert

Expert

Work Experience

Senior Animator at ZA Studios

March 1, 2025 - Present

Cleaning and polishing full-body mocap for Rockstar Games cinematics — resolving artefacts, restoring weight, and elevating raw capture data to final-grade character movement in MotionBuilder and Maya. Animating third-person gameplay characters — movement, interactions, and cinematics — retargeting and hand-keying mocap to restore physical plausibility and character-specific weight. Acting as associate lead — reviewing junior work, giving frame-specific notes, and aligning with Rockstar supervisors on performance direction and delivery standards.

Senior Animator at Technicolor Games

November 1, 2020 - February 1, 2025

Hand-keyed combat and movement animation for the shipped title Gotham Knights (WB Games) — building impact, recovery arcs, and weight-shift into every sequence from blocking through final polish in MotionBuilder. Retargeted and refined wrestler mocap for WWE 2K — preserving athlete-specific physicality while pushing stylisation to match the game's exaggerated semi-realistic tone. Led facial animation for NBA 2K in-game cinematics — drove English keyframe lipsync and player likeness expression in Maya and Faceware, matching scan-based rigs to real-athlete reference for believable in-game performance.

Animator at 88 Pictures

June 1, 2019 - November 1, 2020

Hand-keyed full-performance character animation for the 3D feature Wizard — developing character-specific physical vocabulary, acting beats, and emotional arcs from director brief through final shot delivery.

Senior Animator at DNEG & ReDefine

January 1, 2019 - May 1, 2019

Animated hero characters and quadrupeds for Guru Lado Re — integrating hand-keyed cycles with mocap retargeting, adapting locomotion and mass to each creature's distinct anatomy and gait. Designed camera compositions and character staging for key sequences — shaping shot rhythm and spatial framing to direct audience attention through performance.

Animator at Technicolor Creative Studios

February 1, 2017 - July 1, 2018

Animated principal characters for the DreamWorks feature Boss Baby and Wonder Park — delivering English keyframe lipsync, multi-layer facial performance, and acting choices approved through full director review cycles in Maya. Tracked and managed shot progress across concurrent sequences in ShotGrid — maintaining review notes, version discipline, and handoff continuity across a cross-site animation team.

Animator at Xentrix Studios

February 1, 2015 - January 1, 2017

Delivered long-form animated series animation for Noddy, Space Racers, and Mia & Me — stylized biped and quadruped cycles, keyframe lipsync, and facial performance, consistently meeting weekly production quotas across multiple concurrent projects.

Junior Animator at DQ Entertainment

October 1, 2009 - January 1, 2015

Animated characters and handled layout for Jungle Book, Peter Pan, and Chaplin — developing biped and prop hand-keyed animation across 5+ years of high-volume, deadline-driven series production. Built keyframe animation, facial expression passes, and lipsync across multiple concurrent shots — consistently hitting per-shot delivery targets throughout long-run series production cycles.