Kevin Stevenson

Background

About Kevin Stevenson

My artistic career began as an illustrator & designer working in both traditional and digital mediums before transitioning into software GUI interface and UX design until I decided to fulfill my dream of working in the animation industry. Completing the challenging but incredibly rewarding 3D Character Animation course at Vancouver Institute for Media Arts (VanArts), where, immediately after graduation I was fortunate to join the amazing team of animators and creative production artists at Mainframe Entertainment Studio in Vancouver. I have had the privilege of working on several successful episodic series such as "Bob the Builder","Bob the Builder - Mega Machines"(1-hour special DVD & European theatrical release), quickly rising to the position of Lead Animator on the Leo Award Nominated Netflix animated series "Spy Kids - Mission Critical","Barbie Dreamhouse Adventures" as well the DreamWorks TV animation production "Madagascar: A Little Wild". I was then given the opportunity to lend my passion for animation as Animation Director for the Netflix Series "Barbie: It Takes Two" and "Barbie: A Touch of Magic". Working to deliver our series director's vision, I coordinated multiple lines of animation teams totaling almost 50 artists. The position involved collaboration across several departments to build the animation library, work with rigging, modelling to develop assets and with the FX supervisors. I returned to animation as a Lead Animator on the Disney+ series "Super Kitties" for their Season 2 and again on the Shorts episodes airing on the Disney+ YouTube channel.I have extensive experience with Maya, and Autodesk Flow (production scheduling software) along with some experience with motion builder, and Unreal Engine for animation and am very familiar with the FACS based setups for facial animation. While working on my various series I have been responsible for building the animation libraries with cycles, expressions, phonemes, along with pre-finished animations for artists to use in the productions (walks/runs to stop, turns, leaps, etc.) to maintain show style consistency. Because of my experience working with rigging and modelling departments to help build the highest functioning, performative assets for my shows I am very familiar with how these departments operate.I love this industry and the collaborative environment as I continue to work with some of the best producers, directors, animators and creative people in the biz!