Predator: Killer of Killers

June 6  Hulu on Disney+

Set in radically different time periods, from feudal Japan and Viking-era Scandinavia to the war-torn battlefields of WWII; the film is a visual and narrative experiment that pushes the Predator mythos into exciting new territory. Each segment brought its own unique artistic and technical challenges, requiring flexible, efficient workflows to keep pace with the anthology format’s stylistic shifts.

Official Trailer:

I had the privilege of serving as Sequence Lead on Predator: Killer of Killers, an ambitious and visceral addition to the iconic Predator franchise. Working alongside the exceptionally talented team at The Third Floor, I co-led a crew of Unreal Assembly Tech Artists.

Assembly Department Leadership:

Within the assembly department, I was responsible for asset integration and quality control across shots, as well as troubleshooting complex technical and creative issues escalated by various departments. I also took an active role in mentoring Unreal Assembly Tech Artists, sharing advanced techniques and workflows in both Maya and Unreal Engine.

In addition, I created comprehensive technical documentation for newly developed proprietary tools at TTF. I learned and tested each tool upon release, provided bug reports and troubleshooting feedback, and then developed training sessions to onboard artists efficiently. This proactive approach significantly reduced the learning curve, enabling the team to become productive and confident almost immediately.

The Assembly Department successfully completed all deliverables three weeks ahead of schedule, which allowed us to dedicate additional time to supporting the Lighting department. I’m extremely proud of the assembly team’s collaboration, efficiency, and the results we achieved together.

Demonstration of asset integration from Maya to Unreal Engine, with focus on resolving integration issues and debugging the animated energy wires emitted from the projectile:

I was also honored to handle the asset integration for the epilogue scene, addressing complex technical issues with both assets and camera setups in Maya:

Cross-Departmental Contributions

Animation Department:

I collaborated closely with the Animation team to identify and report mismatched or problematic animations, such as deformation errors, asset misalignments, geometry clipping, and inconsistencies between previs and production data.

• At a critical stage of production, I resolved missing animation segments and clipping issues that emerged after several animators’ contracts had ended. By addressing these issues personally, I prevented costly delays and the need to onboard additional animators; saving significant time and resources for the studio.
  
  

• I also updated and rebuilt multiple asset rigs in Maya, ensuring parity between Maya and Unreal versions. This alignment maintained consistent deformations and enabled a smooth asset integration pipeline between both platforms.

Showcases of resolving geometry intersection issues between character clothing and body geometry:

Asset Department:

I assisted the Asset team by identifying deformation, UV, and faceting issues impacting textures and geometry. When reporting these problems, I ensured clear and targeted communication; reaching out directly to the responsible artists (geometry, texture, or shading) to avoid unnecessary disruptions and maintain workflow efficiency.

Environment Department:

I provided extensive support to the Environment team by identifying and reporting production environment issues directly to the responsible artists. These included missing or incorrect assets, animation inconsistencies, and organizational challenges within Unreal Engine.

I also took a hands-on approach to resolving several issues myself; animating environmental elements directly within Unreal, integrating missing assets from other shots in Maya, and ensuring environments were organized efficiently within levels and layers.
This attention to detail and pipeline consistency improved the overall integrity of the environments and optimized their usability across departments.

Lighting Department:

I supported the Lighting team by resolving lighting-related issues and rendering shots using the TTF Render Layer tools, a complex proprietary system.

I also authored technical documentation for these tools and trained assembly artists in their use, empowering our department to assist the Lighting team more effectively. This collaboration proved so successful that significantly reducing pressure on the Lighting team and enabling our assembly artists to contribute to their weekly reviews.

FX Department:

I contributed to the FX department by resolving sequencer-related FX bugs and finalizing several Niagara particle effects that enhanced key cinematic moments.

Only a couple of notable contributions include:

1. Temple Chase Sequence – Finalized and implemented dynamic dust FX triggered by character movement across tiled roofs, adapting parameters per shot for realism and continuity:

2. Aerial Sequence – After learning that the FX team had spent a week on a cloud-interaction effect without approval, I took ownership of the task,     reworked the sequence in approximately 30 minutes, and delivered a version that met creative feedback and was approved immediately.

Impact:

Through a combination of technical expertise, proactive problem-solving, and cross-department collaboration, I helped streamline multiple production workflows, reduce turnaround times, and elevate the overall visual quality of Predator: Killer of Killers. My leadership fostered an environment of shared learning and technical excellence, ensuring the project’s success well ahead of schedule.

If you're interested in learning more about Predator: Killer of Killers, you can check out the following articles below:

• Collider – First Look and Release Date
  
  

• GamesRadar – Behind the Scenes with the Director
  
  

• Bloody Disgusting – Summer Release Announcement