Experiences

I have made different types of riggs both humanoid and quadruped. I am comfortable in my skills to create a rigg for animation and to learn how new riggs work.

The technical part of rigg creation fascinates me and is a quite fulfilling work.

The process of making the animations in Maya and Blender is only the first part, the implementation is just as important.

The implementation is where the animation I have created truly comes to life.

Through my years of animation, keyframe is the one I have most experience in. I have done both game play and cinematics in keyframe.

I prefer to work with a realistic style, creating something to look lifelike is something I enjoy to do.

I have worked with motion capture and done some clean up and editing in motion builder.

I am the kind of person that tends a lot to detail. So the ability to have the groundwork done and jump straight to the clean up and polishing is right up my ally.

Would love to work more with motion capture.

Most recent Work

Previous Work








Patina is set in a post apocalyptic world with human gatherers trying to put the left over machines parts to good use but not all machines are powered down as they once thought.

I created the rigg for the companion and created animations for the player, the companion and the boss for this project.



Mothia, you play as a frog collecting all the fireflies that the Mothsters has released from the lighthouse.

I have animated for both the player and the enemies, I have also rigged and animated the quest giver for this project.







Fool's Gold is the story about a miner trying to find amazing loot in an abandoned mine. I worked both the player and some of the enemys animations for this project. I also made the intro cinematic.

This was the first time for me working on a game with a 2D design.


In No Rats Were Harmed you play as a lab rat trying to get to the cheese.

I worked together with a fellow classmate to create a quadraped rigg for the player character for this project. I worked on the animations for the Rat and an enemy robot.







Long Ray Home begins it story with a captured Manta ray breaking free of his captures and then try to return back home to his parents.

This was my first game project I worked on. I got to create the rigg and animate the player character, a manta ray.


Spite is about Hermod wanting to bring back his brother back to the living. Hel has Hermods brother in a deadly grasp and do not want to give him back freely.

I animated for the player character, two smaller enemies and I also rigged and animated all the animations for the elite enemy called the abomination.














Damsel, a princess tired of waiting for yet another hero to fail on his rescue mission. She takes it upon herself to fight against the Necromancer holding her captive.

I worked on the Boss for this project. I created the rigg and made all the animations.












Contact

E-Mail
[email protected]



LinkedIn

https://www.linkedin.com/in/sofiecnilsson/



CV/ Resume














Hello, I'm Sofie.

If I would describe myself in three words it would be ambitious, reliable and a jokester.

Out of the office I usually spend my time with my dog Nero (Bernese Mountain Dog), family and friends. I am a people person and Iove working in a collaborative environment with like-minded individuals.


I look for a place to put my creative mindset to good use and share my horribly good jokes! I thrive in a creative enviroment and bring a lot to the table, not only my
great collection of card and board games that is.

Thank you for taking your time to read
about me, hope you have a great day
or night.

Kind regards,






Photo taken by the talented David Hamark

The good part of creating a rigg myself is to get a great understanding on how I am able to move the character. It also gives me the opportunity to add the type of functionality I want my rigg to be able to do to ease my work later when animating.




The most interesting rigg I have created was for the elite enemy in the game project called Spite: . It was fun to create a rigg with two different characters that is going to interact with eachother. I also put down a little extra love and care to my controllers for this rigg. I felt like the controllers gave me some inspiration to what I could to do for animations.

It was kind of the feeling I got when you put on a costume to get into a character for voice acting. When I had costum made controllers I got into the character a little more.

The good part of creating a rigg myself is to get a great understanding on how I am able to move the character. It also gives me the opportunity to add the type of functionality I want my rigg to be able to do to ease my work later when animating.




The most interesting rigg I have created was for the elite enemy in the game project called Spite: . It was fun to create a rigg with two different characters that is going to interact with eachother. I also put down a little extra love and care to my controllers for this rigg. I felt like the controllers gave me some inspiration to what I could to do for animations.

It was kind of the feeling I got when you put on a costume to get into a character for voice acting. When I had costum made controllers I got into the character a little more.

The good part of creating a rigg myself is to get a great understanding on how I am able to move the character. It also gives me the opportunity to add the type of functionality I want my rigg to be able to do to ease my work later when animating.




The most interesting rigg I have created was for the elite enemy in the game project called Spite: . It was fun to create a rigg with two different characters that is going to interact with eachother. I also put down a little extra love and care to my controllers for this rigg. I felt like the controllers gave me some inspiration to what I could to do for animations.

It was kind of the feeling I got when you put on a costume to get into a character for voice acting. When I had costum made controllers I got into the character a little more.

The good part of creating a rigg myself is to get a great understanding on how I am able to move the character. It also gives me the opportunity to add the type of functionality I want my rigg to be able to do to ease my work later when animating.




The good part of creating a rigg myself is to get a great understanding on how I am able to move the character. It also gives me the opportunity to add the type of functionality I want my rigg to be able to do to ease my work later when animating.




The most interesting rigg I have created was for the elite enemy in the game project called Spite: . It was fun to create a rigg with two different characters that is going to interact with eachother. I also put down a little extra love and care to my controllers for this rigg. I felt like the controllers gave me some inspiration to what I could to do for animations.

It was kind of the feeling I got when you put on a costume to get into a character for voice acting. When I had costum made controllers I got into the character a little more.

I have worked with key frame animations most of my time as an animator. I enjoy the job and find great joy in seeing things come to life on the screen. I feel like I am continuously evolving my way of producing animations and improving my work. Still I think there is a lot more to learn and am looking forward to advance my knowledge even further.

What I really like about animating is that there is so many different ways to create something. The mood, the environment, the interactions, etc, they all play an important part in how to create the animation I want to portray. Why I like to work with gameplay animations is because they paint the feeling of the world you play in, they set the mood for the protagonist.

I have worked with key frame animations most of my time as an animator. I enjoy the job and find great joy in seeing things come to life on the screen. I feel like I am continuously evolving my way of producing animations and improving my work. Still I think there is a lot more to learn and am looking forward to advance my knowledge even further.

What I really like about animating is that there is so many different ways to create something. The mood, the environment, the interactions, etc, they all play an important part in how to create the animation I want to portray. Why I like to work with gameplay animations is because they paint the feeling of the world you play in, they set the mood for the protagonist.

I have worked with key frame animations most of my time as an animator. I enjoy the job and find great joy in seeing things come to life on the screen. I feel like I am continuously evolving my way of producing animations and improving my work. Still I think there is a lot more to learn and am looking forward to advance my knowledge even further.

What I really like about animating is that there is so many different ways to create something. The mood, the environment, the interactions, etc, they all play an important part in how to create the animation I want to portray. Why I like to work with gameplay animations is because they paint the feeling of the world you play in, they set the mood for the protagonist.

I have worked with key frame animations most of my time as an animator. I enjoy the job and find great joy in seeing things come to life on the screen. I feel like I am continuously evolving my way of producing animations and improving my work. Still I think there is a lot more to learn and am looking forward to advance my knowledge even further.

What I really like about animating is that there is so many different ways to create something. The mood, the environment, the interactions, etc, they all play an important part in how to create the animation I want to portray. Why I like to work with gameplay animations is because they paint the feeling of the world you play in, they set the mood for the protagonist.

I have worked with key frame animations most of my time as an animator. I enjoy the job and find great joy in seeing things come to life on the screen. I feel like I am continuously evolving my way of producing animations and improving my work. Still I think there is a lot more to learn and am looking forward to advance my knowledge even further.

What I really like about animating is that there is so many different ways to create something. The mood, the environment, the interactions, etc, they all play an important part in how to create the animation I want to portray. Why I like to work with gameplay animations is because they paint the feeling of the world you play in, they set the mood for the protagonist.

I have worked with key frame animations most of my time as an animator. I enjoy the job and find great joy in seeing things come to life on the screen. I feel like I am continuously evolving my way of producing animations and improving my work. Still I think there is a lot more to learn and am looking forward to advance my knowledge even further.

What I really like about animating is that there is so many different ways to create something. The mood, the environment, the interactions, etc, they all play an important part in how to create the animation I want to portray. Why I like to work with gameplay animations is because they paint the feeling of the world you play in, they set the mood for the protagonist.

I have worked with key frame animations most of my time as an animator. I enjoy the job and find great joy in seeing things come to life on the screen. I feel like I am continuously evolving my way of producing animations and improving my work. Still I think there is a lot more to learn and am looking forward to advance my knowledge even further.

What I really like about animating is that there is so many different ways to create something. The mood, the environment, the interactions, etc, they all play an important part in how to create the animation I want to portray. Why I like to work with gameplay animations is because they paint the feeling of the world you play in, they set the mood for the protagonist.

I have worked with key frame animations most of my time as an animator. I enjoy the job and find great joy in seeing things come to life on the screen. I feel like I am continuously evolving my way of producing animations and improving my work. Still I think there is a lot more to learn and am looking forward to advance my knowledge even further.

What I really like about animating is that there is so many different ways to create something. The mood, the environment, the interactions, etc, they all play an important part in how to create the animation I want to portray. Why I like to work with gameplay animations is because they paint the feeling of the world you play in, they set the mood for the protagonist.

I have worked with key frame animations most of my time as an animator. I enjoy the job and find great joy in seeing things come to life on the screen. I feel like I am continuously evolving my way of producing animations and improving my work. Still I think there is a lot more to learn and am looking forward to advance my knowledge even further.

What I really like about animating is that there is so many different ways to create something. The mood, the environment, the interactions, etc, they all play an important part in how to create the animation I want to portray. Why I like to work with gameplay animations is because they paint the feeling of the world you play in, they set the mood for the protagonist.

I have worked with key frame animations most of my time as an animator. I enjoy the job and find great joy in seeing things come to life on the screen. I feel like I am continuously evolving my way of producing animations and improving my work. Still I think there is a lot more to learn and am looking forward to advance my knowledge even further.

What I really like about animating is that there is so many different ways to create something. The mood, the environment, the interactions, etc, they all play an important part in how to create the animation I want to portray. Why I like to work with gameplay animations is because they paint the feeling of the world you play in, they set the mood for the protagonist.

All mocap data has been recorded with an xsense suit.
I have helped others set up with the suit, I have been in the suit myself a couple of times and I have both been helping directing others in the suit and followed instructions when I have been in the suit.

The time I have spent with motion capture has only given me a taste for more. Motion capture is a good fit for me since I like to work with a realistic style. Being able to get most of the basic ground work done allows me to focus on the parts that brings more depth to the animation.

All mocap data has been recorded with an xsense suit.
I have helped others set up with the suit, I have been in the suit myself a couple of times and I have both been helping directing others in the suit and followed instructions when I have been in the suit.

The time I have spent with motion capture has only given me a taste for more. Motion capture is a good fit for me since I like to work with a realistic style. Being able to get most of the basic ground work done allows me to focus on the parts that brings more depth to the animation.

I feel a little out of my element when implementing my animations to an engine but at the same time rather intrigued. It is a lot to have in mind when implementing it all but so rewarding when I see the results in game. I would love the chans to work more on implementation to an engine. Because it is so rewarding to try out the animation in game and really get the feeling for it.

I have stumbled across several interesting videos through all my searches on how to implement my animations to the engine. Instead of feeling overwhelmed I get inspired to step out of my comfort zone and try more and play around a bit.

"Unlock the power of an enchanted pickaxe, use it to climb, teleport and fight through a treacherous cave in an attempt to get back out"





This was the first ever project I worked on that was not only 2D but also pixel style. I animated on a 3D model and had a camera set-up to render the animations to PNGs and later converting them to DDS. There was several different design choices that made the entire process a lot more difficult than it acctually had to be but it taught me much on how to structure my workflow more efficiently.



Level Design:
Anton Weibull
Jeff Persson
Urban Gustavsson

Animation:
Mischa Fridman
Sofie Nilsson

SFX and Music:
Gronnie
JoelAudio
PSOVOD

Graphics:
Frida Backman
Lukas Frej
Nelly Lindbom

Programmers:
Dino Zvonar
Jonathan Andersson
Nils Hansson
Omar Abdallah
Simon Nilsson

”Yet another hero has failed! The princess, sick of waiting, take up arms of the fallen hero. Fight your way through the evil necromancer's castle and defeat the captor to reclaim your freedom”




The only animation with the boss that I did not animate was the section in the cinematic. Apart from that I did all the work.

Once again I worked closley with a programmer, we walked through all the boss functionalities, how we wanted the boss behaiviour to be like and what we wanted to have animated.



This was the first time I worked on a boss, the thing I noticed was that I felt like I did nothing for this project. After some refelction I came to the following conclusion.

I put in as much work for this project as I have for all the previous ones but the main difference was that all my work was at the end of the game and it was for a short time


Programmers:
Jakob Persson
Jonathan Andersson
Jonathan Disenfeldt
Kristian Svensson
Nils Hansson

Level design:
Jakob Pihl
Urban Gustavsson
Oscar Hildebrand

Sound design:
Wasin Laokhot

Music:
Filip Adolfsson

Animators:
Alisa Lundh
Sofie Nilsson

Graphic artists:
Cecilia Ålander
Jenny Hellström
Assar Wade

”Use the power of LASERS, MIND-CONTROL and HAMSTER WHEELS to get your lab-rat through a series of deathly mazes featuring a plethora of SCIENCE-TRAPS!”




This project brought out many new things for me to try out. First of all was to create a quadraped rigg the second was to animate the said quadraped rigg. It was a nice change of pace to animate an animal instead of something humanoid. First time for me to animate a robot aswell.

What I liked most about working on this project was all the creativeness that was brought out during the prepod phase.

Animation:
Sofie Nilsson
Nathaniel Scheurer

Graphics:
Linus Arvidsson
Jenny Hellström
Ylva Oknelid
Philip Wolff

"A magical mantaray dash through dangers on it’s way home guided by the jellyfishes"





This was the first game project I worked on. We wanted to keep it simple since it was the first time for most of us to create a game and wanted to get accustomed to our individual roles as well as our role in the team and pipeline.

It was a good first project to dip my toes in to get a taste of the process of creating a game. I created the rigg and animations for the player, a manta ray, for this project. I also animated an obstacle in the course, an eel.

Animation:
Sofie Nilsson
Viktor Pennonen

Graphics:
Ylva Oknelid
Sofie Axelsson
Anna Christensen
Thea Holmdahl Arnman



Level Design:
Anton Weibull
Oliver Mathrani
Hanna Hinderson

Programmers:
Thomas Holtz
Simon Nilsson
Tim Wennerberg
Rebecka Lewin
Willian Rosengren


"Leap into battle and use your rage to battle your way through Helheim to save your brother from Hel and her undying legion"





I have stumbled across several interesting videos through all my searches on how to implement my animations to the engine. Instead of feeling overwhelmed I get inspired to step out of my comfort zone and try more and play around a bit.



Animation:
Sofie Nilsson
Mischa Fridman
Jovana Vladusic

Technical art:
Janine Wahlberg Özdemir
Tyler Thomas
Jonathan Lindberg

Sound design and Music:
David Scholander
Filip Adolfsson

Voice actor:

Karen Olrich-White

Graphics:
Jon Von Letscher
Elvira Alden
Anna Christensen
Elisabet Sarsenov

Level Design:
Gustaf Löfkvist
Jeff Persson

Programming:
Ossian Saren Gran
Kristian Svensson
Simon Nilsson
Tim Wennerberg
Kaspian Ringqvist
Johan Rubertsson

"The Firefly Café has been raided by the Mothia! As a mercenary frog; jump, roll, and spin through the seedy underbelly of the island to retrieve the fireflies"





I have stumbled across several interesting videos through all my searches on how to implement my animations to the engine. Instead of feeling overwhelmed I get inspired to step out of my comfort zone and try more and play around a bit.



Animation:
Sofie Nilsson
Mischa Fridman
Jovana Vladusic

Technical art:
Janine Wahlberg Özdemir
Tyler Thomas
Jonathan Lindberg

Graphics:
Jon Von Letscher
Elvira Alden
Anna Christensen
Elisabet Sarsenov

Level Design:
Gustaf Löfkvist
Jeff Persson

Programming:
Ossian Saren Gran
Kristian Svensson
Simon Nilsson
Tim Wennerberg
Kaspian Ringqvist
Johan Rubertsson

"The Firefly Café has been raided by the Mothia! As a mercenary frog; jump, roll, and spin through the seedy underbelly of the island to retrieve the fireflies"





I have stumbled across several interesting videos through all my searches on how to implement my animations to the engine. Instead of feeling overwhelmed I get inspired to step out of my comfort zone and try more and play around a bit.



Animation:
Sofie Nilsson
Mischa Fridman
Jovana Vladusic

Technical art:
Janine Wahlberg Özdemir
Tyler Thomas
Jonathan Lindberg

Graphics:
Jon Von Letscher
Elvira Alden
Anna Christensen
Elisabet Sarsenov

Level Design:
Gustaf Löfkvist
Jeff Persson

Programming:
Ossian Saren Gran
Kristian Svensson
Simon Nilsson
Tim Wennerberg
Kaspian Ringqvist
Johan Rubertsson