Digital animation. 3D projection mapping. Motion Graphics. Interactive installations.
Always send a Ninja.
Ninjaneer Studios: A multi-faceted content creation studio
At Ninjaneer Studios our philosophy is simple; we love what we do. Period. We believe that truly great art reflects the love and care put into its making, and our mission is to bring finely crafted animation to every industry.
Our Demo Reel showcases all of our different facets, from product demos to large scale projection mapping shows.
3D Projection Mapping Demo Reel
Projection mapping is a technique where projectors and specialized software is used to turn arbitrary objects or surfaces, such as buildings or cars, into a display surface for video projection. This technique is used to add extra dimensions, optical illusions, and notions of movement onto previously static objects, creating the illusion that the object itself is being manipulated.
Ninjaneer Studios is committed to combining the spectacle of Projection Mapping with the in-depth storytelling of a complex narrative.
Concepts Demo Reel
Product visualization has become a common tool for companies to help inform consumers on the usage and benefits of their products. Utilized by marketing and sales teams alike, these videos help describe complex products visually, garnering greater understanding in a shorter amount of time.
Because Ninjaneer Studios approaches every project from a storytelling point of view, your product stands apart from the rest.
Corporate Demo Reel
Wondering how to explain your company's product or service? Animated infographics and service visualizations can communicate your message to potential clients in a memorable and unique way by utilizing 2D and 3D animation.
Ninjaneer Studios is committed to illustrating your company's story.
Meet some of our clients
The Original Ninjaneers:
Founded in 2010, Ninjaneer Studios is the collective brain-child of Joseph Rosa, Heather Knott, and Chris Brown.
Joe was born a Navy brat in the mid 70’s on the Island Oahu in the Hawaiian Islands. His love for film and animation came from his late Grandfather who started teaching him how to draw Disney characters as a child. His first experience with a computer was on the old TRS-80 (better known as the TRASH-80). He knew that computers were going to be a permanent fixture in his future but didn’t realize how until the movie TRON hit the theaters in 1982. He was captivated by it and the amazing CGI work for the time, but it wasn’t until years later that he realized how ground breaking TRON really was in incorporating computer generated imagery, thus ushering in a new era with computer animation. In his middle teens he tried getting his hands on any CG program he could such as Bryce 3D, Poser, Lightwave, 3D Studio Max (now Autodesk owned), and MAYA. Since those early days and the seed that had been planted in his head by pure chance, he has completed college with a Bachelor of Arts in Visual Language, specializing in Animation, from the University of Central Florida in Orlando. He’s a firm believer that if you don’t love your job then you’re not loving life. He loves what he’s doing and can’t wait to get on to the next project.
Born in Orlando, Florida, Heather Knott’s career in the industry has consistently taken the road less traveled. From her early training in traditional drawing and sculpting throughout her childhood to four years within the Theatre Magnet Program at Dr. Phillips High School, a Bachelors of Science in Interior Design from Florida State University, and a Bachelors of Art in Visual Language, specializing in character animation, from the University of Central Florida, her education alone has already built an eclectic foundation in the visual arts. Through these varied experiences, she brings a unique perspective to the animation industry and extensive experience with adapting to unfamiliar territory.
Chris Brown’s entrance into 3D work began, as many have, with video games. He developed a great love for cinematic driven games, and since he had nothing else he really wanted to do with his life he looked into it. At age fifteen he started mowing lawns and cleaning offices for spare cash and bought a student copy of Lightwave 7.5. As he would figure out some small piece of the puzzle he would find twenty more, and the thrill of that victory would keep him pushing through. Within a year it became both wonderfully and terribly apparent to him that he would simply never be able to figure out everything about this field, that the problems would continue to present themselves and worse still, that he was hopelessly addicted. While attending the University Of Central Florida he began trying his hand at the more specialized areas of rigging and technical effects, and found that out of every aspect of the trade he’d sampled these more than any other held an overflowing font of problems. From the first time some poor animator came to him with the now well worn tune of “the character is broke”, or a director simply said “just make this work” he’s had no end of interesting little disasters to remedy, and solutions to joyfully devise.
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