Thursday, March 26, 2015

Project Review: Menagerie Creative-Steampunk Flying Machine Icon Design 2009-2011 PART II

A 3/4 front view on the final iteration on this Steampunk Flying Machine I designed and built in 3D.

The Polygon Ambient render with wireframe overlay shows the build out of the ship.

 A close Up on the Captains cabin out front on the steampunk vehicle.

The Polygon Quad Render.

 A 3/4 back view near the tail fans on this Steam Punk Floating contraption, as a fully rendered frame with Depth of Field added to the camera.

The Polygon build out render at that same angle.

A low side view into the main body thru the large glass windows.

Low side in Poly.

A full side view 3D Render of the main body nose to tail here.

The Wire frame shows the complexity in the build and reveals the bump map fakes.

 A Parts exploded view showing the individual designs.

 Here is a close-up on the exploded view showing 6the main nose cab details.


Project Review
Menagerie Creative 
Flying Machine Icon Design
2009-2011 PART II


Client: Fox Home Entertainment via Menagerie Creative.
Creative Director: Cheryl Savala.
Project Date: November 2009.

Today in PART II I am covering a bit more details with alternate views of the flying machine I designed in 3D for Menagerie Creative a few years back. I did quite a few projects for them both for outside Entertainment clients, and directly for them as the client like this one.

I love steampunk design, as I am a vintage and antique collector so I love to imagine using only old-Tech to create modern machines, so this was a great project to get on and apply that to.

Flying Mythical Vehicles are so much fun. I only get to do this type of work once a decade or so, so when they do come onto my plate, I go all in.

Check out the Steampunk flying giant Flea I did in 2D and executed in 3D here as an example.

A very fun design to work on, and if you want to review PART I you can see that here.


Cheers, THOM

Monday, March 23, 2015

Project Review: The City of Ember-Motion Graphics Tunnel Build for internal Cards-PART II

 A 24 frame MGFX[ Motion-Graphics] 3D Animated Card, Built for the TV spots for The City of Ember back in 2008, this is early in the little 3D move.

The same frame rendered out as a wireframe to show the simplicity of this build.

Frame 9 we are almost around the corner already in this 3D rendered frame.

 The Ambient Occlusion render of that frame with wireframe OL.

 As we peek around the corner we see the Date Card. The DOF[ Depth of Field ] keeps the eye out front.

The wireframe rendering done in 3DS Max 2009 back in 2008.

We have slid around the corner and are approaching center in the last leg of this 3D Camera move.

The Wire frame render of this simple 3D build.

We face the card and slowly approach.





 Ambient Wire frame render ot frame 21.

The final seated 3D Date Card done for the TV spots for City of Ember.

 The Wire frame overlay render of the seated end frame of this 3D Animation.

 A Birds-eye over view of the tunnel build with the roof cut away in 3D to showcase the small Virtual Set I designed and rendered for the pitch.


Project Review
The City of Ember

Motion Graphics Tunnel Build for internal Cards
PART II

Client: Walden Media via The Cimarron Group.
Art Director: Myself and Tom Kositchotitana
Project Date: Spring 2008.

For the AV [ audio visual] trailer campaign for the film The City of Ember, I was asked to create a generic tunnel similar to a screen shot we had for the film, so off I went to work.

This client was one that usually went simple 2D white on black so we did have our own expectations very high that they would go for a more artful direction, but we were asked to explore anyways.

I had locked in a look for a glowing filament type of neon look for the titles that can be reviewed in Part I here. and they wanted a second internal card set for the TV ads that would match the red metal tunnels found in a few scenes of the film.

I experimented with procedural textures, Depth of Filed with the camera move, and used the Cebas  dirt shader for Final Render to achieve the end result.

A fun project that was about a two day gig.

You can review the main Title 3D Neon/Glowing Filament Look I developed here.

Cheers, THOM

Thursday, March 19, 2015

3D Stock Model Sales: Mica Mission Styled Table Lamp-2004

 The front low angle shot on this typical Mica Lamp built out for online stock 3D Sales back in 2005.

A fully rendered test shot at the same angle of the Mission Mica Table Lamp on a Virtual Soundstage.


This Ambient Occlusion render with wireframe overlay shows the build of the various parts. Details are my favorite part in a build.

This fully 3D Render of the Mica Lamp showcase the bulb interior details from the glowing filament to the supports and internal wires.

 An overhead birds-eye shot in wireframe overlay of this Mica Lamp.

A rendered shot from above showing the full design of the removable Mica Lampshade.

 A Front shot in Polygons of this stock 3D model.
 
The front view rendered out of this Craftsman Era Lamp.

 An exploded view shows the various separate pieces hand built to male this virtual lamp accurate.


 The exploded view from another angle close to the Vintage bulb.
[ available as a separate asset on TurboSquid-(w/o the vintage nipple on the tip): Max & 3DS ]



3D Stock Model Sales
Mica Mission Styled Table Lamp 2004

Client: The Cimarron Group.
Art Director(s): Myself.
Project Date: . November 2005.

I established a 3D Stock Model sales model while in-house at The Cimarron Group from 2003 to 2009, and today to review is a 3D build of a Mission styled Mica Lamp that is iconic as the the Arts and Crafts movement.

This asset is still available for sale at TurboSquid, the largest online stock 3D house from my prior employer as seen  in 3DS.max, and 3DS export formats.

I regularly build stock 3D models for online sales via TurboSquid, and with the down time I had there, I would create these assets for sale to supplement the Departments bottom line.I also am an Arts and Crafts collector and enthusiast myself so I picked this subject matter, as I have a love for the design era, and have built quite a few Craftsman items.

I have a Mica Lamp collection, so I referenced a few designs I have here to create an iconic typical mica lamp. I also do Coppersmithing myself so I love hammered copper work.

You an view all online sale via the TAG, or go to my Cimarron Models here, and my own Sub-D 3DCD work here.

Cheers, THOM

Tuesday, March 17, 2015

Project Review: Looney Tunes: Back in Action [2003] 3D Logo Title Treatments PART V[Final in series]

A Design given to me by Hunger Lam as a vector file to layout and make dimensional in 3D for the new Looney Tunes film back in 2002.

Another one of the excellent designs given to me by Hunger to build out in 3D.

 This was the final design given to me by Art Director Hunger Lam to make 3D for the presentations for Looney Tunes.

 In my last post I put up a design done for Jeff Barnett, and I found an alternate as well for that here without the tunnel behind it as seen here.

Here is the first one I did for Kevin Bachman that ended up as the Finish.

 I added a deeper extrusion to the next version of it for Kevin.


The final here was bent and turned in 2D and I matched it in 3D.

Project Review
Looney Tunes: Back in Action [2003]
3D Logo Title Treatments PART V

Client: Warner Bros. via BLT Communications.
Art Director(s): Jeff Barnett, Hunger Lam, and Kevin Bachman.
Project Date:August 2002.
Today is my final post in this series, PART V on my series showing the 3D Titles I did for Looney Tunes:Back in Action from back in 02', and today I finish up with the last color versions I created for our pitch.

The work was developed for the Key Art title treatment for the then new, Looney Tunes film to be made that year in 2002.
I had already posted in a cartoon-themed post, some smaller versions of some of the color logos including the finish,  as seen here, and today we wrap it up.


PART I showing the first set of sepia toned logos can be seen if you go here.
PART II covers the rest of the Black and Whites here.
PART III covers the first seven color titles, and can be seen here.
PART IV: covers the second set of full-color 3D Logos here.

Cheers, THOM

Friday, March 13, 2015

Project Review: Key Art 3D Logo build for My Mistress-2014[AU]

 Here is the final Logo as delivered back in May 2014 for the Key Art finish of My Mistress.

The Subdivided Quads with a displacement map used to get an actual bump int he geometry. 

 Here is the base Quad mesh without and subdivision or displacement added.

 This tutorial like screen shot shows the individual parts along with seeing the 'live' Free-Form-Deformation[ FFD] still active on the letter form stroke.

 A close up shows the displacement wrapped on each part.

 The ambient render shows the slight artifacts, that can get adjusted with more geometry if needed.

 The base mesh is quite simple.

Close up on the end of the title shows the full wrap around on the scale texture we ended up using.

 The displaced mesh[ High Poly count]

 The simple base mesh collapsed down.

 A view of the final One sheet from here.

Project Review
Key Art 3D Logo build
for My Mistress-2014[AU]

Client: Transmission Films via Carnival Studios
Art Direction: Demi Hopkins
Project Date: May 2014.

Almost a year ago I was contacted by an agency in Australia, called Carnival Studios to help with a 3D assist in a 3D Logo needed for a film called My Mistress. 

They needed this for the final Key Art poster work. I do a lot of this type of fast turn around work here in the states, and I have a number of clients out in Australia now, so we settled on the rate and payment form, since this was an overseas gig, and once I was provided the vector files, I was off to build this 3D Logo.

I was given the general layout and lighting so I would know the end use, as well as the type was fully locked and set by the client.

For this build I was to emulate the woven texture found on a whip or a snake scale look, so I created a custom map to build this out fast. I have hand built scales before and it is very time consuming and the short deadline meant that I needed to use a displacement map technique to ' bump' out the geometry to get the finished look and feel to the objects.

The way I made this was to build out each part of the whip as a separate cylinder and use the Free-Form-Deformation tools [ FFD] in 3DSmax to custom bend each part as a Modifier in the stack[ turn on or off]. This also allowed me to map the objects while they were straight so I could get them to wrap the shapes in a better way, and to scale to each other after the bends as the FFD will warp the textures a bit.

A fun gig that finished out and can be seen on the production site here.


Cheers, THOM