Friday, May 15, 2015

Project Review: King of Queens DVD Artwork 2002-PART II Menu Concepts

 Here is the final wide shot I did over a decade ago for the Hing of Queens DVD/Blue-Ray Menus.

I also always add a Z-Depth channel if the client asks for it so they can do post effects a lot easier in Photoshop.

Here is the basic wireframe ambient render showing this is a simple build out using primitives and lofts[ Pre-Sub-D quads for me]

This Birds-eye shot from up at the ceiling area shows the layout.

 This side shot shows the Arts and Crafts cabinet there in the dining area as well as a bit more of the blocked in kitchen thru those shutters.

 I removed the roof box to show the full simple build out I did for this DVD menu.

 A Right Side[ stage Left] of this three wall virtual set.

A reverse angle showing the fourth wall is not there.

 A shot looking down from the staircase to nowhere.

Close in the dining area.

 A shot inside the fake blocked in kitchen seen in blue thru the shutters in the main shot. A bit of 50's and 60's shaped going on in there.



Project Review
King of Queens DVD Artwork 2002
PART II

Client: Columbia Tri-Star Television via BLT and Associates.
Art Director: Carlos/Matt.
Project Date: Fall 2002.


Today I am posting PART II after a long break between posts for this pproject, and today I am covering the DVD/Blue-Ray Menus I designed out for the pitch packages as well.

I was asked to recreate a wide shot fo the main room for the show and was givne a some reference for the room and off I wnt to build it out.

I worked in actual Set Design for a few years so I understood what needed the big details andf what could be faked, like the kitchen in the back room seen thru the shutter blinds, so off I wnt to build this out.

Delivery was a single render, though for today's posting I have multiple angles of the geometry showing this three way typical set.

I also developed the 3D Logos and house artwork used for the First Season DVD release of King of Queens while running the 3D Design Department at BLT, and that PART I can be viewed here.

I will have other posts in the future on this project, covering the other builds in more detail as well.

Cheers, THOM

Monday, May 11, 2015

Project Review: Dinotopia[II]-2002 TV Mini-Series-Key Art-2001.

 Here is the primary render I was tasked with making for them for the pitches for the Key Art for Dinotopia back in 2001.

This is an ambient render showing the geometry in this simple build out. You will see the texture rusty projection still on the lighting in this shot.


I also did a bit of a zoomed in shot with a 22 degree curve to the camera to add some slight fish-eye effects to the shot.

 Here is the matching ambient render showing the polys for that 2nd 3D-Image.

An overhead view of the full scene I built out for Dinotopia.

The overhead in Polygon render.

A shot in the city showing the little bits of detailing I added in to this one day job.

I even had small crowd as originally they wanted a higher sot showing the city full of people.


 A side view elevated polygon render of the city for Dinotopia Key Art.

Project Review
Dinotopia[II]-2002 TV Mini-Series-Key Art.

Client: ABC via BLT Communications.
Art Direction: Team of AD's.
Project Date: September 12th, 2001.

Today I have dug up a project from 13 years back, while I was the in-house 3D Designer @ BLT Communications for a TV mini-series based on the popular books Dinotopia. This was done for a regular client @ BLT, ABC Television.

I was responsible for all 3D Illustrations for the Key Art ans well as web and AV use, and this was an early project where I was asked to take a 2D sketch and build out a 3D city for the Key Art presentations, so off I went to build this out.

I built this all out of basic primitive shapes and a few lofts, as this was before I had enough practice doing Quad Subdivision modeling, which is how today I would have built it.

I interesting side note for this project, is that I was to start this the day before which was September 11th, 2001. I worked in the CNN building and due to the attacks that day in the uSA, the CNN building was closed off until the 12th.

Cheers, THOM




Tuesday, April 21, 2015

Project Review: 3D Illustration and 3D Logos for ALEXANDER[2004] PART II

A Rusty metal texture with a bit of galvanized feel to the tin like section. Very low bump and low shine in this shader I experimented with.

A Pumice like warm rock with deep pits as well as high density.

 A brushed gold metal texture with some warm red rust corrosion added to the shader. I modified the rusty paint shader that ships with Dark Tree for this pass.

A Double plate stacked 3D Logo design with a dry cracked mud feel to the dump in this version.

 Warm to Cool lighting along with a micro texture with very fine details. the pumice had blue added to the flat spots in this shader.

This double stack uses a caustic map to create the wave like cracks in this Procedural Texture pass for the Poster work for the film, Alexander.

A single stack design with the same texture from above devreaes by 90% in this alternate 3D Logo. I also added warm red lower lighting.

A Cracked warm rock with vein-web used for the displacement on the font in this 3D Logo pass.

A sincle stack 3D Logo with heavy pits. I modified a sponge shader I had to develop this one.

A rusted steel with all rust, no shine left[ see first one up top] and ball like pits overall.

 A final texture pass with the pits reversed to be like warts on the rock surface.


Project Review
3D Illustration and 3D Logos for
ALEXANDER[2004]
PART II


Client:Warner Brothers Pictures via The Cimarron Group.
Art Director: Calvin Sumler.
Project Date: Winter 2004-Spring 2004

Today I have PART II up for the 3D Illustration work I did for the film Alexander back in 2004 while in-house at The Cimarron Group, and today I am covering a round 2 design exercise with rock like textures.

Once we established a few fonts that the client liked I was asked to spend a day and create some natural rock like textures to pick from. I build procedural textures using Dark Tree 2.0, and import the shaders I write into 3DSmax to use with the Simbiont Plug-In.

In this post I used just one design to create a dozen or so looks. Some were single level designs, while a few were stacked with two levels, but all from just the one vector file I was given by Art Director Calvin Sumler.

I did rusty metals, granite, marble, concrete, and a wide variety of stone and pumice like materials for the presentation. A fun exercise right in the middle of the design process. I will have more posts in the future for this project, and you can view PART I here as well.

Cheers, THOM

Thursday, April 16, 2015

Project Review: Chevelle Race Car Paint Concepts: 3D Visualization-2014


Here is the first test render once I had built out the new parts for the stock Chevelle I used to Pre-Visualize the new looks.

 Here is an ambient render showing [in-red] what I rebuilt to match the existing bodywork on this race-car.

The Ambient 3D Render of the Racecar with Subdivision added[ Medium Rez].

The Low Poly Quad Mesh of the race car.

The first Idea was an Oilve-Drab Military Flying Tiger look for this race Chevelle.

I played with some simple color changes to see it in Tuxedo black.

A Deep Metallic Blue Paint job that was used to experiment with, with some lower two-tone graphics.

I did a few graphics that showed motion and heat as in a re-entry feel from space.

The second 'blue-car' concept was more angled ghosting the lines all the way back into a deep purple.

An alternate with thinner lines.

 Here is the last delivered file that had the paint flaking off from the heat going all the way back to the rear spoiler.


Project Review
3D Visualization
Chevelle Race Car Paint Concepts-2014

Client: Vince Thomas.
Art Direction: Myself.
Project Date: April 30th, 2014.

About a year back now, I was asked to visualize a few ideas for a paint scheme for a Chevelle Race Car out here in Colorado, and so the first task was to see if an exisitng 3D stock model was availalbe to start with. 

I found one, and my client bought it for the project,and I went and modified it to match the Race car he had, so I built out a new hood, rear spoiler, the rims and rear slicks, as well as the custom hood scoop.

Once I was done with the 3D Modeling stage I dropped it into my 3D Car Cyclorama Virtual Sound stage that I use for cars and began to Pre-Light the virtual shot.

I always start with where we are at at the front end of a project, so I did a test render in Silver to show the geometry was good to go for the color ideas to follow.

I was given some directions to follow along, but was also given creative freedom to experiment a bit as well. A fun 3/4 day gig.

Cheers, THOM


Thursday, April 9, 2015

Project Review: Babylon AD[2008]-3D Title Cards for Motion Graphics.

 The main 3D Title Card I built in 3D and rendered out for use in the TV spots for Babylon A.D.

The Vin Diesel 3D Card I made for Babylon AD.

The Michelle Yeoh 3D Card

The Script called out for a few cards, 12,000 miles.

 I added glow to the edge lighting and used box lights to keep the faces dark, and have a long reflective box for the shiny bevels to light on up.

A low cool bottom light was added to attenuate over the face just a bit. This was set up to animate from Pitch Black[ <-get br="" it="">

 A light volumetric effect was added behind the type in post as shown here.

I did three date cards, one for six days out as shown here.

 The second was a generic Season card for spring.

 The final Date Card was a Theatrical release date card.

Project Review
Babylon AD[2008]
3D Title Cards for Motion Graphics.

Client: 20th Century Fox Film Corporation via. The Cimarron Group.
Art Direction: Myself.
Project Date: September 2007.

Today I have posted up a full set of internal graphic cards used for some TV spots for the film , Babylon AD, from back in 2007 to review.

I was asked by the MGFX Dept. at Cimarron to render out these 3D cards for them to animate in After Effects for the TV spots we were doing for the film. As usual I was given the type already laid out for me, and proceeded to build out and render the 3D cards.

Usually high contrast and strong legibility was the order of the day, and in fact the first pass I did was with that look. However, in a nice turn of events, they wanted to go very subtle and edge lit on the font. They wanted them to be a bit hidden on the black cards.

A fun partial day gig, where I delivered to Motion Graphics as 32bit TGA's all final files, with an alpha channel, ready to drop into AE.

You can view other Motion Graphics work via the Tab on the Right or click here.

Cheers, THOM