Thursday, July 27, 2017

Project Review: 3D Neon Logo for Key Art for 'The House' 2017

The Neon tubes and clips were ultimately used for the final Key Art for The House 2017

The full render with the back tin plate[ removed for final]

Here is the base Quad Mesh for the 3D Logo. Note the reflection sphere behind the logo, to add details to both the glass objects , as well as the metal clips. 

 Early on I did an alternate with broken glass tubes and dented and gritty back tin.

If requested by the client I can provide an ambient/dirt pass to overlay the color pass to accentuate edges and intersections to add some light grit to the render.

A Close Up shot of the full 5K finish.

 A Color render at a low angle of the 3D Neon Sign I made for The House.

 The Quad Sub-D build with subdivision removed to see the base objects.

Close up details on the 3D Neon Sign design and build.

This Quad Mesh shot shows the inner glow object inside the outer glass tube, as well as the build for the retaining clips.

 This is a Distance Based 3D Mask, or Z-Depth pass I include so the team can do distance based editing on a pixel by pixel basis.

This first Color-Picker Mask I rendered out isolates the inner glow inside of the Neon Tubes, this is SMART 3D

This second Color-Picker Mask I rendered out isolates the outer glass of the Neon Tubes.



Here is a Wide format Key Art piece using the Neon Sign I made in 3D to assist the team at Leroy and Rose.


Project Review
3D Neon Logo for Key Art for
2017

Client:New Line Cinema via Leroy and Rose Agency
Art Direction: Melchior Lamy
Project Date: March 2017

Back in the Spring I was asked to create a 3D Virtual Neon sign for the New Will Farrell film, The House. This is what I call a '3D-Assist', as the Posters and logo were already locked in by the client, and I was called in at Finish to help with a 3D version of the logo, as that is my expertise.

Most clients I have are limited in-house with 3D Designers and Artists, so they call me for these smaller jobs, which make up the bulk of my work.

For this one, I had to create all elements including all base vector splines, and as I have done dozens of 3D Neon signs, I have a procedure down to create them on time and on budget.

I was originally tasked with a clean version of the 3D Neon Sign, and a distressed alternate, with these delivered at a smaller size for approvals to save cost. A typical 3D Logo like this is first delivered at 1500 pixels wide to get approval for the larger final, which in this case were 5000 pixel wide final. I have rendered up to 18,000 pixels wide in the past.

When I build 3D Neon Signs now, I have some 'off the shelf' parts I have already made to reuse, like the glass clips and fasteners. I build the neon tubes themselves with two objects, an outer glass shell, that is not solid inside, but skinned with a shell command to get a thickness on the glass edges for proper reflection and refraction characteristics in the final render, as well as a second object, a glow object inside the glass at a smaller diameter representing the 'gas' inside the tube.

The final deliver is usually a multi-pass render with extra channels and masks to use, including a Z-Depth pass, and my Color-Picker layer to grab elements, include the glow inside the tube to add outer glows in post as needed by the Art Directors I deliver this too.

Neon is getting popular to use in Key Art, as I worked on Guardians of the Galaxy Vol 2, Despicable Me 3, and the Defenders all using 3D virtual Neon Signage, just in the last few months.

If you ever need a 3D-Assist, contact me for an estimate to make your logo into 3D Neon signage.

Cheers, THOM




Monday, April 17, 2017

Project Review: The Cimarron Group-3D-Department Promotional Screens 2008


I did the animated splash screen for the Portrait-Promotional in-house HD monitors, that was re-purposed to the AV department for all our outgoing AV work.

 From selling generic 3D Models online, to iconic architecture for film, I also did 3D Architectural Visualizations, here Countrywide was highlighted.

 As a Graduate from Art Centers Transportation Design program, building 3D cars is a large part of what I did at The Cimarron Group.

 As an avid VW fan, building a 3D Herbie was a dream job. This asset was used in print and AV for the film Advertising campaign.

 3D-Logos are my 'bread-n-butter', so I created a screen to showcase some then current Images.

 I did a lot of 3D-Illustration work for the Film, Night at the Museum, this was a Project Specific Image I made for In-House Promotion.

 For our in-house Home-Entertainment Division, I did 3D-Illustration work for packaging various Star Wars Properties.

 A Project Specific Poster highlighting some of the 3D Design work I did for Superman Returns[ 2007].

Here is a Project Specific Promotional Image for the X-Men 3 Work I did.




Project Review
The Cimarron Group
3D-Department Promotional Screens 2008

Client: The Cimarron Group.
Art Direction: Thom Schillinger.
Project Date:Summer 2008.



In November 2003,I set up the 3D Design Department, in-house at The Cimarron Group, and provided 3D -Design, 3D-Illustration, and 3D-Animation services to the existing other 11 departments in-house at the Agency, and each department was asked to create some promotional images for the various HD monitors located throughout the company.

Each department was tasked with providing a set of images to display on the HD monitors that were rotated to portrait format, to emulate one of our main products,One-Sheets. My 3D Department was asked to provide specific work that the Owner wanted to showcase.

These Images provided our guests with a quick 'sketch' of what we offered via the 3D Design Department at The Cimarron Group.

Cheers, THOM

Thursday, April 13, 2017

Project Review: 3D-Illustration Key Art One-Sheet FInish for Salem Season 3 on WGN America 2017.

Here is the finished one sheet with my 3D Illustration service as the grid-backdrop for the Agency.

 My Raw 3D render as delivered to the Agency.
 
 I always so an Ambient/Dirt pass so the Art Director and Finisher can add dirt and grit in post

 I also provide as needed, a Z-Depth pass for post adjustments as well.
 
 A crop in close up of the Key Art for Salem.
 
 Details of the build rendered out in Ambient Occlusion/Dirt Shaders.

More details of the build rendered out in Ambient Occlusion/Dirt Shaders on the top sides and posts.

 The detailed scroll work on the the 3D-model were 3D, not a 2D bump-map effect. The Cebas Final-Render Dirt Shader works wonders if it has real geometry to fill in that a Bump-Map is not suitable for.

 An Exploded view of the various parts and groups built for the Gothic 3D Illustration.
 
 Here is the working 2D-Layout to 3D Vector grid, to the blocking of the Gothic piece in 3D.

Key Art 3D Illustration
Season 3 SALEM 2017


Client: WGN America via The Arsonal[Agency]
Art Direction: Whyte Limtrakul.
Project Date: July 2016.

I was called in to help create a full 3D rendered Gothic Architectural framework for the One-Sheet for the new Season 3 of SALEM on WGN America back last Summer.

The agency had mocked up something for me from old photos, that was to give me the general layout and scale for each window for the characters to be comp'ed into it once my render was done.

Step one was to drop the image into 3DSmax my 3D software, and build a vector scale object over the bitmap so I could built to it in 3D. Once adjusted for perspective I proceeded to build out the parts. Once we went thru a few rounds to adjust the details and scale of the parts I proceeded with the gilded wood texture and look. Once approved I rendered out a 9000 pixel huge final for use on Billboards,  One-Sheets and 30-Sheets, or web.

As an architectural nut, I love High-Gothic, and have build Gothic architectural elements in the past, so this was a pleasure to create for Brad Johnson and his team.

Cheers, THOM

Thursday, November 24, 2016

Happy Thanksgiving 2016

Happy Thanksgiving
2016



3DCD is very thankful this fine Holiday!

       Cheers, THOM

Thursday, July 7, 2016

Project Review:Penny Dreadful 2014-Key Art Concept Skeleton Picture Frame.

The Shot as delivered for Penny Dreadful Season 2 Key Art. I finished for Season one here.

Here is an over-view shot showing the hand placement of each bone to create the ring shaped frame element for the One Sheet.
 
 I provide a Z-Depth Mask pass if requested by my clients so their Art Directors can do distance [ from Camera] based editing on a pixel by pixel basis.[ Fog, Desaturation, Camera effects and blur]




 A screen grab with the 2D Comp lined up. The black boarder is added before I begin to give the client bleed to the comp, so always safe to over-render a bit[ an inch or so]

Project Review:
Penny Dreadful Season 2-2014
Key Art Concept Skeleton Picture Frame.


Client: Showtime via Leroy and Rose.
Creative Direction: Melchior Lamy.
Project Date: November 2014.


A year earlier I finished with the 3D Illustration I did of the Scorpion Necklace for Season One on Penny Dreadful, seen here, and I was contacted to help with a concept for Season Two, A skeleton Picture Frame.

I received a 2D Comp layout with a rough mock up of a round framing element for the poster. I have had a Skeleton in my personal library for years that was used on various projects, so I broke it apart and began to design the frame.

The show is a dark concept so in keeping with that theme I used a black fog in the shot to drop all elements back into the abyss.

What a FUN concept to work on.

Cheers, THOM

Tuesday, March 1, 2016

Thursday, December 31, 2015

Happy New Year 2016!




 Happy New Year 2016

3D Conceptual Designer studios will be closed until Monday January 4th. 
Have a fine and Festive Evening all!

A few TAG's for your viewing.

With a new Star Wars out, here is some Artwork I've done in the past for this grand property:
http://3dconceptualdesigner.blogspot.com/search?q=star+wars

I did a lot more 3D printing work this year, growing segment of the business.
http://3dconceptualdesigner.blogspot.com/search/label/3D%20Printing


I did over 1000 3D logos this year alone, for a variety of projects.
http://3dconceptualdesigner.blogspot.com/search/label/3D%20Logos

Some style frames I've done:
http://3dconceptualdesigner.blogspot.com/search/label/Style%20Frames

I added more to the Steampunk TAG:
http://3dconceptualdesigner.blogspot.com/search/label/Steampunk

                                       Cheers, Thom Schillinger[ 3D Conceptual Designer]

Wednesday, December 30, 2015

Project Review: 3D Illustration for: X-Men Days of Future Past 2013 PART III

 The first 3D render done for the placeholder Sentinel for the Comp presentation for X-Men Days of Future Past. This Key Art Comp was done in the Summer of 2013.

Each 3D Illustration I deliver comes with a Z-Depth s mask for depth based post FX for the CD's and AD's using it.

I did a dark and bright pass for each camera angle delivered for the X-Men Sentinel.

 Here is the Quad Sub-D base mesh I designed in 3D for the placeholder.

The base-mesh subdivided to level 3[ I did it @ 4 for renders though]

 For a more menacing feel you raise the camera-up, so they are looking over the eyebrow area so this is V2 for X-Men Days of Future Past.

The brighter pass on the placeholder Sentinel in view two[ V2] for X-Men.

The Base 3D Mesh for the Sentinel Head from X-Man.

The Sub-D mesh of the Sentinel.

The 3/4 view X-Men 4 comp.

Final Sub-D Mesh of the Sentinel. 

 Here is the base model I built for all X-Men Sentinel comps.



Project Review
3D Illustration for: X-Men Days of Future Past 2013
PART III

Client: Twentieth Century Fox Film Corporation via Gravillis Inc.
Project Date May 2013.

Today is the final installment in my series of 3D Illustration work I did for X-Men Days of Future Past back in 2013. Today in PART III, I am covering a piece of place-holder art for teasers.

Placeholder Art is used to accurately convey an idea, when a final asset is not designed yet, and at the time I was doing this back in 2013, the final Sentinel design was not accessible to the vendors so I had to rely on a few Comic Book images to go with for this piece.

Place holders are used to sell the idea and be replaced with the film asset if approved. I have both designed many robots in the past, and modeled them in 3D,  so I was able to get this done in a quick longer-one-day [12 hrs] gig.

 I'm familiar with the franchise as I worked on most of the prior X-Men films, from X-Men 2, X-Men 3, and X-Men 4:First Class, and I also ended up and finished the X-Men 2 logo as well as the X-Men 3 ones.

This 4th X-Men film, deals with the Sentinels who were created to destroy the X-men so they wanted some Dark comps with the main mask and eyes in it. I did two main views with an ALT for the third 3D Illustration,  a 3/4 side shot at the end.


You can review PART I here.
You can review PART II here.

                                               Cheers,   THOM