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

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

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

Project Review: 3D Illustration for Key Art for Theatrical Advertising for the Feature film-Pompeii [ 2014 ] PART II

Here is the shot as delivered to the client for Pompeii. All I was to deliver was the architecture for them to blend into the comp.

 The wireframe render shows the 11 degree fish-eye effect I added to the shot as this was a dramatic view and a bit of curve to the lens helps out tremendously.

 Here is the Z-Depth mask. I put one in all 3D Illustrations, so the client has masks for post work.

A Screen shot of the build out next to the comp file sent to me to match.

  This birds-eye shot of Pompeii shows that I only built what is seen by the camera, a trick I learned doing TV commercials working with the Miniature Shop.

Down inside the Alley closer to the end archways.

A Semi raised view shows there is nothing inside the buildings on the 2nd floor as they were not seen in the shot.

A centered overhead plan-ish view shows the spacing of the building that were scaled for distance and moved away.

An exploded view of the whole scene in an ambient-wireframe render for Pompeii. 

 The dental molding and trim were all 3D objects, no mapping.

Here is another exploded view 3D render if a base building parts.

Project Review

3D Illustration for Key Art for Theatrical Advertising

for the Feature film,  Pompeii[ 2014] PART II

Client: TriStar Pictures via Gravillis Inc.
Art Direction: Vince Tran.
Project Date: October 2013.

Today I am covering PART II in my series of work I did for Gravillis Inc. for the film Pompeii from last year. In this post I am covering a very different comp Idea I built out in 3D with an alley like close up inside the city itself, as the massive volcano erupted in the background.

I built out higher resolution parts for this shot and re-used a few pieces I already had in my 3D Model bank to set this shot up. Once again, I had a very compressed one day schedule to meet to get a big render to them by EOD[ End of Day].

By the end of the day, I had this come wrapped up and delivered as promised.
You can view PART I with a high overhead shot of the entire city built at a low to medium resolution here.

Cheers, THOM

Project Review:-Miracle on 34th Street- DVD Key Art: 2009

The final 3D render I did for Miracle on 34th Street DVD Key Art. I used Sub-Surface-Scattering for the snow piles.

Same shot as above with the show piles on top of the Virtual Macy's Parade float.

The Subdivided Ambient Wire frame render shows a simple build out.

The Base Poly Quad Mesh here shows the simple build I made.

A Fish-eye up shot of the Parade-float with the cables bending via the camera FX.

 The High Poly Sub-D render.

The Base Quad with subdivision removed.

A bit of a 3/4 Low angle with lens curve for the last 3D Logo render I did for the DVD for Miracle on 34th street.

The High Poly mesh also shows the reflection sphere in the shot that is hidden to the camera, but visible to the reflections on the slick float surface.

 Here is low poly wireframe of the 3D logo.

Project Review

Miracle on 34th Street
DVD/Blue-Ray Key Art: 2009

Client:Twentieth Century FOX Film Corp. via Menagerie Creative.
Creative Director: Cheryl Savala.
Project Date: November 2009.

Today I am posting a small 3D Logo gig I did a while back for some Key Art Home Entertainment DVD-Blue Ray covers for a Blue-Ray-DVD re-release of Miracle on 34th street for my client Menagerie Creative.

I was asked to create a Macys Parade styled, Giant inflatable float of the type for "34th". I did one clean version in 3D, and one with some piles of snow on the tops of a few key letters.

When I added in the minimal details, I created a woven surface texture to emulate a bit of the canvas fabric found on these massive balloons, and that is seen most clearly in the highlighted areas on the bright red float.

I rendered out a few straight shots as well as two fish-eye camera lens shots too. Some with, and without the snow. Sadly, the project did not continuem or see the light of day, though it was a fun gig to be apart of.

Cheers, THOM