Showing posts with label Z_Depth. Show all posts
Showing posts with label Z_Depth. Show all posts

Monday, July 28, 2014

Project Review: 300 Rise of an Empire 2013-PART II

 The final rendered image as delivered for the Comp Presentations.


The Ambient Occlusion Dirt Shader pass[ 2nd render]used in the final as an overlay.


The Z-Depth Channel pass: Distance based editing on a pixel by pixel basis.


The low poly base geometry I built for the comp.


A 3/4 side shot of the center of the virtual set I made.


Close up on the rack full of shields.


The back cabin with the decking all modeled with rivets and planking crowed on all surfaces for good reflection and shader falloff.


 The low poly base mesh in this overall view shows that I made only what was needed, a technique I learned early on in my career doing set design.

Project Review
300 Rise of an Empire 2013 PART II

Client: Warner Bros via Gravillis Inc.
Art Directors:Team.
Project Date: March 2013.

I was asked to help out with the One Sheet creative development process on the second 300 film; 300 Rise of an Empire back in 2012 , and another client also came to me with a need so the next year in March of 2013, I created a detailed back half of the ship deck for a One Sheet presentation they were making for the payoff posters.

I was given a rough shot of the actors to match lighting and angle, and a single shot from the backstage from the film of the set itself. I had just a day to do this, as most deadlines are very fast in Theatrical Entertainment, so I build as much as I could get in the design with some simplification to meet the deadline.

Overall I matched the look and feel and the client took delivery of the multi-layered PSD file with an ambient pass, as well as alpha channel, and a Z-Depth pass for distance based editing to drop the ship into the fog as it went back into scene.

A fun one day gig.

If you want to see the medium resolution ships I built the prior year for another client[ so I was already familiar with the vessel] you can review that here. I also did a small online part for the first one here as well.

Cheers, THOM

Thursday, October 24, 2013

Project Review: One Sheet Key Art 3D Illustration for Night at the Museum 1 -PART IV

Here is the final Background 3D Render used in the finish for Night at the Museum 1.


 The 3D Scene is straight forward, a virtual replication of a hallway used in the sets from the film.


I provide a Z-Depth channel allowing the Art DFIrector to do effects based on distacne from camera as this gives 256 levels of depth for them to blur, desaturated etc.


 The Middle ground final render of the Dino Tail build all Quad Subdivision.


Here is the base Polygon Mesh model with subdivision removed.


Here we see the final subdivided mesh[ 2 levels]


 The final render for the foreground archway model. This came in at the last day a change the client made in finishing.


  The Archway was a basic block model with modeling grout and blocks.


The final 3D Logo I built for the MGFX and the Print work.

 A Screenshot shows the rough layout provided, a screen shot so I could match the angle, and the final poster on the RIGHT.



Project Review
One Sheet Key Art 3D Illustration for
Night at the Museum 1
PART IV

Client: Twentieth Century FOX via The Cimarron Group.
Art Director(s): Calvin Sumler, Chris A. Hawkins, Joseph Stamper.
Project Date(s): Summer 2006, 2008.

This is my fourth posting covering the 3D Design, 3D Illustration, and 3D Animation work I performed for the Theatrical Advertising campaign for Night at The Museum[ Parts I and II], and today I am covering the three final renders I did for the One-sheet finish on the first film.

I was asked to take a shot from the film of a hallway, and build out a virtual version that was longer and wider, as they wanted to put a large portion of the cast on the poster so they needed a lot more room, so off I went to create the shot.

As the project progressed they added three more renders, for the first one I built out a Dino Skeleton Tail to put into the Middle Ground of the scene, for the second one, they then decided to create an archway as a foreground device, to stage the poster a bit better so I created this render as well as the third and final render for the poster.And finally I did a 3D Logo.

These were big renders at 4500 x 6650 and took a long time to render, so at the time I had a 10 blade render-farm available so I did a distributed single frame render and threw 12 PC's total on it to get it done over nite.

You can view PART I here, covering the two film posters I worked on.
You can view PART II here, the Golden Tablet Motion Graphics 3D Animation I did for the trailers.
You can view PART III here, covering the Dino Head build.

Cheers, THOM

Wednesday, September 19, 2012

Project Review Game of Thrones Season 2 PART II 3D Crown Illustrations 2012

 Here is the front shot here render of the 3D Crown I built out for Game of Thrones Season Two last year.


 This is a render of the smoothed mesh I built out all sub-division with a Turbo-Smooth applied.


 Here is the base model with all subdivision removed to show the simple base model I created.


 An angle similar to what finished with Richards Crown that I did here for the finish.
 

 The low resolution base mesh.[ Note the band details are not modeled into the band]


 Here is the smoothed model ready to render with the sub division added back in.


 Here is another angle showing the reflection on the band , as I used the map for the bump channel, as well as the specular and glossiness channels.



Here is the 3D band details that I modeled out in 3D as well, and created a Z-Depth map to use as my bump specular and glossiness channels.

Project Review
Game of Thrones Season 2 PART II
3D Crown Illustrations 2012

Client: HBO via Cold Open.
Art Director(s): Coby Gewertz, Jeff Barnett, Melchior Lamy.
Project Date: January 2012.

I created the main crown[ King Richards ] for the advertising for the Season two of Game of Thrones in my prior post on Game of Thrones here, so today I am posting the second crown model I was asked to build out for the presentations for the show.

I was contacted by Cold Open to also build out the boy kings crown, which was also based on antlers, but with a much thinner rack with a lot more points, along with some engraving in the base rim that I created custom Z-Depth bump maps for. It took just under a day to build and render this out for them.

 I also rendered this second crown model out in Final Render using the dirt shader, to add just enough aging to make it match the look and feel from this great series, though the gold is a bit brighter for this crown.

I have been working on the third season for Game of Thrones recently again,and anxiously await the new season along with all us fans.

I will have posts for that work, once the posters show up and the season begins.

Cheers, THOM

Tuesday, September 7, 2010

Project Review: Syriana 2005

A Stinger Missile.

The USA covered in Oil.

Oil Drums with the Film Title on them SYRIANA.

A US Map made from Oil.

A Z-Depth Design of a Crest with Oil War and Blindness.

A Stone version of the above Crest.

An Oil Dripping Wall with a CIA Crest.

A Generic Limo Background Image for a Comp.


SYRIANA

Client:Warner Brothers via. The Cimarron Group.
Art Director(s): Chad Robertson, Joseph Stamper, Calvin Sumler, Adrienne Burk.
Project Date: Winter 2004-5.

I did 3D Illustration work for the print advertising campaign for Syriana back in the winter of 04. The basic theme I was given was using Oil references with War. CIA badges soaked in Oil the US map covered in Oil and various Icons from the George Clooney film were used in all the design comps we turned in. The finish ended up fully 2D so no 3D was used.

Cheers, THOM

Thursday, January 28, 2010

Project Review: Dreamcatcher

Main Dreamcatcher Icon Image.

The Finished International Trailer Title background.

The Dreamcatcher in a river of blood.[ NOT MPAA friendly]

The Z-Depth Image I created from the 3D model to "bump" the blood model.


Dreamcatcher
"NO BOUNCE NO PLAY"

Client: Castle Rock Entertainment via BLT and Associates.
Art Director(s): Alon Amir, Alen Petkovic
Project Date: Christmas 2001

The first job I worked on for BLT's AV division which I was employee #2 in was with the very talented Alen Petkovic. BLT had just started the division and Alen and I were doing some concepts for Stephen Kings "Dreamcatcher".

I was tasked with a 3D model of the dreamcatcher from the film. I worked off a sketch by Crash McCurrie and built the Dreamcatcher for print and AV use. Eventually the company built a real one using the Native American artisan who built the hero prop for the film.

The only finish I made was in the International trailer at the end title they used the Dreamcatcher behind the title.

Cheers, THOM

Monday, November 30, 2009

Behind the Art: Herbie Fully Loaded


Behind the Art: Herbie-Fully Loaded

I am often asked where do I start with an automotive virtual image so I have this brief outline of what I do to create an image of a virtual photo-real car.

Design Phase:

I am professionally trained to design a car from scratch, but most often, I build existing automobiles.

Unless the manufacturer hands you 3D data, you need buy or create the virtual model yourself, and having been trained in automotive design is what I use in this step. I also have owned over 40 cars and over 15 have been VW's so I have personally restored and wrenched on a lot of VW's which gave me a great advantage with a head start for Herbie.
This step involves both knowing every part of the car itself, inside and out, and knowing how it is constructed, and as a trained Transportation designer this is what I do best.

Build [3D Modeling] Phase:

Getting a 3D Model made involving a scan will run around $25,000.oo-$50,000.oo for just the exterior, and about the same for an interior. This does not include the engine, suspension or undercarriage usually, but an indication of them. I build from scratch to scale and "On Model" for around $8,000.oo and up.

I build part by part and start with an accurate measurement of the car and block out the wheelbase and overall bounding box so proportions will be accurate. I then move to all pieces needed for the work at hand. I always work bigger parts to smaller ones.

Materials Phase

As I have down time, I practiced with all materials needed to render out a typical car. Most are straight forward with glass and paint taking the longest to perfect. I have used Pre-made shaders, and find most are limited so I build my own. I have a library of automotive shaders ready to go for setting up a photo shoot quickly.

For the Mitsubishi pitch I helped win at The Cimarron Group for The Traffic Agency, I had weeks of time perfecting metalic paints that when I had just 4 Hours to create images for an end of day pitch, I was able to deliver for under $1000.oo. with an online 3D Model form 3Do2.com

Virtual Photo shoot Phase

Setting up the virtual sound stage is a mirror of a real one. The techniques used are basically the same. A common misconception I have ran into is that clients sometimes think that you can buy a 3D model drop it into 3D program, hit render, and it is done. That would be like you going to Hertz renting a car driving on to a soundstage and taking a picture with your Casio for a photospread for a client. You would be fired! All automotive manufacturers use professional photographers for a reason, and virtual photography is it's best when you are consulting a professional photographer[ best thing I ever did RE: 3D cars!]

Rendering Phase

Once you have set it all up the computer calculates the lighting and materials on the geometry and renders out the image or movie sequence you have set up. Smart 3D allows for any image to be rendered out larger with exact contitions from the first, as if the photo shoot was perpetual.

Retouching Phase

Every car image you see in print is retouched. The art of retouching itself is a very specialized field and even vendor to vendor there are certain "techniques" that will be in all products from each manufacturer. As a virtual Image I give the Smart 3D channels and masks, so the time factor for retouching is always less expensive.


Cheers, THOM

Saturday, October 31, 2009

SMART 3D


What is Smart 3D?

-Smart 3D describes the multiple advantages that a 3D render offers when used as virtual photography, over against the two traditional means used in actual photography, namely that of Stock Photography, and doing a custom photo shoot with a staff Photographer.

-Every advertising agency is using both the above photography solutions in their production for many decades, yet virtual photography has so many advantages, once the industry is properly educated to them they will shift over and use as much virtual photography as possible because the cost and time factors cannot be matched.

-What are these advantages to using a virtual photograph[ 3D Render] over a real Photo, you may ask. Well there are many as follows:

-First up is they are rendered with an alpha channel so cutting them off the background is instant, vs. the hand masking that for larger images takes many hours for each mask. This cost savings is not readily connected to the 3D asset, but any finisher or retoucher that has used the SMART 3D image knows full well they can spend more time on the art, and every producer sees less money being spent by high dollar artists doing masks.

-Second, besides a general alpha channel to cut out the 3D object, you can ask for a channel mask for as many objects or surfaces as needed. In the above example the retoucher asked for the glass, paint, and chrome to have a channel mask made, and that along with the other channels provided, this cut the retouchting time to 25% of a normal photographed car. Saving 75% on retouching in this economy is a make or break situation for many companies trying to cut costs.

-Third as explained in a prior post the Z-Depth channel, gives dimensional pixel information for artistic staging and effects applied to the "virtual Photograph".

-Fourth, when using stock photos there is usually some kind of schedule to buy out the image or paying for each use, that with a custom built SMART 3D asset, is eliminated as you own the image outright.

-Fifth, the SMART 3D asset is saved out as a live stage. Image a photo shoot that is never taken down or the lights moved forever. This in essence is what you get with a virtual photo shoot. You can go back and produce more masks in the exact position as the original image has.

-And Finally, the render itself can be output with components of a single render output on separate layers like the shadows and reflections. High dollar artists spend hours "painting" out a shadow or reflection from a photograph to make it right for the job at hand, but with a SMART 3D asset , you merely delete the shadow layer or erase the section without changing the image below.

-3D Illustration is always thought of for a big shiny metal 3D extruded logo like I did for X-MEN, but for a generic shot of a chair, photography is the fall back position, and 3D does not usually come to mind for a "mundane" task. But, if you want to save time and money in your production by everyone who uses the image once the 3D Designer has handed off the work and is done, use a SMART 3D image. The savings of time and money stay with that image each time it is used.


Cheers, THOM

Thursday, October 29, 2009

How to use a Z-Depth Channel from a 3D Image




In the world of 3D, X,Y and Z represent the three dimensions. Z_Depth is the third dimension that is represented as a distance going into a 3D image or 3D Animation from your camera viewpoint. X and Y represent what every 2D Designer uses on a daily basis in any Vector or Bitmap program of Height and Width, and with 3D, Depth is added via a Z_Depth going into the Depth of an image.
One great advantage to a 3D Illustration is that the Z_Depth is a pixel for pixel representation of where the object falls in the scene based on 256 levels of a gray scale. So staging your image based on distance, like adding fog only in the background can be achieved in 1/10th the time.
Another advantage to the Z_Depth image, is that you can adjust the levels in Photoshop and virtually move the distance plane through a scene and get even more custom depth selections. The finished still for One Sheet comps was built for Superman Returns in 2005.
Just one more advantage to a SMART 3D image.


Cheers, THOM