Project Review: 3D Key Art The Christmas Chronicles: 3D Logo and typeface Finished Title Treatment PART I

 

 

 

3D Key Art The Christmas Chronicles: 3D Logo and typeface Finished Title Treatment- This is the final finished design for posters and Key Art for Netflix. I really enjoyed doing the filigree inset panels in the title. They have a Victorian and Old world tone to them.

 

3D Key Art The Christmas Chronicles: 3D Logo and typeface Finished Title Treatment- I often render and Ambient / Dirt render pass in 3D to add realistic lighting and accumulation of grit in the intersections and cracks in the geometry to ass some not so polished loos. I did that for this project to reflect Santa's real age.

3D Key Art The Christmas Chronicles: 3D Logo and typeface Finished Title Treatment- a Z-Depth Mask render is very useful and easy to use in Photoshop.

 

 

 

3D Key Art The Christmas Chronicles: 3D Logo and typeface Finished Title Treatment- This is a Color-Picker render I add if requested. This is object based so the Creative Director can have pre-selected masks based by object. This Smart 3D as I call it is why 3D renders save massive masking times and are accurate to the anti-aliased pixel  level.

3D Key Art The Christmas Chronicles: 3D Logo and typeface Finished Title Treatment- A Viewport Clay Shader Screen Capture grab leaves out textures and color information to focus on just the surface, here is a Camera view of the wireframe build out of this title.

 

 

 

 

3D Key Art The Christmas Chronicles: 3D Logo and typeface Finished Title Treatment-Another View-port Clay Shader Screen Capture front view from the camera without the frame gate on to see the lighting spotlights on the wireframe build out of this title.

 

3D Key Art The Christmas Chronicles: 3D Logo and typeface Finished Title Treatment- This Clay Shader Screen Capture overhead view shows camera postilion and lighting.

 

 

 

3D Key Art The Christmas Chronicles: 3D Logo and typeface Finished Title Treatment-This Clay Shader Screen Capture is a close up on the Left side of the title showing the extrusion depth.

 

 

 

 

3D Key Art The Christmas Chronicles: 3D Logo and typeface Finished Title Treatment- A lower close up angle on the shaded wireframe screen grab really shows the weight of the letters in 3D.

 

 

 

 

3D Key Art The Christmas Chronicles: 3D Logo and typeface Finished Title Treatment- A rendered screen grab with the filigree texture map seen in the sample sphere, as well as the custom build etching texture map used as a bump / specular map that was taken from the film reference.

 

 

 

 

3D Key Art The Christmas Chronicles: 3D Logo and typeface Finished Title Treatment- Here is one of four complete 3D rendered typefaces I did for the film. Two regular, and two bold, one set in italics for each font weight.

 

 

 

3D Key Art The Christmas Chronicles: 3D Logo and typeface Finished Title Treatment-Here is a close up on the file which was rendered out for a 16K wide massive file. You will notice on the second row down I did a set with no internal filigree. This is what they used in the Sequel.

 

 

 

3D Key Art The Christmas Chronicles: 3D Logo and typeface Finished Title Treatment-Here is another  close up on the file which was rendered out for a 16K wide massive file. This shows international letters needed so they could construct most titles needed at the time.

 

 

Project Review

 3D Key Art  The Christmas Chronicles:

3D Logo and typeface Finished Title Treatment
PART I 
 

Client:  Netflix via Cold Open
Creative Direction: Gardner DeFranceaux
Project Date:  September 2018.

     Back in the Fall of 2018 I was put on the Netflix Holiday Film The Christmas Chronicles. I worked on the project for a few weeks developing a variety of title treatments, that were proof of concept. Today's post is covering just the final finished 3D Logo used for the main titles as well as the entire alphabet for the film credits. I will post a Part II covering my Proof of Concept iteration work in the near future.

     I really have loved doing freelance for 16 years for the Cold Open agency, and I always get really fun 3D illustrations and 3D Logo concepts from the fantastic team there. I am a huge Kurt Russell fan, so doing this fun title was a pleasure to participle in. I do a lot of 3D Logos, and I definitely enjoy fancy ornate ones like what was needed for this film. Big blocked out san-serif metal 3D Logos are a staple in Key Art, especially for Superhero Film type of work and action titles. But this had a flair to match the film and the nostalgic era that Christmas design looks back at in American Film.

 

     The main Key Art design was to get a title locked in. Gold, copper, and filigree engraving were taken from the film production design, especially from Santa's sled. The filigree itself was a direct lift from the main prop used in the film on Santa's sled in the metal. The overall warmth was all matched to the film palette.

    I took a number of screen grabs in a flat Clay Shader to show the sculpture forms I made for the ornate title, as well as a screen grab of the Final Render shader using the filigree engravings from his sled. A Behind the Art post is for those wanting to see the process and actual geometry in a build.

     Many thanks go out to Gardner there at Cold Open for bringing me on for these project based roles. Please do take a trip over to the site at the link to see the impressive work they do! The Typeface I created for the first film was used for The Christmas Chronicles 2 as well.

     I am currently full time doing freelance as I hunt for a full-time place to work at, so if you need a bid for a 3D Illustration or 3D Logo, or a 3D Model feel free to contact me for a quote. I am open to Hourly gig's, Work Retainers, Part-time, and of course a Full Time opportunity [ Open to relocation ] would be best. I have worked remote since 2009, so I am ready and experienced to help you.

                                 Cheers, THOM

Project Review 3D Key Art Illustrations Proof of Concept for Total Recall August 2012 PART II Power Extraction Tower

 

 

 

 3D Key Art Illustrations for Proof of Concept for Total Recall 2012 PART II Power Extractor Tower- The final Comp Proof rendered out with Photoshop post using the added render passes.

 

 

 

3D Key Art Illustrations for Proof of Concept for Total Recall 2012 PART II Power Extractor Tower- An ambient / Dirt render pass used in post to add form and details to surfaces as well as intersections in geometry. It is a lighting pass and a geometry based dirt render in one. This pass is great for darkening overlays for all the little part lines in the concrete. really adds realism.

 

 

 

 3D Key Art Illustrations for Proof of Concept for Total Recall 2012 PART II Power Extractor Tower- a Z-Depth pass is standard as a render pass in Cebas Final Render, and I use this for near every render I do as time permits.

 

 

 

3D Key Art Illustrations for Proof of Concept for Total Recall 2012 PART II Power Extractor Tower- A Screen-Grab Behind the Art showcasing the wireframe from the Camera view with a clay shader showing form not textured or final colors used.

 

3D Key Art Illustrations for Proof of Concept for Total Recall 2012 PART II Power Extractor Tower- My Client provided the sketch on the right I used to start the project, and a small final proof of concept layout comp as delivered on the Left.

 

 

3D Key Art Illustrations for Proof of Concept for Total Recall 2012 PART II Power Extractor Tower-A Screen-Grab Behind the Art showcasing the wireframe closer up and elevated above the ground plane with a clay shader showing form not textured or final colors used.

 

 

3D Key Art Illustrations for Proof of Concept for Total Recall 2012 PART II Power Extractor Tower-A Screen-Grab Behind the Art showcasing the wireframe at a bird's eye view looking down with a clay shader showing form not textured or final colors used.

 

3D Key Art Illustrations for Proof of Concept for Total Recall 2012 PART II Power Extractor Tower-A Screen-Grab Behind the Art showcasing the wireframe even higher up on the tower.

 

 

 

3D Key Art Illustrations for Proof of Concept for Total Recall 2012 PART II Power Extractor Tower-A Screen-Grab Behind the Art showcasing how spread out and sometime floating assets are. I learned this in live action commercials early on with a locked camera you can fake a city as those gaps are never seen in frame.

 

Project Review

 3D Key Art Illustrations Proof of Concept

for Total Recall August 2012 
PART II
Power Extraction Tower
 

Client:  Columbia Pictures via Cold Open
Creative Direction: Gardner DeFranceaux
Project Date:  August 2012.

     This is my second post with another Proof of Concept piece that I did for the Cold Open Agency for the reboot of Total Recall back from August 2012. A Proof of Concept is pure concept design that helps sell an idea. This is what this design phase is for.

    I did get some screen captures of the Power Extraction Tower as Pre-Viz blocking models as the CGI for the film had no finished renders. Sometime we get the 3D models but here a screen-grab image was more than enough to block out this concept and move forward with the days work. This concept was directly for the VP Executive of Creative Gardner.

 

      As a student of architecture I have a shape language and proportion understanding when I do work like this. I have done built environments for real work situations, as well as for Sci-Fi in TV Animation as I did for  Phantom 2040.

       I built all of this in 3DS-Max as 3D Quad Subdivision models so that I could add in details resolution for future finishes and close ups. This was a longer shot very low to the ground a "Worms Eye " view looking up. There were a few older structures as well with the new future city as a build over with massive new futuristic structures overpowering the older gothic structures.

      The challenge in Key Art 3D illustration work is budget and time constraints. All projects have these, however the time factor is usually one day to get a finial image so the Creative Director has time to add in the talent and titles. This was no exception. I had one day, so around 10 hours to build and design, light texture and render at a 2500 pixel wide larger comp size. That means  you need to work very fast.
      Here rule #5 in the Etiquette of the Art Critique apply here. Having a week or month on a 3D Illustration like this would produce a much richer design.
      Rule five is: 5. Always keep in mind the time frame the artwork was done in so you are not criticizing a one day project with the standards of a month long one.

      This is the second of five 5 total posts I will be sharing on Total Recall, so do visit again to see those proof of concept pieces. I really enjoy all these projects I do for Gardner there at Cold Open. Take a trip to the site at the link to see the impressive work they do!

     I am back full time doing freelance as I hunt for a full-time place to work at, so if you need a bid for a 3D Illustration or 3D Logo, or a 3D Model feel free to contact me for a quote. I am open to Hourly gig's, Work Retainers, Part-time, and Full Time opportunities [ Open to relocation ] would be best. I have worked remote since 2009, so I am ready and experienced to help you.

                                 Cheers, THOM

Project Review: 3D Key Art Illustrations Proof of Concept for Total Recall August 2012 PART I

 

 

 

3D Key Art Illustrations for Proof of Concept for Total Recall 2012- This is the final 3D concept piece I did for Key Art one sheets for the film for the Robot Room. I used Cebas Final Renders Distortion Lens Camera type, this lens allows a fish eye curved render from 1-100 is much closer to any real lens where CGI renders tend all to be perfectly straight lines.

 

 

 

3D Key Art Illustrations for Proof of Concept for Total Recall 2012- This is the Ambient / Dirt render pass done with Cebas Final Render Ambient material and Dirt shader to get both an ambient lighting pass for realism, as well as a Dirt shaded to enhance the intersections and concave parts of the geometry to enhance the render.

 

 

 

3D Key Art Illustrations for Proof of Concept for Total Recall 2012- I always provide a Z-Depth Mask to the Art Directors so they can play around base on pixel depth to camera, for Rack Focus lens effects, saturation, atmosphere, and other enhancements. This is a very important pass to provide a client and is what makes a 3D render a Smart 3D Image.

 

 

 

3D Key Art Illustrations for Proof of Concept for Total Recall 2012- This is the concept sketch on the Right, and a Preliminary Design Comp that was presented on the Left. I rarely get to see how my 3D is used in the pieces of Key Art presented. That is one disadvantage to being a contract worker. When I was in house at The Cimarron Group, and at BLT and Associates ESOP, I got to see how my concepts were used every day. I miss that.

 

 

 

3D Key Art Illustrations for Proof of Concept for Total Recall 2012- A Clay shader screen grab form the viewport. This is the camera view. You will note that the screen grab does not reflect the Fish Eye lens I used in the renders above, as that is done in the render not in a viewport which is a real time render.

 

 

 

3D Key Art Illustrations for Proof of Concept for Total Recall 2012- A Clay shader screen grab from the viewport. This was the detailing under the platform I built out. It is a reuse of a lot of the geometry from up top with the upside down triangle sectioned under-hallway from the sketch. It played well with the volumetric lighting.

 

 

 

3D Key Art Illustrations for Proof of Concept for Total Recall 2012- A Clay shader screen grab from the viewport. A 3/4 side view shows the design a bit better than as straight view that was needed. Some of the parts were taken for a second comp I did of the elevators from the film. I did get reference of the live action prop for that one.

 

 

 

 

3D Key Art Illustrations for Proof of Concept for Total Recall 2012- A Clay shader screen grab from the viewport. A birds eye shot shows the extent of the 3 wall the set I deigned and built for the Key Art Proof of Concept pieces.

3D Key Art Illustrations for Proof of Concept for Total Recall 2012- A Clay shader screen grab from the viewport. A close up from the camera view. This type of crop in would have been good for a 30-sheet or billboard.    

 

Project Review

 3D Key Art Illustrations Proof of Concept

for Total Recall August 2012 
PART I
 

Client:  Columbia Pictures via Cold Open
Creative Direction: Gardner DeFranceaux
Project Date:  August 2012.

     I am posting a Proof of Concept pieced that I did for the Cold Open Agency for the reboot of Total Recall back from August 2012. This was Proof of Concept only work, pure concept design that did not make it into the final round. Super fun to stretch out in that direction and create a full futurist robot factory. So much fun!

    This is the first posting in a series for Total Recall 2012 that I will be posting on. I had to build out a futuristic Robot factory with no reference to the CGI from the film. I had a nice sketch given to me, and I was very familiar with the original one so I had an idea of where to go with it, as I have been a Conceptual Designer for all of my career.

     Often as a Concept artist, I have had to create from little to no reference, and here I did get to use all those skills. Some projects, the design details are all laid out up front, but this was the other end of the spectrum. I love doing work on both end, as they feed each other in building up a well rounded skill set as a designer.

 

    I started with the concept sketch with a huge room with robots that would be added to the walls. It has a big bridge platform that would be backlit, so I was off and running in the 3D layout.  It was a low angle ground view render that I added a fish=eye lens to it as well for the final.

      As a longtime concept artist I have designed many futuristic city designs of both interior and exterior shots. Starting early in my career for Phantom 2040 I did design layouts like you see in Blade Runners of a futuristic city, and this work was for the TV Animated series. For that work I did sketched designs like this. I was guided early on by Syd Mead to get into Concept Art starting when I first saw him in Michigan while at CCS in 1985. I later met him a few times at his studio in So Cal as well, the GOAT!.

       I built all of this in 3DS-Max as 3D Quad Subdivision models so that I could add in details resolution for future finishes and close ups if needed without a full rebuild. Also, Sub-D gets the best surfaces without being too sharp and CGI looking, this method of construction is typical for Film and Game use, and when I can I build my work this way I do.

      I have 5 total posts I will be sharing on Total Recall, so do visit again to see those proof of concept pieces. Some of the most fun ideas I've had the pleasure of working on in the last decade getting to do these 3D Illustrations.

     I really enjoy all these projects I do for Gardner there at Cold Open. Take a trip to the site at the link to see the impressive work they do!

     I am back full time doing freelance as I hunt for a full-time place to work at, so if you need a bid for a 3D Illustration or 3D Logo, or a 3D Model feel free to contact me for a quote. I am open to Hourly gig's, Work Retainers, Part-time, and Full Time opportunities [ Open to relocation ] would be best. I have worked remote since 2009, so I am ready and experienced to help you.

                                 Cheers, THOM

Project Review: 3D Key Art Illustrations "Proof of Concept" for Horror Film Hell Fest April 2018

 

 

3D Key Art Illustrations for Proof of Concept for Horror Film Hell Fest 2018- This is the first of two Skull 3D Illustration sculptures I did as Concept art for the Key Art. This low 3D Camera angle with red light on the dark metal set the tone for the project.

 

 

 

 

3D Key Art Illustrations for Proof of Concept for Horror Film Hell Fest 2018-  The Ambient / Dirt 3D Render pass from Cebas Final Render is always helpful to tune in the RAW 3D Color Pass render in Photoshop for Print work or in After Effects for MGFX.

 

 

 

3D Key Art Illustrations for Proof of Concept for Horror Film Hell Fest 2018- A standard Alpha Channel makes cutting out the render take seconds saving so much time over either photography or AI generated images.

 

3D Key Art Illustrations for Proof of Concept for Horror Film Hell Fest 2018- Z-Depth give 256 levels of distance for a mask for use in post FX for saturation, blurs, and brightness It is a 3D mask which can be adjusted with levels in Photoshop to make more custom ones as well.
 

 

 

3D Key Art Illustrations for Proof of Concept for Horror Film Hell Fest 2018- This Screen Grab Clay shader shows surface form with no textures so showcase the build itself. This is the Base Mesh in a Quad build, without Sub-D added to enhance the geometry yet. This is what is used by Animators to set up their work. 

 

 

 

 3D Key Art Illustrations for Proof of Concept for Horror Film Hell Fest 2018-This Screen Grab Clay shader shows surface with Subdivision added at 2 Levels so it is 8 times the mesh density. A longer render but for Key Art finishing this allows for very smooth surfaces and curves which this has plenty of.

 

 

 

 3D Key Art Illustrations for Proof of Concept for Horror Film Hell Fest 2018-This Screen Grab Clay shader shows the build with the camera pulled back and to the left showing the jawbone and cheek form not visible as much from the straight on shot.

 

 

 

 3D Key Art Illustrations for Proof of Concept for Horror Film Hell Fest 2018-This Screen Grab Clay shader is rotated and further to that left cheek side from camera. Here you see the absence of geometry for the back of the skull that I left out of this build. More like a mask.

 

 

 

 3D Key Art Illustrations for Proof of Concept for Horror Film Hell Fest 2018-This Screen Grab Clay shader close up of the teeth area shows the Base Mesh in the Quad build.

 

 

 

3D Key Art Illustrations for Proof of Concept for Horror Film Hell Fest 2018-This Screen Grab Clay shader close up of the teeth area shows the Subdivided Mesh final for renders.

 

 

 

 3D Key Art Illustrations for Proof of Concept for Horror Film Hell Fest 2018-This is the second of two Skull 3D Illustration sculptures I did as Concept art for the Key Art. This concept has a very different design in the center of the forehead with deep swirl spirals going back in 3D Space as well as I tilted down the Skull itself so it had a more menacing look as he is looking at us from the deep sockets under the eyebrow area.

 

 

 

 3D Key Art Illustrations for Proof of Concept for Horror Film Hell Fest 2018- The Ambient / Dirt 3D Render pass from Cebas Final Render shows the colored lighting on the material. this enhances the red lighting as I overlay it as well as the Ambient GI lighting and dirt in the cracks and crevices.

 

 

 

 3D Key Art Illustrations for Proof of Concept for Horror Film Hell Fest 2018-standard Alpha Channel makes cutting out the render take seconds. It also shows the negative space. This also works as a great mask for any painting work in post too.

 

 

3D Key Art Illustrations for Proof of Concept for Horror Film Hell Fest 2018-Z-Depth mask,

 

 

3D Key Art Illustrations for Proof of Concept for Horror Film Hell Fest 2018-This Screen Grab Clay shader is close up in the forehead variation in this second design. I really liked the Razor wire modification to the swirls in there, they felt a little like roses which for a horror concept was different. You see roses and skulls together in a lot of Art from the 60's maybe I was paying homage to The Grateful Dead here. 

 

3D Key Art Illustrations for Proof of Concept for Horror Film Hell Fest 2018-This Screen Grab Clay shader from the side of the Skull sculpture I did for Proof of Concept Art.

 

 

 

3D Key Art Illustrations for Proof of Concept for Horror Film Hell Fest 2018-This Screen Grab Clay shader shows surface form with no textures. This is with Sub-D added to enhance the geometry.  

 

 

Project Review

 3D Key Art Illustrations for Proof of Concept

for Horror Film Hell Fest April 2018 
 

Client:  CBS Films via Cold Open
Creative Direction: Gardner DeFranceaux
Project Date:  April 2018.

     Today I am posting some really fun Proof of Concept work I did for Gardner at the Cold Open Agency out in So Cal for a Theme Park Horror film Hell Fest. This was all Proof of Concept work that did not make it into the final round, nonetheless it was super fun to do Blue Sky concept work to stretch my wings. This post is also a Behind the Art post with Z-Depth masks, Ambient/ Dirt Shader passes, and wireframe screen grabs showing the build out itself, both with and without subdivision as this is a Poly Sub-D Quad build-out.

     I have posted work I have done for the past 16 years for the Cold Open agency, and I always get really fun 3D illustrations and 3D Logo concepts from the fantastic team there. Hell Fest was no different. This was described to me to use roller coaster theme park parts and razor wire to create a skull icon for the Key Art. How cool is that as a concept design to do. As a 3D Conceptual Designer these kind of jobs don't come around very often, so when they do I am all in! I have done a few skull themed Key Art work as seen at this link here.

 

     As a Disney Imagineer I had to sketch and build 3D roller coaster parts quite a few times over the years, so I built on my prior understanding going into this project as I was able to use that knowledge to quickly built out these parts. I built them all as 3D Quad Subdivision models so that I could bend them without any distortion or segmenting once I mesh-smoothed the geometry at the final rendering stage. Also this allowed a lower resolution model to be used for Motion Graphics pieces with a much more manageable polygon count to make life much easier for the MGFX 3D Animators.

 

     The second main component I made in this build was the razor wire. I did some as coils, and others bent forms as I made a set at various lengths that and layered back in 3D space as seen especially in the eye sockets to get them darker like deep tunnels.You will see two variations on the top of the Skull in each design as well as different tilting of the skull. The more evil tipped forehead and the lower camera angle with the mouth open wide shot.

    I took a number of screen grabs in a flat Clay Shader to show the sculpture forms I made for the Skull. I purposely left the back of the Skull off the model as this was only to be shown from the front in the Key Art, and I liked the negative space the gaps created which would have been much more busy with a full 3D back and Front sculpture. This was built more like a mask. I also show the side of the sculpture, and close up views to show of my attention to detail. I just love getting into it.

     I really enjoyed all the projects I do for Gardner there at Cold Open. Take a trip to the site at the link to see the impressive work they do!

     I am back full time doing freelance as I hunt for a full-time place to work at, so if you need a bid for a 3D Illustration or 3D Logo, or a 3D Model feel free to contact me for a quote. I am open to Hourly gig's, Work Retainers, Part-time, and Full Time opportunities [ Open to relocation ] would be best. I have worked remote since 2009, so I am ready and experienced to help you.

                                 Cheers, THOM