Project Review: Hunter Street Season 1- Key Art Graphis Poster Annual 2018 Gold Winner

 

 

 Hunter Street Season 1- Key Art Graphis Poster Annual 2018 Gold Winner- This is the final 3D Illustration render with a few inches of bleed added all around delivered to Cold Open.

 

 

 

Hunter Street Season 1- Key Art Graphis Poster Annual 2018 Gold Winner-  Here is the final finished Key Art as printed.

 

 

 

Hunter Street Season 1- Key Art Graphis Poster Annual 2018 Gold Winner screen grab from the link HERE.

  

 

 

Hunter Street Season 1- Key Art Graphis Poster Annual 2018 Gold Winner- This is the final design zoomed out with a good amount of bleed with the final sketch overlay for reference to my camera match

 

 

 

Hunter Street Season 1- Key Art Graphis Poster Annual 2018 Gold Winner- The second 3D render pass is a Ambient Occlusion / Dirt overlay I provide to the agency to enhance the cracks and intersections while adding a base ambient light on all surfaces.

 

 

 

Hunter Street Season 1- Key Art Graphis Poster Annual 2018 Gold Winner- Also provide the Z-Depth map for distance based post editing for atmosphere like fog, as well as darkening by distance as well.

 

 

 

Hunter Street Season 1- Key Art Graphis Poster Annual 2018 Gold Winner- A Screen Grab with lighting and textures on to see the basic 3D model blocking,scene lights, and textures prior to render.

 

 

 

Hunter Street Season 1- Key Art Graphis Poster Annual 2018 Gold Winner- A Screen Grab from the camera view in a Clay Shader to show the 3D form of the model without lights and textures.

 

 

 

Hunter Street Season 1- Key Art Graphis Poster Annual 2018 Gold Winner- A Screen Grab from the camera view zoomed in rendered out as a Clay Shader.

 

 

 

Hunter Street Season 1- Key Art Graphis Poster Annual 2018 Gold Winner- A Screen Grab of the bookcase with hidden room in the floor/ wall.

 

 

 

Hunter Street Season 1- Key Art Graphis Poster Annual 2018 Gold Winner- A Screen Grab from backed up showing the virtual set wild walls floating to get the view as I needed.

 

 

Hunter Street Season 1- Key Art Graphis Poster Annual 2018 Gold Winner- A Screen Grab with wireframe colors along with the wheeled library ladder with cast iron steps.

 

 

 

Hunter Street Season 1- Key Art Graphis Poster Annual 2018 Gold Winner- This Ambient blocking model was done in January very early on. It has a foreground staircase and bookshelf and was zoomed into the scene much closer at first.

 

 Hunter Street Season 1- Key Art Graphis Poster Annual 2018 Gold Winner- Here is that early 3D Illustration render with the sketch overlaid on my blocking model.

Project Review: Hunter Street Season 1

Key Art 3D Illustration

Graphis Poster Annual Gold Winner 2018

 

Client:  Nickelodeon via Cold Open
Creative Direction: Gardner DeFranceaux
Project Date:  January and September 2016.

     I was brought onto this Nickelodeon project early in 2016 for Hunter Street a new TV Series and created an MC Escher'esque concept 3D Illustration, then 9 months later it finished and I rendered out the final, and then for 2018 after airing delays it won a Gold Place in the Graphis Annual Poster competition, similar to the Key Arts show.  Many thanks go out to Gardner there at Cold Open.

 

      I have gaps as long as a year between an initial concept and getting picked for the final like this project which spanned 9 months that year, and had to go back and re-render the comp at a finish size like this. This job was a really fun project as I am a huge MC. Escher fan, and studied his work extensively starting at CCS in Detroit when I was in college. I used what I learned from his books for many sketches I have done like these from Disney Interactive.

    Another great project I got from Cold Open agency. They have returned to using me through the past on work like this, rare, but so fun when I do get it. Walking up on walls and the multiple perspectives that Escher was made famous for was fun to realize in a vintage hard surface architectural environment along with library parts with rolling ladders and stuffed bookcases and trap doors sure was a fun project to do. To cap it off we won a Gold GRAPHIS Annual award which was great to be a part of realized in 3D from the initial concept sketch done at the agency.

 

    As a Behind the Art post , it shows my initial build as well as the final design geometry in wire-frames, and clay shader showing surfaces and blocked shapes along with the full color pass and additional renders. As usual I delivered the layered Photoshop file to the agency at a very high rez for finishing.

     As a side,I had built the 3D bookcases filled with books a few years prior that I also sell online via the stock model site Turbosquid, this allowed me to set dress the room much quicker and save some costs for the agency as well. You can see that here if you need one for your CGI work. It is all Quad modeled Sub-D for multiple render resolution output.

     I am currently full time doing freelance gigs 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 to go.

                                 Cheers, THOM

Project Review: Ghostbusters III- 3D Title treatments for Print and MGFX 2008

 

 

Key Art 3D Logo Proof of Concept Ghostbusters 3 2008- The final main Icon 3K 3D render.

 

 

 

Key Art 3D Logo Proof of Concept Ghostbusters 3 2008- A Clay Shader Camera View Screen grab in the base ultra low poly build. My background came from Real Time, and I made this 18 years back so I went that way then. Today, I would go with more polygons if I was to do this again.

 

 

 

Key Art 3D Logo Proof of Concept Ghostbusters 3 2008- A Clay Shader Camera View Screen grab in High Polygon count as a Subdivided [ Sub-D] asset.

 

 

 

Key Art 3D Logo Proof of Concept Ghostbusters 3 2008- Close on the Shaded Screen Grab a bit to the side. Such a fun sculpture to make.

 

 

Key Art 3D Logo Proof of Concept Ghostbusters 3 2008- An Ultra High Rez Subdivided Ghost 3D Model in a side view Screen Grab in the Clay Shader showing without transparency.

 

 

Key Art 3D Logo Proof of Concept Ghostbusters 3 2008- This Screen Grab with Materials shows that all pieces are transparent.

 

 

Key Art 3D Logo Proof of Concept Ghostbusters 3 2008- Screen shot of the two main materials I created for the concept 3D icon I made.

 

 

Key Art 3D Logo Proof of Concept Ghostbusters 3 2008-The Z-Depth 3D Render pass for realistic distance based camera and saturation work done in Post typically done in Adobe Photoshop for Print, and After Effects for MGFX.

 

 

Key Art 3D Logo Proof of Concept Ghostbusters 3 2008- The Ambient/ Occlusion 3D Render pass for realistic lighting affects added in post.

 

 

Key Art 3D Logo Proof of Concept Ghostbusters 3 2008-A worm's eye view lower angle on the test render for the ghost material I made for the main Logo Icon design in 3D.

 

 

Key Art 3D Logo Proof of Concept Ghostbusters 3 2008- Another different angle on the test render for the ghost material I made for the main Logo Icon design in 3D.

 

 

Key Art 3D Logo Proof of Concept Ghostbusters 3 2008- A Teaser One sheet using various pieces put together into a single render for the Key Art Print work.

 

 

Key Art 3D Logo Proof of Concept Ghostbusters 3 2008- The final render of Slimer's overlay of drops for the Poster Key Art.

 

 

 

Key Art 3D Logo Proof of Concept Ghostbusters 3 2008- This screen grab Clay Shader shows the High Poly Subdivided [ Sub-D ] model for these drips.

 

 

Key Art 3D Logo Proof of Concept Ghostbusters 3 2008- This screen grab Clay Shader shows the Low Poly Base model for these drips.

 

 

Key Art 3D Logo Proof of Concept Ghostbusters 3 2008- Shader viewport Camera View ready to render out.

 

 

Key Art 3D Logo Proof of Concept Ghostbusters 3 2008- For Materials I had the green environment map center lit, as well as the the shiny transparent slime. I had a higher reflection for better read on the highlights.

 

 

Key Art 3D Logo Proof of Concept Ghostbusters 3 2008- A 3/4 view screen grab Clay Shader shows the levels of the drips for this overlay render.

 

 

 

Key Art 3D Logo Proof of Concept Ghostbusters 3 2008- The final finished 3D render of the Slimer Wall with the refraction's and reflection's dramatically lit from below. The bubbles were one of my favorite additions to this piece.

 

 

Key Art 3D Logo Proof of Concept Ghostbusters 3 2008- This screen grab shaded showing materials in frame from the Camera viewpoint.

 

 

Key Art 3D Logo Proof of Concept Ghostbusters 3 2008- This screen grab Clay Shader shows the displacement in the various running down levels, a custom bitmap was made for this effect.

 

 

Key Art 3D Logo Proof of Concept Ghostbusters 3 2008- This screen grab Clay Shader shows the wall and the air bubbles behind it as a side perspective angle.

Key Art 3D Logo Proof of Concept Ghostbusters 3 2008- This screen grab wireframe shows the air bubbles behind the displaced plane used for the running Slimer goo.

 

Project Review: Ghostbusters III- 

3D Title treatments for Print and MGFX 

October 2008

 

Client:  Judd Apatow produced via The Cimarron Group
Creative Direction: Myself
Project Date:  October 2008.

     Back in the Fall of 2008, I was still in house at The Cimarron Group as the 3D Design Director and I got a dream project that landed on my desk for a rebooting back up of the Ghostbusters franchise. This work was done nearly 2 decades back, and since then their have been 3 additional films made. This was attached to Seth Rogan and Jud Apatow. A few years later in 2012 there was a table read with cast attached, this was prior to the Paul Feig film from 2015.

 

     I also did some work on the Girl Boss version in 2015 Ghostbusters:Answer the Call over a decade back for a few agencies. As to the most current ones from Jason Reitman, he used the original logo on both Ghostbusters:Afterlife, and Ghostbusters:Frozen Empire, so no 3D used.

 

     This work posted today was very early in the production process and Bob Farnia, the Owner at Cimarron wanted us to take a stab very early on the work. This was our proof of concept work for both the Theatrical Print, and Motion Graphics teams so I was off to work.

     I started with the main Ghost Logo and sculpted out the Ghost in 3D to match the original 2D Illustration used in the 80's. Once I was satisfied with the design in a full Quad Sub-D build out, I spent a few days working on a ghost material. I landed on what you see posted above making sure it had legibility. I used a blurred frosted glass like material with no reflective shine to it, so it was matte finished with some color bounce refraction inside the ghost.  It had a falloff material with the transparency fading to the edges, yet still visible. I posted a few angles but the front original match angle is what was preferred.

 

     I also made the red "No Circle" transparent as well in red with shine added to the shader so this was a time consuming 3D render back then as everything was transparent.Render times were long 18 years back, today this could be previewed in a viewport with a nice CUDA card.
 

    For MGFX I used the Icon along with the proposed release date. This was an animated Film rez file I delivered to the Motion Graphics team for the presentations. I have posted the final frame after all the parts came together for the year 2010 above.

    I also built a full running wall of Slimer's green slime using a displacement map on a mesh object with 3D modeled air bubbles at various distances behind the transparent goo. This along with some depth of field on he Camera in the 3D render added to the depth to the material.

   Finally, I did one poster mock up one sheet as well with just the big icon, as at this stage there were no assets at all,  and all we had was a moving date that "Got Slimed" with Slimer's green goo basically on everything in the design.

     I am still currently 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: Crashing HBO 2017-2019- 3D Concept Design Illustration for Key Art

 

 Project Review: Crashing HBO 2017-2019- 3D Concept Design Illustration for Key Art: Main Render delivered with all layers.

 

 

  Project Review: Crashing HBO 2017-2019- 3D Concept Design Illustration for Key Art: With the hidden photography layer used for alignment for the client to see in.

 

  Project Review: Crashing HBO 2017-2019- 3D Concept Design Illustration for Key Art: The background 3D render group set behind the photo-shoot grab.

 

 

 Project Review: Crashing HBO 2017-2019- 3D Concept Design Illustration for Key Art: The Foreground 3D Color render set in front of the above render to comlete the comp.

 

Project Review: Crashing HBO 2017-2019- 3D Concept Design Illustration for Key Art: The full 3D render together with Foreground and Background.

 

 

Project Review: Crashing HBO 2017-2019- 3D Concept Design Illustration for Key Art: A Z-Depth distance based mask used for all post effects.

 

Project Review: Crashing HBO 2017-2019- 3D Concept Design Illustration for Key Art: I almost always provide a second render pass shaded as an Ambient Occlusion/ Dirt pass using Cebas Final Render GI plug-in. It gives both ambient realism, and a dirt procedural shader that fills in cracks in the geometry at all intersections adding realism as well. A must have in any 3D render. This is for the Foreground layer.

Project Review: Crashing HBO 2017-2019- 3D Concept Design Illustration for Key Art: a second  Ambient Occlusion/ Dirt pass. This is for the background scaffolding group render layer.

 

 Project Review: Crashing HBO 2017-2019- 3D Concept Design Illustration for Key Art: This is the original sketch as well as a screen grab of sketch, the photography and a set extension I did for the viewport background to render to.

 

 

 

Project Review: Crashing HBO 2017-2019- 3D Concept Design Illustration for Key Art: A Screen Grab Clay shader showing surface-This is the Camera view with the refection dome behind the scaffolding.

 

 

Project Review: Crashing HBO 2017-2019- 3D Concept Design Illustration for Key Art: A Screen Wire-frame grab from the Camera.

 

 

 Project Review: Crashing HBO 2017-2019- 3D Concept Design Illustration for Key Art: A Screen Wire-frame camera viewport showing alignment to the sketch and city photography

 

 

 

Project Review: Crashing HBO 2017-2019- 3D Concept Design Illustration for Key Art :A Screen Grab Clay shader showing surface- A close up on the mesh railing and details in the build with the bolts and clamps, floor boards and props.

 

 

 

  

 

Project Review: Crashing HBO 2017-2019- 3D Concept Design Illustration for Key Art: A Screen Wire-frame- of the above Clay shot. Color coded meshes by object type is seen here.

 

 

 

 

 Project Review: Crashing HBO 2017-2019- 3D Concept Design Illustration for Key Art: A Screen Grab Clay shader showing surface- A birds eye view with both foreground and background groups in the shot

 

 

 

Project Review: Crashing HBO 2017-2019- 3D Concept Design Illustration for Key Art: A Screen Grab Clay shader showing surface- The same birds eye view with just the Background group in the shot

 

 

 

Project Review: Crashing HBO 2017-2019- 3D Concept Design Illustration for Key Art: A Screen Grab Clay shader showing surface- The same birds eye view with just the Foreground group in the shot

 

Project Review: Crashing HBO 2017-2019- 3D Concept Design Illustration for Key Art; A Screen Grab Clay shader showing surface- a severe birds eye view looking into the Gap where the main Actor Pete Holmes is place virtually.

 

Project Review: Crashing HBO 2017-2019- 3D Concept Design Illustration for Key Art: A Screen Grab Clay shader showing surface- super close on the knotty pine box I repurposed from another gig.

 

 Project Review: Crashing HBO 2017-2019- 3D Concept Design Illustration for Key Art: A Screen Grab Clay shader showing surface- A medium shot from camera showing better detail a bit closer.

 

 Project Review: Crashing HBO 2017-2019

3D Concept Design Illustration for Key Art 

September 2017 

 

Client:  HBO via Cold Open
Creative Direction: Gardner DeFranceaux
Project Date:  September 2017.

     I was brought onto this HBO project in the Fall of 2017 for a new HBO series Crashing to do some Concept Design and 3D Illustration for a concept the client wanted to see. This was proof of Concept work, that was presented, but did not finish.

    Another great project I got from Cold Open agency. This was a Concept Art 3D Illustration piece to make a giant scaffolding structure surround the main talent Pete Holmes both front and back in a city where he is  a giant at 30 stories tall. I did some research as well as getting a reference sketch and some photos of the level of detail wanted, so I was off to work.

 

     I built out the individual parts "Lego Style" so I can have repeating parts to use, and I put a naming convention in the file to easily texture and grab the parts by object when I build all base parts. These were also all built at as quad subdivision models so I could have a low-rez base mesh and add subdivision at render time since there were a lot of parts in the file a 100+ Mb scene file so you need to be able to light it easier that way. Also when I build stuff like this I want to sure the parts in the future and at some point if it is to be animated, as they need the low poly for that to be efficient. I also color code the geometry to grab by color for quick workflow. Even a mini pipeline for a single image is helpful.

 

    This is a Behind the Art post showcasing the actual geometry in a build. I also split the scaffolding into foreground and background sections to easily place the photo-shoot Pete Holmes inside the scaffolding structure cage so to speak. I delivered the layered Photoshop file to the agency this way so they could work quickly and mask as needed.

     Many thanks go out to Gardner there at Cold Open. A fun design to execute even if t did not make it to the finish. I love the building  and lighting rendering no matter how far a project goes, the process is  what I love. Click the link to see the impressive work they do! 

     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 to go now.

                                 Cheers, THOM