Project Review: Greenland 2 Migration: 2025- Key Art Proof of Concept Designs

 

 

 

Project Review: Greenland 2 Migration: 2025- Key Art Proof of Concept Design I: Chrysler Building Day One.  Final 3D render with all render passes combined as delivered to the client. This is the first design I built out with the look back to the first film where the building was destroyed. I was given the back-plate to match by Switch.

 

Project Review: Greenland 2 Migration: 2025- Key Art Proof of Concept Design I: Chrysler Building Day One. The Z-Depth 3D Render Pass for depth based editing in post for the client.

 

Project Review: Greenland 2 Migration: 2025- Key Art Proof of Concept Design I: Chrysler Building Day One. I always do an Ambient Dirt Pass render using Cebas Final Render. It doubles as both an Ambient Occlusion pass, and a Dirt pass that darkens the intersections in the geometry build with a second texture blend.

Project Review: Greenland 2 Migration: 2025- Key Art Proof of Concept Design I: Chrysler Building Day One. Screen Grab in 3DS Max showing the asteroid trajectory trails for placing the lights for the post work for the fire explosions.

 

Project Review: Greenland 2 Migration: 2025- Key Art Proof of Concept Design I: Chrysler Building Day One. Screen Grab in 3DS Max showing the build semi shaded.

 

Project Review: Greenland 2 Migration: 2025- Key Art Proof of Concept Design I: Chrysler Building Day One. Screen Grab in 3DS Max from the main camera viewport in the clay shader to showcase the geometry 3D Modeling work. This is a modified model I built years ago that I cut into it and broke off parts.

 

 

 

 Project Review: Greenland 2 Migration: 2025- Key Art Proof of Concept Design I: Chrysler Building Day One. Screen Grab in 3DS Max perspective view in the clay shader closer up.

 

Project Review: Greenland 2 Migration: 2025- Key Art Proof of Concept Design I: Chrysler Building Day One. Screen Grab in 3DS Max perspective view in the clay shader much closer up to the iconic balcony area with the Art Deck Eagles.

 

Project Review: Greenland 2 Migration: 2025- Key Art Proof of Concept Design I: Chrysler Building Day One. Screen Grab in 3DS Max perspective view in the clay shader shows the freeze frame of the antenna on top that was knocked off by an asteroid.  

 

 

 

Project Review: Greenland 2 Migration: 2025- Key Art Proof of Concept Design I: Chrysler Building Day One. Screen Grab in 3DS Max perspective view in the clay shader close up on a brick corner with bricks flying off the building. As this was a proof of concept if it went to finish I was going to add in bevels and more details here to this addition to my original clean 3D model.

 

 

 

 

 Project Review: Greenland 2 Migration: 2025- Key Art Proof of Concept Design II: Chrysler Building, Years later. Final 3D render with all render passes combined as delivered to the client.

 

 

 

 Project Review: Greenland 2 Migration: 2025- Key Art Proof of Concept Design II: Chrysler Building, Years later. I always do an Ambient Dirt Pass render using Cebas Final Render. It doubles as both an Ambient Occlusion pass, and a Dirt pass that darkens the intersections in the geometry build with a second texture blend. This effect really shows up where the foliage intersects the building.

 

 Project Review: Greenland 2 Migration: 2025- Key Art Proof of Concept Design II: Chrysler Building, Years later. This is a second Color 3D Render pass I did with a rustic mossy texture that was used in post as an overlay layer. It allowed the client to paint in as desired to get more or less aging on the final. I put a clean layer and my suggested painted one 

 

 

Project Review: Greenland 2 Migration: 2025- Key Art Proof of Concept Design II: Chrysler Building, Years later. The Z-Depth 3D Render Pass for depth based editing in post for the client.

 

 

 

 

Project Review: Greenland 2 Migration: 2025- Key Art Proof of Concept Design II: Chrysler Building, Years later. This concept I applied multiple vegetation all over the building. This in years later so I used both a Scatter object to add in leaves all over the base, as well as the hanging vines.

 

 

 

 

 

Project Review: Greenland 2 Migration: 2025- Key Art Proof of Concept Design II: Chrysler Building, Years later. Screen Grab in 3DS Max from the main camera viewport in the clay shader with all that extra geometry for the foliage.

 

 

 

 

 

Project Review: Greenland 2 Migration: 2025- Key Art Proof of Concept Design II: Chrysler Building, Years later. Screen Grab in 3DS Max from a perspective view in the clay shader with all that extra geometry for the foliage a bit closer.

 

 

 

 

Project Review: Greenland 2 Migration: 2025- Key Art Proof of Concept Design II: Chrysler Building, Years later. Screen Grab in 3DS Max from a perspective view in the clay shader showcasing higher up on the balcony level with the eagles draped in vines.

 

 

 

 

Project Review: Greenland 2 Migration: 2025- Key Art Proof of Concept Design II: Chrysler Building, Years later. Screen Grab in 3DS Max from a perspective view in the clay shader near the top on that iconic Deco stainless steel roof.

 

 

 

 

Project Review: Greenland 2 Migration: 2025- Key Art Proof of Concept Design II: Chrysler Building, Years later. Another Screen Grab in 3DS Max from a higher perspective view in the clay shader showcasing the eagles draped in vines.

 

 

 

 

Project Review: Greenland 2 Migration: 2025- Key Art Proof of Concept Design II: Sydney Opera House, Years later. Final 3D render with all render passes combined as delivered to the client.

 

 

 

 

 Project Review: Greenland 2 Migration: 2025- Key Art Proof of Concept Design III: Sydney Opera House, Years later. I always do an Ambient Dirt Pass render using Cebas Final Render. It doubles as both an Ambient Occlusion pass, and a Dirt pass that darkens the intersections in the geometry build with a second texture blend.

 

 

 

Project Review: Greenland 2 Migration: 2025- Key Art Proof of Concept Design III: Sydney Opera House, Years later. The Z-Depth 3D Render Pass for depth based editing in post for the client.

 

Project Review: Greenland 2 Migration: 2025- Key Art Proof of Concept Design III: Sydney Opera House, Years later. A viewport Screen Grab of the Camera View-port showing the mesh lines with a reflection dome over the full scene.

 

Project Review: Greenland 2 Migration: 2025- Key Art Proof of Concept Design III: Sydney Opera House, Years later. A viewport Screen Grab of the Camera View-port showing base materials on the 3D Model.

 

Project Review: Greenland 2 Migration: 2025- Key Art Proof of Concept Design III: Sydney Opera House, Years later. Screen Grab in 3DS Max from the main camera viewport in the clay shader.

 

 

 Project Review: Greenland 2 Migration: 2025- Key Art Proof of Concept Design III: Sydney Opera House, Years later. Screen Grab in 3DS Max from a Perspective viewport in the clay shader closer on that destroyed roof.

 

 

 

 

Project Review: Greenland 2 Migration: 2025- Key Art Proof of Concept Design III: Sydney Opera House, Years later. Screen Grab in 3DS Max from a Perspective viewport in the clay shader even closer on that destroyed roof.

 

 

 

Project Review: Greenland 2 Migration: 2025- Key Art Proof of Concept Design III: Sydney Opera House, Years later. Screen Grab in 3DS Max from a Perspective viewport in the clay shader at an up angle on the inside of the roof.

 

 

 

 

Project Review: Greenland 2 Migration: 2025- Key Art Proof of Concept Design III: Sydney Opera House, Years later. Screen Grab in 3DS Max from a Perspective viewport in the clay shader with all the debris inside.

 

 

 

 

Project Review: Greenland 2 Migration: 2025- Key Art Proof of Concept Design III: Sydney Opera House, Years later. Screen Grab in 3DS Max from a Perspective viewport in the clay shader close on the multiple roof clam-shells.

 

 Project Review: Greenland 2 Migration: 2026

Key Art Proof of Concept Designs

 

Client:  STX Films and Thunder Road via Switch Creative Group Inc.
Creative Direction:  Josh Mintz and Marco Orozco.
Project Date:  August 2025.

     In late Summer of 2025, I was called by Josh over at Switch to do some apocalyptic destroyed architecture for the sequel to Greenland. This was an International campaign so Icons from all over the world were tested. I was tasked with the Chrysler Building in NYC, and the Sydney Opera House in Australia. I have worked on and off on a freelance basis for Josh on projects for over a decade now, and today I can post this work I did last Summer. This is a behind the Art post with plenty of screen grabs from 3DS Max for the build out of these scenes. This work was only Proof of Concept and did not finish. a super fun project none the less.

       I built out the Art Deco masterpiece the Chrysler building twice before in the past, so I was very familiar with the building so I had a good starting point as my model is sold online as well. For this first concept I did the building at the time of destruction from the first film, and then many years later for the sequel. For that one I had it covered in moss, vines, and then Josh painted over with even more branches and aging on his end. These are as delivered renders from my side to him. I broke away windows, bricks and lobbed the top antenna dome off. Even in it's dilapidated destroyed state it is still recognizable.

 

       I also built out the Sydney Opera House in Australia, fully destroyed by the asteroids from the first film as well. This was a whole new build. I looked into the roof system with the poured concrete arches and geometric triangular shaped roof tile designs and built it clean first, then cut out the multiple holes through the layers. This one went right to aged so I re-used the foliage and vines from the Chrysler building work here and repurposed them. I also have a destruction parts library from my decades of 3D Illustration work I save with girders and concrete chunks I merged in and modified to fill in the building. This saves my clients time and cost.

     I am still currently doing freelance as I still 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: Superman Returns 2006- Key Art and 3D Illustrations PART I

 

 

 

 

Superman Returns 2006- Key Art and 3D Illustrations PART I- The final 6K color render used for the Key Art Teaser poster.

Superman Returns 2006- Key Art and 3D Illustrations PART I- A dark version done in Crystal edge lit.

Superman Returns 2006- Key Art and 3D Illustrations PART I- A daylight crystal version up in the sky.

Superman Returns 2006- Key Art and 3D Illustrations PART I- A Screen Grab showing the basic materials as well as the wireframe Iso-line geometry.

 

 

 

Superman Returns 2006- Key Art and 3D Illustrations PART I- A clay Shader Screen Grab from the Camera viewport showing the poly Sub-D subdivided 3D model I built for the final rendering for the Teaser Posters.

 

 

 

Superman Returns 2006- Key Art and 3D Illustrations PART I- A clay Shader Screen Grab from the Camera viewport showing the polygon Base Mesh 3D model I built for the test animation rendering.

 

 

 

Superman Returns 2006- Key Art and 3D Illustrations PART I- A clay Shader Screen Grab from a low angle 3/4 view showing the poly Sub-D subdivided 3D model I built.

 

 

 

Superman Returns 2006- Key Art and 3D Illustrations PART I-A clay Shader Screen Grab from a low angle 3/4 view showing the polygon Base Mesh 3D model I built.

 

 Superman Returns 2006- Key Art and 3D Illustrations PART I-A clay Shader Screen Grab from a high angle showing the bend modifier I applied to the shield to curve it back on the sides as if it were on Superman's chest.

 

 

 

Superman Returns 2006- Key Art and 3D Illustrations PART I- One of the early 3D renders of the rooftop to the Daily Planet Building.

 

 

 

Superman Returns 2006- Key Art and 3D Illustrations PART I- A Ambient Occlusion / Dirt 3D Render pass to add in aging and details to the geometry for the final renders.

 

 

Superman Returns 2006- Key Art and 3D Illustrations PART I- A 3D Z-Depth Render pass allows for 256 levels of grey as a mask for depth effects on the still renders for precise post effects.

 

 

 

 

 Superman Returns 2006- Key Art and 3D Illustrations PART I- A closer angle on the Art Deco eagles that surrounded the Daily Plant Globe on the top of the building.

 

 

 

Superman Returns 2006- Key Art and 3D Illustrations PART I- An Ambient Occlusion / Dirt 3D Render pass to add in aging and details to the geometry for the final renders.

 

 

 

 Superman Returns 2006- Key Art and 3D Illustrations PART I-A 3D Z-Depth Render pass allows for 256 levels of grey as a mask for depth effects on the still renders for precise post effects.

 

 

 

Superman Returns 2006- Key Art and 3D Illustrations PART I- A Screen Grab showing the basic materials as well as the wireframe shaded view in Camera.

 

 

Superman Returns 2006- Key Art and 3D Illustrations PART I- A Clay Shader shows the 3D Geometry builds form without textures or colors. This is the Camera viewport angle of the shot.

 

 

 

Superman Returns 2006- Key Art and 3D Illustrations PART I- Clay Shader view of the top of the building Deco design.

 

Superman Returns 2006- Key Art and 3D Illustrations PART I- A clay shader on the top deck roof of the Daily Planet building I made for the Key Art.

Superman Returns 2006- Key Art and 3D Illustrations PART I- A clay Shader close up on the Art Deco Eagles that surround the Daily Planet Globe. This was a subdivision Quad Modeling job and this is the High-rez Sub-D asset.

 

 

 

Superman Returns 2006- Key Art and 3D Illustrations PART I- A clay Shader close up on the Art Deco Eagles that surround the Daily Planet Globe. This was a subdivision Quad base Low-rez Sub-D asset.

 

 

Superman Returns 2006- Key Art and 3D Illustrations PART I- A clay Shader view of the Model I made Close up on the Daily Planet Globe with the Deco text that would spin on top of the building.
 

 

 

 

 Superman Returns 2006- Key Art and 3D Illustrations PART I- Clay Shader screen grab pulled back on the full globe asset for the Daily Planet.

 

 Superman Returns 2006- Key Art and 3D Illustrations PART I- A proof sheet of the top of the Daily Planet 3D full color renders I provided the Key Art team to build out comp ideas from. A 3D asset is built once and can be very cost effective to render out at multiple views using various lenses.

 

 

 

Superman Returns 2006- Key Art and 3D Illustrations PART I- A full 7K render for the third party tie-in artwork needed for Consumer Packaged Goods "CPG", as well as to store displays as seen in a press photo below.

 

 

 

Superman Returns 2006- Key Art and 3D Illustrations PART I- Though Bright Blue sky day renders were asked for I also did a nice moody night city view.

 

 

 

 Superman Returns 2006- Key Art and 3D Illustrations PART I- An Ambient Occlusion / Dirt 3D Render pass to add in aging and details to the geometry for the final renders.

 

 

Superman Returns 2006- Key Art and 3D Illustrations PART I-A 3D Z-Depth Render pass allows for 256 levels of grey as a mask for depth effects on the still renders for precise post effects.

 

 

Superman Returns 2006- Key Art and 3D Illustrations PART I- Screen Grab in a Clay Shader from the Camera View of the wide shot of the city with the Daily Planet.

 

 

Superman Returns 2006- Key Art and 3D Illustrations PART I- Another Screen Grab in a Clay Shader of the wide shot of the city with the Daily Planet.

Superman Returns 2006- Key Art and 3D Illustrations PART I- Up angle on the Daily Planet Screen Grab in a Clay Shader of the wide shot of the city with the Daily Planet.

 

 

Superman Returns 2006- Key Art and 3D Illustrations PART I- Screen Grab in a Clay Shader of the wide shot of the city with an eagle spirre Sub-D taken from a Crest I built prior.

 

 

Superman Returns 2006- Key Art and 3D Illustrations PART I-Screen Grab in a Clay Shader of a stepped round Art Deco building from the concept sketch.

  

 

 Superman Returns 2006- Key Art and 3D Illustrations PART I-Screen Grab in a Clay Shader of long shot on the Daily Planet.

 

Superman Returns 2006- Key Art and 3D Illustrations PART I- Screen Grab in a Clay Shader of the full city layout with the buildings spaced out for the camera view composition.

 

 

Superman Returns 2006- Key Art and 3D Illustrations PART I- The Crystal spaceship the Superman comes to earth in. a full 3D render I did for Key Art Comp Ideas.

 

 

Superman Returns 2006- Key Art and 3D Illustrations PART I- Ambient Occlusion / Dirt 3D Render pass to add in aging and details to the geometry for the final renders.

 

 Superman Returns 2006- Key Art and 3D Illustrations PART I- The 3D Z-Depth Render pass allows for 256 levels of grey as a mask for depth effects on the still renders for precise post effects.

 

 

 

Superman Returns 2006- Key Art and 3D Illustrations PART I-A Screen Grab showing the basic materials as well as the wireframe shaded view in Camera.

 

 

Superman Returns 2006- Key Art and 3D Illustrations PART I- Screen Grab in a Clay Shader of long Crystal Spaceship. This is the Camera viewport.

Superman Returns 2006- Key Art and 3D Illustrations PART I- Close Up Screen Grab in a Clay Shader on the Crystal Spaceship.
 

 

 Superman Returns 2006- Key Art and 3D Illustrations PART I- Another Close Up Screen Grab in a Clay Shader of the Crystal Spaceship.

 

 

 Superman Returns 2006- Key Art and 3D Illustrations PART I-Screen Grab in a Clay Shader of long on the Crystal Spaceship.

 

 
Superman Returns 2006- Key Art and 3D Illustrations PART I- The finished final Tease Poster utilizing my 3D Superman Shield.

 

 

Superman Returns 2006- Key Art and 3D Illustrations PART I- A Blue Ray DVD Key Art poster for Home Entertainment Marketing.

 

 

 

Superman Returns 2006- Key Art and 3D Illustrations PART I- Another Blue Ray DVD Key Art poster for Home Entertainment Marketing. You will se a variety of these Metropolis 3D renders  used on Cable for the Movie on Netflix, Hulu, Amazon, etc still.

 

 Superman Returns 2006- Key Art and 3D Illustrations PART I- A Press Event in Beverly Hills with Brandon Routh (Superman), and Kate Bosworth (Lois Lane) pictured here with my City render in the store display window at the event.

 

Project Review: Superman Returns 2006- Key Art and 3D Illustrations PART I

 

Client:  DC and Warner Brothers via The Cimarron Group
Creative Direction: Calvin Sumler and Joseph Stamper Jr.
Project Date:  June 2005.

     In the Summer  of 2005, I was in house at The Cimarron Group as the 3D Design Director and I got another dream project working on Superman Returns a film by Bryan Singer rebooting off the original films from the 80's from Richard Donner. I grew up watching those films, some of the first superhero  films that set the stage for an explosion of films in the 2000's. This work was done just over 2o years ago now, but seems like yesterday.

 

     This work was very early in the production process before any principal photography was done, so we had very little to go off of. I started with the main Icon, the Superman Shield. There was a really small 3D image done by another vendor, but the Director was not going to use it. A number of Agencies were on the project including my old agency BLT Communications. There was a lot of competition for this as the film was getting a lot of attention, and the Icon was the first image they wanted for a Comic Con debut surprise by Bryan Singer.

     I started with the main Icon. I made it as a subdivision model so It would have perfect surfaces. The first pass from the other vendor was a NURBS based model with some sharp edge issues and the reflections made it look very CGI. As a Transportation Design graduate, this was an advanced surface design with curved surfaces blending into flat ones with a little crown on each to control the reflections better as they laid out on the "S". I also added a slight curve to the build as the Icon laid out on Superman's barrel chest so it had about 7 degrees of curve that is seen in the Clay Shadier above.

     Once the Icon Debuted Bryan Singer was so happy with the design he awarded our team the whole project. A very rare occurrence, so I continued to build out much more.

     Next I built out the Art Deco inspired Daily Planet with a high poly rooftop as well as the full building to the main entrance. I also had to build out a full wide Metropolis skyline from a single concept art illustration as no CGI was done at the time we were working on it. I love building out hard surface models especially architecture, and Art Deco is a favorite style of mine so this was really fun work. 

    Finally, I had to design out the Crystal ship he arrived on earth in, and for this I only had a concept Art sketch to work from. I had a production shot of the land built out of hexagonal crystal designs, so I built out the space ship using this design piece and blocked it out with the starburst center and long tail all crystal material ship with an internal light source glowing with warmth inside.

    All in all I spent well over a year on this project doing a variety of Metropolis city shots, Spaceship angles, and a lot of rooftop views. I also did extruded 3D text titles along with animations for online mobile and web. This is the only project where my 3D work went in the film itself, The 3D Shield model was used in the film itself as Imaginary Forces asked us for the files to animate it for the Film title opening. I remember making a DVD -ROM cover for it for the deliver and got it sent over at Warner Brothers approval and shared request. This too was very rare as agency's usually do not share 3D assets. WB was very glad we did, and we ended up doing a lot of WB work while I was there.

     I am still currently doing freelance as I still 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