Project Review: Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- The First Final Round Design: Metal over latex/leather with a red backlight accent.

 

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- An Ambient Occlusion Dirt 3D Render Pass for advanced GI lighting as well as adding in dark materials into the cracks and intersection. Used in post work to enhance the 3D render.

 

 

 

 Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- A 3D Z-Depth 3D render Pass used for distance based editing[ blurs focus length, de-saturation, fog, etc.. ]

 

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- A Color Picker is part of what I call a Smart 3D Image. With the Alpha channel these two additional renders allow the final user to grab by object for fast masking of parts in the 3D render.

 

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- Screen Grab with materials and textures in the viewport: This shows the basic materials I build as well as a blurred simple refection sphere for the chrome work.

 

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- Camera View Screen Grab in Clay shader showing 3D form and surface.

 

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- Camera View Screen Grab in Clay shader showing 3D form and surface: This in the Base Mesh with no subdivision active. You can see all the box light between the letters I used to get very specific reflections on the edges this way.

 

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- Screen Grab in Clay shader showing 3D form and surface: Subdivision High Poly final 3D Model at a Lower Angle.

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018-Screen Grab in Clay shader showing 3D form and surface: A Low Poly view at a lower up angle here shows the holding device on the back of the Center Bevel[ Single Point Bevel] style of hand modeled text in this title.

 

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018-Screen Grab in Clay shader showing 3D form and surface: This is pulled way back to show the elongated box lights from Cebas Final Render visible in reflections needed to fully wrap the shapes.

 

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- The Second Final Round Design: The type was interlocked so I uses a bit of distance as well as multiple stacked plates with a variety on texture. You can see these object in the Behind the Art exploded view with all layers spread out below.

 

 

 

 

 Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- Screen Grab with materials and textures in the viewport: Up top right you can see the custom bump map built for the seams in the Latex/ Leather use in this concept to align with the title design.

 

 

 

  

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- An Ambient Occlusion Dirt 3D Render Pass for advanced GI lighting as well as adding in dark materials into the cracks and intersection. Used in post work to enhance the 3D render.

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- A 3D Z-Depth 3D render Pass used for distance based editing[ blurs focus length, de-saturation, fog, etc.. ]

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- The Color Picker is part of what I call a Smart 3D Image. With the Alpha channel these two additional renders allow the final user to grab by object for fast masking of parts in the 3D render.

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- Screen Grab in Clay shader showing 3D form and surface:

 

 

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- Screen Grab in Clay shader showing 3D form and surface: A lower angle shows the various plate levels. Each edge catches light enhancing the final design. This is especially used in MGFX [ Motion Graphics] applications.

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- Screen Grab in Clay shader showing 3D form and surface: A side shot of the 3D build.

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- Screen Grab in Clay shader showing 3D form and surface: An exploded view showing all the parts of the logo separated out. Each part has a channel, and a different texture.

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- Part of the Runner Up Designs-Design A: Here I used a straight stack design with the "and" used as a light source, here in red.

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- Part of the Runner Up Designs-Design B: Here I used a horizontal part line pattern on the font on the front main titles with Metal holding device edges.

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- Part of the Runner Up Designs-Design C: For the last two the type itself is a hole and used the negative space. I new concept for me on this project. I put the Alpha Channel top Left to show the black hole in "Black" for this design.

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- Part of the Runner Up Designs-Design D: For the last negative space concept, I put the Alpha Channel top Left to show the black hole in "Silver" for this design.

Project Review: Silver and Black: Black Cat and Silver Sable 

3D Title Treatments January 2018

Client:  Columbia Pictures, Marvel, Sony Pictures via BOND
Project Date:  January 2018.
Direction: Patrick Dillon.

      I was called in by Patrick Dillon at BOND to work on a Comic Book Film adaptation for Marvel Comics Film the Black Cat and Silver Sable characters called: Silver and Black back in January of 2018. The project began in 2009, and it ended in February 2018 and you can read up about it here.

       I was provided a packet with Adobe Illustrator vector files from Patrick and his team to create 3D Logos for. I did research into the history and look of the two characters as well as the history of the logo used in the comics. Black Cat wears a sexy black latex/leather as her tight outfit so some of that look was used by me. Silver Sable was in a metal Chrome like outfit hence the Silver tech design for that name in the title.

      Typically when I begin, I first go through the vectors to equalize them and fix any issues I might find. I also convert any bitmaps supplied into vector files too if I need to build them out in 3D, so I can build off of the vector itself, it becomes the 3D object via extrusion and subdivision.

 

     This work did not make it to finish for the final Key Art as the project was sidelined indefinitely the past 8 years. As always, a majority if what I do done not get uses as many projects are pro production development work, and this is typical in the Film industry.

 

   I have worked on quite a few Comic Book based properties , and as an avid reader and collector I find these gigs very enjoyable. Most of these projects are here on the blog and you can search them out top Left Goggle Search Widget.   NOTE: Some I cannot post.

 

Here is a list if projects I have been on in this genre:

 
X-Men 2, X-Men 3, and X-Men 5.
Wolverine.
Superman Returns, and Man of Steel.
Batman vs. Superman.
Batman Begins, Batman The Dark Knight, and Batman Rise.
Aquaman 1 and 2.
Shazam.
Daredevil.
Avengers Age of Ultron, and Avengers: Infinity Wars Part-1.
Guardians of the Galaxy 2
Underworld.
The Flash.
The Phantom Legacy.
Astro Boy.
Sucker Punch.
Priest.
Fantastic Four Rise of the Silver Surfer.
The Green Hornet.
Judge Dread.
She RA: Princess of Power.
Masters of the Universe.
Doctor Strange.
MIB: The Men in Black- 1 and 2.
Blade: Trinity.
Iron Man 1.
Sin City.
Spider-Man 3, and Spider-Man: Homecoming.
The Watchmen.
300 Rise of an Empire.
DC: The Last Boy on Earth.
DC: Metal Man.
The Crow:
Judge Dredd.
Captain Marvel.
Ghost in the Shell.

Phantom 2040.
The New Adventures of Flash Gordon.

     I have worked remote since 2009. After leaving GM in November 2024. I am full time freelancing as I await the US Job market to pick back up, so big or small I would love to assist you in any 3D visualization work for your projects. My Linked in Profile button on the right column has all my contact details in there along with in my experience section.

 

                                 Cheers, THOM

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