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

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