Project Review: Max Keeble's BIG move 2001. PART II- The Bulldozer Build Out

The test shot with the scoop down covered the majority of the cab. I had no type yet, as I started with the virtual bulldozer first.

The final delivered file for Key Art with the title in the bucket, as well as lifted high enough to show the cab.[ Warren was to drop in photography of the actors in the cab]

 The wireframe ambient render sows this is NOT a Sub-D build, but a fast one.

The front end was seen in detail so I put many details out from with the bolts and part lines.

I added the double plate lower scoop lip with bots as it was also out front and hero'ed.

 This Birds-eye show what was missing that did not need to be built for the comp. 3D can always be added to so I could have finished it up if we needed to adjust the camera, but for this one one shot only was needed.

 A Worms-Eye shot with the ground plane removed to show the undercarriage mocked up.

 

An Exploded Parts View of the 3D Virtual Dozer I built back in 2001.

Project Review
Max Keeble's BIG move 2001.
PART II- The Bulldozer Build Out

Client: Walt Disney Pictures via BLT and Associates.
Art Director: Warren Nung.
Project Date: Summer 2001.

Before I was hired on full time at BLT Communications back in 2001, and started up the 3D Department, I did freelance 3D work for them, and today I revisit that second gig again , and now I am covering a behind the art view of my build out of the Bulldozer.

I was given a small blurry screen-capture from the film of a Bulldozer used, and they wanted to incorporate it into the Key Art, so I went off the replicate it.

As with most Theatrical work, I had a day to do this, so I needed to work both fast and smart. I have a Set Design background, which trained me to build what you see,and leave out the rest.

So, for this build, you will notice that almost half of this earth mover is missing. no rim centers or lug nuts, no back-hoe, no seats or dash area etc, as these were not seen. You will notice that the soft lines for the hydraulics are just going up into space, as in this case it was faster to stage it this way as it was a single locked off view.

I did work on this for the talented Warren Nung.

If you want to see my overview posting from a few years back you can go see it here.
Look for more posts in the future!

Cheers, THOM.

3D Stock Model Sales: Free Standing Mailbox [ USA ]

3/4 front view on the Freestanding Public Mailbox in a wireframe OL on an Ambient render

 

 A Test 3D render with materials and lighting to check the surfaces in that above view.
 

The 3/4 back view shows the type built into the sheet metals parts around this Postal Mailbox.

 Full 3D render of the Virtual Mailbox.

 A Straight On view of the Mailbox in Polygon-Wireframe.

 Full color render of the Mailbox in Postal Blue.

A close up shows the lock-n-key, and doors for the mailbox.

Fully rendered 3D Mailbox.

 High back view of the stock 3D Model.

Rdnered out with Shaders.

Birds-Eye view looking down at the mailbox mail-door in wires.

Birds-eye in color on this Virtual Street Prop.

A wireframe exploded view shows all parts separate and named for easy texturing as I usually prepped the parts for that.

 The exploded view shows the various parts hand-built in 3D for this Virtual Mailbox.

3D Stock Model Sales
Free Standing Mailbox [ USA ]

Client: The Cimarron Group.
Art Director(s): Myself.
Project Date: . December 2005.

I established a 3D Stock Model sales segment in my one man show of a Department while I was in-house at The Cimarron Group, and today I am reviewing a 3D Model I made specifically for sale online of a typical freestanding public mailbox. It is still up in 3DS, and max formats.

I regularly build stock 3D models for online sales via TurboSquid, and with the down time I had there, I would fill it up with creating these assets for sale to supplement the Departments bottom line.

Just over one-hundred unique designs posted in two formats[ 3DS.max, and 3DS ] gave us near $20,000.oo in yearly sales back in 2005-2009 when I was still there to check on the sales. So a good business to be in.

I built out the objects using B.R.E.P. based N.U.R.B.S. and converted to polygons. Today I would go full Quad-Subdivision to allow the asset a longer shelf-life, however the detail level is what I was always shooting for with a high level for a long use a decade back when I built this one.

I added in the dents to where the rivets were to get the dirt shader and lighting to naturally wrap better and make this feel more realistic as they are quite dented up during construction. Perfect for a Virtual City street scene.

You an view all online sale via the TAG, or go to my Cimarron Models here, and my own Sub-D 3DCD work here.

Cheers, THOM

Project Review: Looney Tunes:Back in Action [2003] 3D Logo Title Treatments PART III

An early design with various stacks built up in this warm tone 3D Title for Looney Tunes.

 A full color version of a Logo supplied to me by Creative Director Warren Nung. Black-n-white here.

Another full color version of a Title in 3D with vectors provided by Warren Nung. 

Sepia is here. 

 A version of the first stacked on with a bit thinner in the face outline object and a smooth gradient over the 3D typeface.

 A clor version of the logo I also did in sepia for Art Director Zack Ris. 

 A more primary color version of the top set of 3D Logos from Looney Tunes:Back in Action, done here with a deep face intrusion.

 Another fave', I love this one.

Project Review

Looney Tunes: Back in Action [2003]

3D Logo Title Treatments PART III

Client: Warner Bros. via BLT Communications.
Art Director(s): Luis Sola, Warren Nung, and Zack Ris.
Project Date:August 2002.

Today in PART III I am reviewing more of the 3D Titles I did for Looney Tunes:Back in Action back in 02', and today we move from the balckand whites to full color versions. The work was developed for the Key Art title treatment for the then new, Looney Tunes film to be made that year.

I had already posted in a cartoon-themed post, some smaller versions of some of the color logos including the finish,  as seen here, but today I want to review the 20+ color versions I developed for the presentations.

Simple colors were the direction I went with, as this was live action mixed with cel-shaded 2D styled tunes, so I developed a set of flatter shaders as well as some simple glossy ones too for these 3D Logo studies.

Stay 'tuned', as I will be posting more the color ones in the future.

If you want to view PART I showing the first set of sepia toned logos go here.
PART II covers the rest of the Black and Whites here.

Cheers, THOM

Project Review: The Princess Bride-Key Art 3D Logo Main Title Build: Blue-Ray Packaging-2014.

 The Final Dark Gold 3D Logo Render used for the newest packaging for The Princess Bride on Blue-Ray Disc 2014.

I also did one 3D Title Treatment, a bit brighter in the development stage.

Also went a cool Silver in a dim, and darkly lit environment as well.

And a 3D Logo done in a brighter silver as well was done for The Princess Bide.

 My last and final delivery of a look, was a Brass one, and this one had a bit less shine than the Gold and Silver versions had in the reflection levels.

 Here is a Camera view in the final Poly-Sub-D[ Subdivision Surfacing] of the file.

 At an angle up close you can see the sculpted serifs.

The base Polygon build out with no subdivision added yet.

Again the close up on this Single Point Beveled font shows the base build out.

An overview of how I typically set up my 3D Title renders.

 A view of the final Key Art for the Princess Bride on Blue Ray.

Project Review

The Princess Bride-Key Art 3D Logo Main Title Build

Blue-Ray Packaging-2014.

Client: 20th Century FOX Home Entertainment via We are BOND.
Direction: Patrick Dillion[ owner @ Wearebond ].
Project Date: October 13th, 2014.

In Theatrical Print, there is always bleed over into Home Entertainment, to translate titles and Key Art into packaging for the DVD and Blue Ray Disc release, and today I cam covering a 3D Title I did last Fall for the anniversary edition of The Princess Bride.

I regularly do work for We are BOND, and have finished a few Theatrical 3D Logos for them[ X-Men 5:2014, The Legend of Hercules:2014, etc], so they asked me to create a 3D title in various metals for the new packages being created for the re-release on Blue-ray Disc last Christmas.

A fast one day job, rendering out titles in 3D for finish at 3K rez, while getting to hone in my material creation for the various finishes. I hand built the font as a Single Point Bevel explained in this first post, and step by step laid out here.

This is my second time I have worked on this property, as I also worked on the DVD menus a decade back as seen here at my prior employer, The Cimarron Group.

Cheers, THOM

Project Review: Looney Tunes: Back in Action [2003] 3D Logo Title Treatments PART II

One of the first designs I did for Luis Sola our dedicated 2D Logo designer at the time @ BLT. I did this one with a tapered extrusion reminiscent of the vintage travel postcards.
 

 Another one of my favorite type style layouts for the project. I especially like the 'eyeballs' inside the "O's" that Logo Designer Luis put in there.

 We did a few that were "Action Moive'esque" like this one in a font typically found in Sci-Fi films.

Always a fan of a playfull cartoon font like this one. 
The tagline is a straight font works well to counterbalance the toon one IMHO.

 The above file with a key-Line cut into the face of the main title as an alt.

Here is a design I for Warren Nung. A nice lower curve with the tag line tucked underneath and a soft gradient material applied.

THe second file I did for Warren with a nice deep extrusion over the tagline 'candy-bar' 

Another fave' of mine, done for Art Director, Zack Ris. A very playful font. Love this one.

Project Review

Looney Tunes: Back in Action [2003]

3D Logo Title Treatments PART II

Client: Warner Bros. via BLT Communications.
Art Director(s): Luis Sola, Warren Nung, and Zack Ris.
Project Date:August 2002.
Today in PART II for the 3D Titles I did for Looney Tunes:Back in Action back in 02', I cover more Monochromatic 3D Logos I created for the Key Art title treatment for the then new, Looney Tunes film to be made that year, Looney Tunes:Back in Action.

I had already posted in a cartoon-themed post, some smaller versions of some of the logos as seen here, but today I want to focus again on the sepia enhanced, black and white styled logos I did for the project.

BLT employs some very high end 2D logo designers , so today I have three more designers type layouts I worked on.

Stay 'tuned', as I will be posting the color ones in the future.
If you want to view PART I showing the first set of sepia toned logos go here.

Cheers, THOM

Project Review: Key Art 3D Illustration for Santa Hunters 2014-Nickelodeon.

My First pass at the Virtual Living Room 3D Deign and build for Key Art for the Nickelodeon Special Santa Hunters 2014.

 The wireframe ambient render shows a combination for subdivisions in the fireplace bricks, and standard primitive models for the rest.

 Here is an outside shot with the back wall moved away to show this fully enclosed 3D set.

 The second phase in the 3D Design, lightened up the room, and changed the era to the 50's and 60's, this first render closely matched the original sketch angle.
I also added some logs into the fire.

 Round 2 had the camera change to a higher lens to get the extreme angle on the ceiling a bit less.

All 3D renders are supplied with a Z-Depth pass so the Art Director and finisher can grab pixels based on distance to add effect into post.

Round 3 has the camera now level with the floor as seen the the fireplace side. I added curvature to the lens at this point at about 22 degrees to get a bit of a fish-eye look.

Round 4 here is what went to finish. I had to remove the back wall as the camera was moved thru it, so this became a 3 wall set set up as I had done back in my set design days.

 

 Final shot in wireframe.

 An overview render from outside this set.

Here is the scrap shot given at the start overlaid onto my final render, with the bleed provided. 

I always add bleed to my renders that are edge to edge 3D, since once the camera is locked down, if they want to see more bleed,  it moves everything in the scene around due to the parallax that takes place with any 3D move of a camera.

Project Review

Key Art 3D Illustration for Santa Hunters

2014-Nickelodeon.

Client: Nickelodeon via Buster Design.
Direction: Studio Design Team.
Project Date: July 3-9th, 2014.

I early July last Summer, I was contacted by Buster Design to build out a Virtual 3D shot of a Living Room, for a Kay Art poster for Nickelodeons upcoming special, called Santa Hunters. I had done work with Neville Burtis in the past and was referred to this team to assist.

As with most Print projects in the Theatrical Advertising world, they needed this fast, so I utilized my huge 3D library of parts that I have had made over the last two decades to mock up a room quickly.

I had built out a test room hallway of a Mission styled home[ based on my own home at the time in So Cal], so I had door windows picture rail baseboards and all the fixings for a room. I also grabbed the Sub-D bricks I had built for Don for the old Ford Architectural build to create a fireplace w/o mapping the brick with actual 3D mortar and mocked up a historic room.

Turns out once they saw it, they wanted to go brighter and bit more of a 50's and 60's "Burbank' styled look, so we swapped out the beamed ceiling for a cove one, very typical to that era, and changed out the fireplace and window trim design as well.

Once the look was locked we dialed in the shot, so you will see various camera lens swap outs and height changes. I originally followed the sketch seen above, but it ended up with a much more straight on shot that did go to finish.

You can see the final done at Cabalastudio over here.

Cheers, THOM