Project Review: Jurassic World 2: Fallen Kingdom Main Title Treatment Concepts December 2016

  Jurassic World: Fallen Kingdom 3D Main Title Key Art- I used a second displacement object over another extruded one on the the T-Rex in this logo concept over the wire cage mesh to layer the effects and have better control for dialing the look in this 3D Logo.

 

Jurassic World: Fallen Kingdom 3D Main Title Key Art- A screen capture showing the use of individual lights for each letter in the the logo to ensure even legibility, as well as center lights for a nice fall-off to the sides.

 

Jurassic World: Fallen Kingdom 3D Main Title Key Art- A clay screen capture of the crusty displacement object on the T-Rex with no displacement on in this view [ base-mesh ]. I used N-powers Power-boolean in 3DS max to use quad mesh output to displace.

 

Jurassic World: Fallen Kingdom 3D Main Title Key Art-Red Clay surface shader showing the high level in the crust on the Jurassic Park Icon.

 

 

 Jurassic World: Fallen Kingdom 3D Main Title Key Art- This design concept design has 3D moss growing in the holding device with very distressed textures on the Title Treatment.

 

 

 

 Jurassic World: Fallen Kingdom 3D Main Title Key Art- This Clay shader screen grab shows the high polygon count 3D moss put into the circle background over the diamond plate background object.

 

 

Jurassic World: Fallen Kingdom 3D Main Title Key Art- a 3/4 tipped to the side screen grab view showing the displaced layers and moss scatter objects I built out.

Jurassic World: Fallen Kingdom 3D Main Title Key Art- This tipped back screen-grab view shows the various depth and levels I use to build out the titles with weight to it. This is especially seen in a MGFX application camera moves.

 

 

 Jurassic World: Fallen Kingdom 3D Main Title Key Art- Cracked stone and concrete textures with heavy aging and stains for this design pass.

 

 

 

 Jurassic World: Fallen Kingdom 3D Main Title Key Art- A cleaner version of the cracked title with some metal on the T-Rex with the back racking in the holding device.

 

 

 

 Jurassic World: Fallen Kingdom 3D Main Title Key Art- Screen grab with one level of sub division to the cracked objects.

 

 

 

 Jurassic World: Fallen Kingdom 3D Main Title Key Art- The base editable poly power boolean used for the concrete holding device.

 

 

Jurassic World: Fallen Kingdom 3D Main Title Key Art-2 levels of subdivision added for close ups on this design in this screen grab in clay shader showcasing form.

 

Jurassic World: Fallen Kingdom 3D Main Title Key Art- A heavy broken up metal 3D Logo design with some motion blur effects added in post.

Jurassic World: Fallen Kingdom 3D Main Title Key Art- The subdivided mesh has 4 levels to get the mud flood cracks in the surface.

 

 Jurassic World: Fallen Kingdom 3D Main Title Key Art- This is the base mesh on the dimensional T-Rex with a good amount of 3D form to it. It was also used without the crack on the below image a swell.

Jurassic World: Fallen Kingdom 3D Main Title Key Art- A metal with a bit more hand modeling to the T-Rex adding more from to this design set.

Jurassic World: Fallen Kingdom 3D Main Title Key Art- This has a woven pattern in the holding device that was displaced not mapped. The Ambient Dirt in the weaved object fills in the spaces and adds realism in the post process.

 

 

 Jurassic World: Fallen Kingdom 3D Main Title Key Art- A single pass with carbon fiber materials.

Project Review

Jurassic World 2: Fallen Kingdom

Main Title Treatment Concepts

December 2016
 

Client: Universal Pictures via BOND
Creative Direction: Patrick Dillon. 
Project Date:  December 2016.

     Today I'm sharing work I did for Patrick at the BOND Agency for Universal Pictures Jurassic World: Fallen Kingdom built in December 2016 that was released in theaters in 2018. 

     I loved the original films starting in 1993 right after I graduated from Art Center College of Design, so when they rebooted the franchise with Chris Pratt leading it up I was really excited to work on the sequel to the film from 2015.

       Today I have posted eight of the Title Treatment concepts I did for this film. For this job, the type and vectors for the T-Rex were all locked since 1993, so I was again tasked with doing a series of Main Title treatments to the film for Key Art for PART II of this well loved franchise. 

 

     For the sequel they wanted the logo with some destruction and cracking along with distressed texture for the most part. Also they wanted some tech materials as well in there like carbon fiber etc. which I also experimented with for the agency. I even added in some wire fencing that was bitten paying homage to the first film with the T-Rex.

     I did a good amount of displaced object with actual 3D surfaces rather than bump maps. It is a longer render, and bigger file size, however it has a much larger use especially for MGFX work where close ups and fly through work are typically needed. And a Sub-D base mesh is a lot easier to rig camera moves in as the scene is lighter to work with in 3D. 

 

      I have also added a lot of Clay shader screen grabs to show the builds of a variety of my 3D Logo designs to see what was actually built out, not mapped as a Behind the Art feature to the post.

 

     I am freelance now 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 Full Time opportunities [ Open to relocation ] would be best. I have also been working remote since 2009, so I am ready to go.

                                 Cheers, THOM

Project Review: Godzilla vs. Kong Main Title Treatment Concepts February 2020

 

 

 

 Godzilla vs. Kong 3D Main Title Key Art- A brushed metal edge lit design with a signature red Vs' block up top. I added some procedural mini pitting across both textures to this a subtle texture.

 Godzilla vs. Kong 3D Main Title Key Art- Dark and moody edge lit design. A heavy large Kong bevel and extrusion grounds the design below with the Red ink square vs. up in the corner. I used a black anodized aluminum face to keep the contrast high in this design for Godzilla Vs. Kong.

 

 Godzilla vs. Kong 3D Main Title Key Art- brushed metal logo with a mild bevel up top and a bit heaver one on Kong below.

 

 Godzilla vs. Kong 3D Main Title Key Art- Distressed metal face plate with polished sharp edge extrusion back on this design with a heavy X-men level of bevel. Warm lit from the bottom.

 

 Godzilla vs. Kong 3D Main Title Key Art- flat plate brushed steel faces, with a rounded bevel deeper extrusion fully polished. Kong used a heaver deep extrusion on the bottom in this design. I used the red for the Vs. block paying tribute to the Chinese and Japanese signature ink block.

 

 Godzilla vs. Kong 3D Main Title Key Art- Distressed iron logo with rounded beveled edges. a darker mood in the lighting for this comp.

 

 Godzilla vs. Kong 3D Main Title Key Art- This is the Ambient Dirt render pass for the above design, showing the 3D displacement filling in the corroded areas with dirt. I multiply this render pass over the color one to accentuate the deep pits.

 

 Godzilla vs. Kong 3D Main Title Key Art- a two level design with a red painted holding device behind the brushed steel face with a micro bevel.

 

Godzilla vs. Kong 3D Main Title Key Art- Lightly distressed aluminum with red anodized Kong below and a top cooler light source.

Godzilla vs. Kong 3D Main Title Key Art- My last comp and also my favorite one. Red lit from below and cool lit from above. Texture wise I have polished metal beveled edges, distressed metal inside the back extruded text centers.

 

Project Review

Godzilla vs. Kong

Main Title Treatment Concepts

February 2020
 

Client: Warner Brothers Pictures via BOND
Creative Direction: Patrick Dillon. 
Project Date:  February 2020.

     Today I'm posting work I did for Patrick at the BOND Agency for Warner Brothers Pictures film Godzilla vs. Kong built in February 2020 that was released in theaters in 2021. 

     I was amped to work on this film, as I love both the Godzilla and and Kong franchises as a kid in the 70's watching all the original films, and I worked on the King Kong film back in 2003 and you can view the three posts I have on my blog.

       Today I have posted ten of the Title Treatment concepts I did for this film. For this job, the type was locked in by the agency and the studio, so I was to do a number of designs as to how it can be interpreted into a dimensional title. Big heavy and steel was the direction. shiny and aged. as for color red was something they wanted to see. I used the red sparingly similar to a Chinese and Japanese red ink block or Hanko or Inkan.

     I did a variety of extrusions both deep inward and heavy bevels.with a variety of steel textures. I did one with corrosion as a 3D Displacement as if the metal was rusted away over time. I have come to love doing big metal 3D Logos. 

 

     I am still doing freelance now 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 Full Time opportunities [ Open to relocation ] would be best.

I have worked remote since 2009, so I am ready to help you.

                                 Cheers, THOM

Project Review: Onward Disney PIXAR Feature Animation Key Art 2018

3D logos for Onward feature Animation-A heavy Steel Title treatment with an inward extrusion with added design details inside. A little Middle Earth feel to this title.

3D logos for Onward feature Animation- A wood title with some gold inlay with a motif taken from a staff in the film that held a crystal. 

 

3D logos for Onward feature Animation- An almost Center Bevel with a really heavy bevel in iron. The crystal was a main light source here between Disney's and PIXAR's Logos. 

 

3D logos for Onward feature Animation- An amber Crystal that was based off the Crystal used in the staff in the concept art.

3D logos for Onward feature Animation- a simple wood with softer edges and no sharp bevels was a Sub-D model with 4 levels of turbo-smooth added for displacement.

 

3D logos for Onward feature Animation- an extruded near flat with a lighter edge bevel done in an Indiana Jone like palette. 

 

3D logos for Onward feature Animation- Using the above model with a custom red inset texture map as well as a spline based micro strip this was in a red as steel look. 

 

3D logos for Onward feature Animation- This reverse extrusion inset into the title used a fabric texture sourced in the concept art for the Van back curtains. The film revised the curtains so this was not a match after concept phase work. 

 

3D logos for Onward feature Animation- a combination of wood plates with multiple bevels and a metal face at the top of the stacked design. 

 

3D logos for Onward feature Animation- a Plaid material based on the Character Ian Lightfoots shirt. I did a pillowed soft face in a chrome frame.

 Project Review: Onward Disney 

PIXAR Feature Animation 

Key Art 2018

 

Client:  PIXAR via Leroy and Rose
Creative Direction:  Melchior Lamy 
Project Date:  November 2018.

     Today I am covering a large series of 3D Logos I was contracted to develop for PIXAR's Onward from back in November 2018. I was happy to work on non traditional looks for the 3D Logos with a wide range of looks. My typical fare is in metal logos and glass as the most common ones I am asked to do, so I enjoyed the variety in this gig.

    Leroy and Rose often called me for Feature Animation Key Art. I have a background working in Animation as a Conceptual Designer, Art Director, as well as Layout, Character, and Prop designer in Phantom 2040, and the New Adventures of Flash Gordon. My first full time job was for Hearst Animation Productions, so I love this genre of entertainment.

     Doing anything for PIXAR is an honor as they were trailblazers in 3D Animation. This work I did was before any 3D animation was sent out to vendors so I received some pre-vis and sketches to work off of mostly.

 

    I did this work on Key Art 3D Titles at a development stage, so you can see a wide range of looks. I used textures and elements from the reference in the logos as well as materials like Wood, Crystal, steel, as well as fabrics used in the film environments and characters themselves. I also combine multiple materials as well stacked and inlaid as well in the visual development.

 
    Just one set of vector files provided to us by the client were used to create multiple solutions in the 3D models. Some are flatter and extruded, while others are chiseled with heavy bevels, and some were displaced with high poly count geometry for the wood versions so the wood grain was dimensional in 3D and not merely a bump map fake. One file can be made dimensional in so many ways. Pixar ultimately chose a 2D flat logo with a bevel effect

 

     The three dimensional thinking skills I developed in Industrial Design really gets used for this kind of work. I see many 3D solutions to one file, and here the agency allowed me to explore a bit. Love that!

 

     I am full time doing freelance while 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 mostly Full Time opportunities [ Open to relocation ] would be best. I have worked remote since 2009, so I am ready to help you on your projects!

                                 Cheers, THOM

Project Review: Mortal Engines Main Title treatment concepts May 2017

 

 

Mortal Engines 3D Main Title Key Art- My third conceptual design pass at the Main Title with a deconstructed modern facade over and older substrate material.

 

Mortal Engines 3D Main Title Key Art- A screen grab in a simple clay shader to showcase the surfaces without textures.

 Mortal Engines 3D Main Title Key Art- Another screen grab in a simple clay shader to showcase the surfaces with displacement. Up close you can see that the edges are rough, but for deadline and cost we went this direction until it was picked, which did not happen.

Mortal Engines 3D Main Title Key Art-  A textured screen grab shows the internal details on the "Dot" in the engine icon in the middle of the "O" in Mortal with the Aqua glass material showing thru to the inner workings.

 

Mortal Engines 3D Main Title Key Art- this screen grab in 3DS max shows materials as well as the pixelated displacement map used to push the geometry in and out.

 

Mortal Engines 3D Main Title Key Art- This design was the most simple of them all, with some cracks in the design and was a bit brighter as well.

Mortal Engines 3D Main Title Key Art- A Z-Depth is always supplied so Art Directors can adjust the image based on distance, Smart 3D

 

Mortal Engines 3D Main Title Key Art-A screen grab in a simple clay shader to showcase the surfaces without textures.

 

 

Mortal Engines 3D Main Title Key Art-an angled view screen grab in a simple clay shader to showcase the build.

Mortal Engines 3D Main Title Key Art- This Title treatment was in the middle of the top two designs, with a bit more distressing as well as a second inner surface poking through the top one.

Mortal Engines 3D Main Title Key Art- Screen grab in a simple clay shader to showcase the surfaces without textures

 

 

 

Mortal Engines 3D Main Title Key Art- A screen grab in a simple clay shader showing the dual surface model inside the typeface.

 

Project Review

Mortal Engines

Main Title Treatment Concepts

May 2017
 

Client: Universal Pictures via BOND
Creative Direction: Patrick Dillon. 
Project Date:  May 2017.

     Today I can post the work I did for Patrick at the BOND Agency for Universal Pictures post apocalyptic film Mortal Engines released in theaters in 2018. 

     I was excited about building a Title for the film due to the nature of the story with repurposed architectural elements that were weathered and built over other parts with layers and aging.

       I did three concepts with the third and favorite one up at the top of this post, with it getting progressively simpler in each design. Each has a distinct aqua glow around the dot in the center of the letter "O" in Mortal as an engine icon with light and power illumination the title.

 

     This post include some Behind the Art  with some review on the textures I built, and the use of a displacement map that I created for the custom designed plates over a substrate material indicative to the production design use of architecture in the moving city's in the film build up of old world architecture with modern Sci Fi parts built over the top.

      With displacement it is quicker than building it out in geometry, but it has limitations due to the density of the mesh to get a smooth displacement. In the close ups you can see that I had to use a lower resolution at this the Comping stage. If finished I was going to rebuild all of it without displacement and use quad subdivision building. I was actually hoping to go to the next level with this.

     I have an inner and outer object on two of the designs so as it displaces the underlying substrate material pops thru as a 2 layer design.

 

     For a different client I was able to build out all the layers as geometry and I hope in the future to post that. That model was for a film opening concept fly through so displacement was not going to work, and it was ll hand built, but they had a bigger budget and time frame so we could achieve that.
 

     I am still doing freelance now 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 Full Time opportunities [ Open to relocation ] would be best.

I have worked remote since 2009, so I am ready to help you.

                                 Cheers, THOM