Project Review: 3D Key Art Illustrations Proof of Concept for Total Recall August 2012 PART I

 

 

 

3D Key Art Illustrations for Proof of Concept for Total Recall 2012- This is the final 3D concept piece I did for Key Art one sheets for the film for the Robot Room. I used Cebas Final Renders Distortion Lens Camera type, this lens allows a fish eye curved render from 1-100 is much closer to any real lens where CGI renders tend all to be perfectly straight lines.

 

 

 

3D Key Art Illustrations for Proof of Concept for Total Recall 2012- This is the Ambient / Dirt render pass done with Cebas Final Render Ambient material and Dirt shader to get both an ambient lighting pass for realism, as well as a Dirt shaded to enhance the intersections and concave parts of the geometry to enhance the render.

 

 

 

3D Key Art Illustrations for Proof of Concept for Total Recall 2012- I always provide a Z-Depth Mask to the Art Directors so they can play around base on pixel depth to camera, for Rack Focus lens effects, saturation, atmosphere, and other enhancements. This is a very important pass to provide a client and is what makes a 3D render a Smart 3D Image.

 

 

 

3D Key Art Illustrations for Proof of Concept for Total Recall 2012- This is the concept sketch on the Right, and a Preliminary Design Comp that was presented on the Left. I rarely get to see how my 3D is used in the pieces of Key Art presented. That is one disadvantage to being a contract worker. When I was in house at The Cimarron Group, and at BLT and Associates ESOP, I got to see how my concepts were used every day. I miss that.

 

 

 

3D Key Art Illustrations for Proof of Concept for Total Recall 2012- A Clay shader screen grab form the viewport. This is the camera view. You will note that the screen grab does not reflect the Fish Eye lens I used in the renders above, as that is done in the render not in a viewport which is a real time render.

 

 

 

3D Key Art Illustrations for Proof of Concept for Total Recall 2012- A Clay shader screen grab from the viewport. This was the detailing under the platform I built out. It is a reuse of a lot of the geometry from up top with the upside down triangle sectioned under-hallway from the sketch. It played well with the volumetric lighting.

 

 

 

3D Key Art Illustrations for Proof of Concept for Total Recall 2012- A Clay shader screen grab from the viewport. A 3/4 side view shows the design a bit better than as straight view that was needed. Some of the parts were taken for a second comp I did of the elevators from the film. I did get reference of the live action prop for that one.

 

 

 

 

3D Key Art Illustrations for Proof of Concept for Total Recall 2012- A Clay shader screen grab from the viewport. A birds eye shot shows the extent of the 3 wall the set I deigned and built for the Key Art Proof of Concept pieces.

3D Key Art Illustrations for Proof of Concept for Total Recall 2012- A Clay shader screen grab from the viewport. A close up from the camera view. This type of crop in would have been good for a 30-sheet or billboard.    

 

Project Review

 3D Key Art Illustrations Proof of Concept

for Total Recall August 2012 
PART I
 

Client:  Columbia Pictures via Cold Open
Creative Direction: Gardner DeFranceaux
Project Date:  August 2012.

     I am posting a Proof of Concept pieced that I did for the Cold Open Agency for the reboot of Total Recall back from August 2012. This was Proof of Concept only work, pure concept design that did not make it into the final round. Super fun to stretch out in that direction and create a full futurist robot factory. So much fun!

    This is the first posting in a series for Total Recall 2012 that I will be posting on. I had to build out a futuristic Robot factory with no reference to the CGI from the film. I had a nice sketch given to me, and I was very familiar with the original one so I had an idea of where to go with it, as I have been a Conceptual Designer for all of my career.

     Often as a Concept artist, I have had to create from little to no reference, and here I did get to use all those skills. Some projects, the design details are all laid out up front, but this was the other end of the spectrum. I love doing work on both end, as they feed each other in building up a well rounded skill set as a designer.

 

    I started with the concept sketch with a huge room with robots that would be added to the walls. It has a big bridge platform that would be backlit, so I was off and running in the 3D layout.  It was a low angle ground view render that I added a fish=eye lens to it as well for the final.

      As a longtime concept artist I have designed many futuristic city designs of both interior and exterior shots. Starting early in my career for Phantom 2040 I did design layouts like you see in Blade Runners of a futuristic city, and this work was for the TV Animated series. For that work I did sketched designs like this. I was guided early on by Syd Mead to get into Concept Art starting when I first saw him in Michigan while at CCS in 1985. I later met him a few times at his studio in So Cal as well, the GOAT!.

       I built all of this in 3DS-Max as 3D Quad Subdivision models so that I could add in details resolution for future finishes and close ups if needed without a full rebuild. Also, Sub-D gets the best surfaces without being too sharp and CGI looking, this method of construction is typical for Film and Game use, and when I can I build my work this way I do.

      I have 5 total posts I will be sharing on Total Recall, so do visit again to see those proof of concept pieces. Some of the most fun ideas I've had the pleasure of working on in the last decade getting to do these 3D Illustrations.

     I really enjoy all these projects I do for Gardner there at Cold Open. Take a trip to the site at the link to see the impressive work they do!

     I am back full time 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 Full Time opportunities [ 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: 3D Key Art Illustrations "Proof of Concept" for Horror Film Hell Fest April 2018

 

 

3D Key Art Illustrations for Proof of Concept for Horror Film Hell Fest 2018- This is the first of two Skull 3D Illustration sculptures I did as Concept art for the Key Art. This low 3D Camera angle with red light on the dark metal set the tone for the project.

 

 

 

 

3D Key Art Illustrations for Proof of Concept for Horror Film Hell Fest 2018-  The Ambient / Dirt 3D Render pass from Cebas Final Render is always helpful to tune in the RAW 3D Color Pass render in Photoshop for Print work or in After Effects for MGFX.

 

 

 

3D Key Art Illustrations for Proof of Concept for Horror Film Hell Fest 2018- A standard Alpha Channel makes cutting out the render take seconds saving so much time over either photography or AI generated images.

 

3D Key Art Illustrations for Proof of Concept for Horror Film Hell Fest 2018- Z-Depth give 256 levels of distance for a mask for use in post FX for saturation, blurs, and brightness It is a 3D mask which can be adjusted with levels in Photoshop to make more custom ones as well.
 

 

 

3D Key Art Illustrations for Proof of Concept for Horror Film Hell Fest 2018- This Screen Grab Clay shader shows surface form with no textures so showcase the build itself. This is the Base Mesh in a Quad build, without Sub-D added to enhance the geometry yet. This is what is used by Animators to set up their work. 

 

 

 

 3D Key Art Illustrations for Proof of Concept for Horror Film Hell Fest 2018-This Screen Grab Clay shader shows surface with Subdivision added at 2 Levels so it is 8 times the mesh density. A longer render but for Key Art finishing this allows for very smooth surfaces and curves which this has plenty of.

 

 

 

 3D Key Art Illustrations for Proof of Concept for Horror Film Hell Fest 2018-This Screen Grab Clay shader shows the build with the camera pulled back and to the left showing the jawbone and cheek form not visible as much from the straight on shot.

 

 

 

 3D Key Art Illustrations for Proof of Concept for Horror Film Hell Fest 2018-This Screen Grab Clay shader is rotated and further to that left cheek side from camera. Here you see the absence of geometry for the back of the skull that I left out of this build. More like a mask.

 

 

 

 3D Key Art Illustrations for Proof of Concept for Horror Film Hell Fest 2018-This Screen Grab Clay shader close up of the teeth area shows the Base Mesh in the Quad build.

 

 

 

3D Key Art Illustrations for Proof of Concept for Horror Film Hell Fest 2018-This Screen Grab Clay shader close up of the teeth area shows the Subdivided Mesh final for renders.

 

 

 

 3D Key Art Illustrations for Proof of Concept for Horror Film Hell Fest 2018-This is the second of two Skull 3D Illustration sculptures I did as Concept art for the Key Art. This concept has a very different design in the center of the forehead with deep swirl spirals going back in 3D Space as well as I tilted down the Skull itself so it had a more menacing look as he is looking at us from the deep sockets under the eyebrow area.

 

 

 

 3D Key Art Illustrations for Proof of Concept for Horror Film Hell Fest 2018- The Ambient / Dirt 3D Render pass from Cebas Final Render shows the colored lighting on the material. this enhances the red lighting as I overlay it as well as the Ambient GI lighting and dirt in the cracks and crevices.

 

 

 

 3D Key Art Illustrations for Proof of Concept for Horror Film Hell Fest 2018-standard Alpha Channel makes cutting out the render take seconds. It also shows the negative space. This also works as a great mask for any painting work in post too.

 

 

3D Key Art Illustrations for Proof of Concept for Horror Film Hell Fest 2018-Z-Depth mask,

 

 

3D Key Art Illustrations for Proof of Concept for Horror Film Hell Fest 2018-This Screen Grab Clay shader is close up in the forehead variation in this second design. I really liked the Razor wire modification to the swirls in there, they felt a little like roses which for a horror concept was different. You see roses and skulls together in a lot of Art from the 60's maybe I was paying homage to The Grateful Dead here. 

 

3D Key Art Illustrations for Proof of Concept for Horror Film Hell Fest 2018-This Screen Grab Clay shader from the side of the Skull sculpture I did for Proof of Concept Art.

 

 

 

3D Key Art Illustrations for Proof of Concept for Horror Film Hell Fest 2018-This Screen Grab Clay shader shows surface form with no textures. This is with Sub-D added to enhance the geometry.  

 

 

Project Review

 3D Key Art Illustrations for Proof of Concept

for Horror Film Hell Fest April 2018 
 

Client:  CBS Films via Cold Open
Creative Direction: Gardner DeFranceaux
Project Date:  April 2018.

     Today I am posting some really fun Proof of Concept work I did for Gardner at the Cold Open Agency out in So Cal for a Theme Park Horror film Hell Fest. This was all Proof of Concept work that did not make it into the final round, nonetheless it was super fun to do Blue Sky concept work to stretch my wings. This post is also a Behind the Art post with Z-Depth masks, Ambient/ Dirt Shader passes, and wireframe screen grabs showing the build out itself, both with and without subdivision as this is a Poly Sub-D Quad build-out.

     I have posted work I have done for the past 16 years for the Cold Open agency, and I always get really fun 3D illustrations and 3D Logo concepts from the fantastic team there. Hell Fest was no different. This was described to me to use roller coaster theme park parts and razor wire to create a skull icon for the Key Art. How cool is that as a concept design to do. As a 3D Conceptual Designer these kind of jobs don't come around very often, so when they do I am all in! I have done a few skull themed Key Art work as seen at this link here.

 

     As a Disney Imagineer I had to sketch and build 3D roller coaster parts quite a few times over the years, so I built on my prior understanding going into this project as I was able to use that knowledge to quickly built out these parts. I built them all as 3D Quad Subdivision models so that I could bend them without any distortion or segmenting once I mesh-smoothed the geometry at the final rendering stage. Also this allowed a lower resolution model to be used for Motion Graphics pieces with a much more manageable polygon count to make life much easier for the MGFX 3D Animators.

 

     The second main component I made in this build was the razor wire. I did some as coils, and others bent forms as I made a set at various lengths that and layered back in 3D space as seen especially in the eye sockets to get them darker like deep tunnels.You will see two variations on the top of the Skull in each design as well as different tilting of the skull. The more evil tipped forehead and the lower camera angle with the mouth open wide shot.

    I took a number of screen grabs in a flat Clay Shader to show the sculpture forms I made for the Skull. I purposely left the back of the Skull off the model as this was only to be shown from the front in the Key Art, and I liked the negative space the gaps created which would have been much more busy with a full 3D back and Front sculpture. This was built more like a mask. I also show the side of the sculpture, and close up views to show of my attention to detail. I just love getting into it.

     I really enjoyed all the projects I do for Gardner there at Cold Open. Take a trip to the site at the link to see the impressive work they do!

     I am back full time 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 Full Time opportunities [ 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: 3D Key Art Logos and Concept Illustrations for Game of Thrones Season 4 November 2013

 

3D Key Art Logos and Concept Illustrations for Game of Thrones Season 4- The Tusk concept design for Key Art One Sheets was my favorite one of the bunch for Game of Thrones Season 4. I has this as my desktop background on my phone for years.

 

3D Key Art Logos and Concept Illustrations for Game of Thrones Season 4- This is the Z-Depth Mask produced at render as a render element from Cebas Final Render GI plug-in for 3DS Max. Perfect for distance based editing on the image.

 

 

 

3D Key Art Logos and Concept Illustrations for Game of Thrones Season 4- This is the Ambient Dirt shader pass I provide to add grunge and depth to the color 3D render pass. I use this pass on nearly all my 3D renders stills and animations. In post work like in Adobe Photoshop it allows the Art Directors and Designers to take total control over a baked in dirty color pass single render. very useful for them.

 

 

3D Key Art Logos and Concept Illustrations for Game of Thrones Season 4- A screen grab clay shader showing wire frames and surfaces only. There were hundreds of swords hand placed as blades of grass as well as blood droplets and piece of busted and chipped metal flying in the air. I really enjoyed taking the simple tusk shape and giving it ridges and a twist before I bent them into the final arched shape to get nice organic ridges to catch light off of.

 

 

 

 

3D Key Art Logos and Concept Illustrations for Game of Thrones Season 4- a close up on the scene as a Behind the Art wireframe showcasing the build.

 

 

3D Key Art Logos and Concept Illustrations for Game of Thrones Season 4- The 30 sheet billboard wide comp was a sea of swords layout that was to be used for multiple formats and comps. Flying debris in the center with the fingers of God lighting via a Volumetric Lighting set up.

 

 

 

3D Key Art Logos and Concept Illustrations for Game of Thrones Season 4- a Screen grab textures showing wire frames. You will notice I use different colors for the objects wire frames since I didn't build 100+ swords and I need to mix them up so I use the colors to ensure a variety with the 28 or so I did build in 3D. Also the same goes for the debris groups I move around as well.

 

 

3D Key Art Logos and Concept Illustrations for Game of Thrones Season 4- A Z-Depth pass render is always provided unless the client does not want it.

 

 

3D Key Art Logos and Concept Illustrations for Game of Thrones Season 4- This is the One Sheet version built from the above 30-Sheet wide shot. I dropped in a stone version of the GOT Logo as well. I moved the swords around to make sure I had a good composition as well as scale changes with some bigger hero swords.

 

 

3D Key Art Logos and Concept Illustrations for Game of Thrones Season 4- A screen grab Clay shader image shows the level of detail in the mesh. these are built as Quad Sub-D[ Subdivision] assets so they can be up-rezzed with more divisions for a wider use from one file.

 

 

3D Key Art Logos and Concept Illustrations for Game of Thrones Season 4- A close up Screen grab showing some of the Sub-D on the Hilt of the weapons.

 

 

3D Key Art Logos and Concept Illustrations for Game of Thrones Season 4- This final render was the Throne itself destroyed. Nice dutch camera angle with swords everywhere. For this I followed a concept art painting as directed.

 

 

3D Key Art Logos and Concept Illustrations for Game of Thrones Season 4- This Clay shader Screen Grab shows the wire frames as well as the Quad Subdivision modeling in the wall and stairs along with the destroyed throne.

 

 

3D Key Art Logos and Concept Illustrations for Game of Thrones Season 4- A Z-Depth pass with 256 levels of grey for distance from camera post production editing needs.

 

 

3D Key Art Logos and Concept Illustrations for Game of Thrones Season 4- I final Clay shaded screen grab showing how the scene is built for the camera locked in so I only put objects that are seen in the comp. Theatrical print work has very fast turn around and tight budgets so you need to work smart and render only what is needed.

 

 

 

3D Key Art Logos and Concept Illustrations for Game of Thrones Season 2- 

Re-posted Finished Image Crown Image: The full post can be found here

 

 

 

3D Key Art Logos and Concept Illustrations for Game of Thrones Season 2-  

Re-posted 2nd Crown design for Boy King Image: The full post can be found here  

 

 

 

 

3D Key Art Logos and Concept Illustrations for Game of Thrones Season 3-  

Re-Posting of The Throne I built prior. The full post can be found here 

 

 

 

 

3D Key Art Logos and Concept Illustrations for Game of Thrones Season 3-

 Re-posting of the Throne I built prior at a low angle. The full post can be found here

 

Project Review

  3D Key Art Logos and Concept Illustrations

for Game of Thrones Season 4

November 2013
 

Client:  HBO via Buster Design
Creative Direction: Neville Burtis
Project Date:  November 2013.

     Today I am posting some really fun work I did for Neville Burtis a decade back when he was at Buster Design for Season 4 of Game of Thrones. I first met Neville while he was still at Art Machine, and interviewed for a 3D Creative Director role. He left soon after that time, and we ended up reconnecting years later and worked together on a freelance basis for a while.

     I have posted in the past work I did for Game of Thrones with a few finished including the main Logo and the crown used for all Key Art Finishes for Season 2 here, and Season 2's boy king crown here. I also did concept work for the Throne itself here as well for Gravillis Inc. here.

 

     I did a series of 3D Logos and tag lines but today's post is focusing on a really fun concept that Neville came up with and let me go with. It has to do with a massive amount of swords, so many that in the first read it looked like tall grass. Add in a lot of action with blood and parts flying and the concepts were a go. My favorite was adding in the Woolly Mammoth tusks protruding up from the filed of blood and steel. I also had to destroy the throne itself for one concept that was after that huge battle concept.

    Today's post shows the delivered work along with Behind the Art assets with Z-Depth masks, and wireframe screen grabs showing the build out itself.

     I really enjoyed all the projects I did for Neville there, all were high concept work with 3D Logos and 3D Concept Designs, which was always a good mix of things to keep me busy.

     I am back full time 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 Full Time opportunities [ Open to relocation ] would be best. I have worked remote since 2009, so I am ready and experienced to help you.

                                 Cheers, THOM