Project Review: 3D Concept Designs for Key Art- Maze Runner: The Death Cure 2018 PART I

 

This Design was the largest part of the project, as it was a full city shot with a rock cliff out front [ rendered separately]. The file was quite large, and a long render at 160Mb's.

This is the Z-Depth pass that is used as a mask for post effects. De-saturation, Fog, or Camera Blurring can be done in post which is much faster and gives the designers more control so re-renders are kept at a minimum.

This Screen Grab shows the massive lighting I had in the scene with the streetlights and inside the buildings to achieve the look. You will also notice the Cebas Final Render Rectangular lights I put on each billboard to get a nice glow on the environment as well.

This camera view Screen Grab is in a basic Clay shader to show off the models geometry.

This pulled back birds eye view Screen Grab is a Clay shader, that shows I only build what is seen. Also you will notice the details drop off as they get farther away from camera I learned that on my first job from the miniature artists doing practical effect for the Mazda MX-6 work here.

This  birds eye closer view Screen Grab shows the little cars and streetlamps down below.

This is the second view on the full city build I rendered out using Cebas Final Render.

 

 This Screen Grab is a Clay shader view for the second render in the city build. You will see it was cut down slightly for the final as they did not need the bottom area. I frequently over-render so the Art Director can slide it around, and this was done for that purpose.

A closer Screen Grab shows that the details were centered around the billboard and the buildings. To the Left in frame it was a much simpler build as it was darkened out quite a bit in the final, so no need to put more time into it. The nice part of 3D is it can be embellished later.

 

This last Screen Grab shows that I placed the two building very close at an angle to get just the right amount of detail for the still render.

The next concept was the Maze, a stylized render of the city as an actual maze. I used mid-rez 3D assets for this as it was a long shot render for the views asked for.

 

The Z-Depth Mask I provide if the client wants to use it.

 

Screen Grab is a Clay shader shows the models are relatively simple, but they are build not mapped for windows and details so I get better lighting controls with an actual 3D surface.

 

 An elevated view Screen Grab shows a little bit of a curb I built so I could match the maze design itself with the building plaement.

This lower angled Screen Grab shows some of the wall details and staircases and railings that were added in as it was a foreground object.

 This last render is a top down perspective render from camera of the maze. The most graphic piece in the project.

This Z-Depth was used in post for saturation effects.

This last Screen Grab shows the simpler build-out for this render. I built around 24 unique 3D Models used in the scene.

Project Review

3D Concept Designs for Key Art- Maze Runner: The Death Cure 2018

PART I

Client:  20th Century FOX via BOND
Project Date:  August 2017.
Direction: Patrick Dillon.

        I was hired for a project in August 2017 by Patrick Dillon from BOND to build out some concept pieces for the Maze Runner series of films, and this work today was for Maze Runner:Death Cure that was released the following year in 2018.

 

        In PART I for the 3D Conceptual Design work I did for Entertainment Advertising is for the Posters, the Key Art pieces. 3D Illustration is about half of my work, with the other half being 3D Logos.

 

     There were two basic concepts I was tasked to focus on for my work; one was close in the city itself with giant electronic digital billboards that would have "Wanted" posters on them for the main characters who are on the run. The second concept was to build out a circular maze of the city for a more graphic approach. 

 

      For each concepts I did a number of renders at different angles. This is is the biggest advantage to using 3D Illustrations, as you have the ability to build it once, and render it multiple times.

      As a traditionally trained 2D Artist / Designer, I have had to re-draw designs for multiple angles. In fact in my first Automotive Design Classes at both College for Creative Studies and at Art Center College of Design, this was the first assignment we were given in Transportation Design 1, by both Bill Robinson at CCS, and Harry Bradly at ACCD to see if we understood and thought in a dimensional manner.

 

     As a Behind the Art aspect to this post, I again threw in screen grabs showing the base mesh and surface details without lighting or textures in a flat Clay material in 3DSmax. 3D Models are the first step in any good 3D illustration and built out details always are there to catch lighting. 

    I also can send the preliminary images out to the agency before the time consuming Lighting, Texturing, and Rendering step. This assured us that I am on the right track before investing a lot of time into a piece that is high concept.

     I work project to project currently, be it a half day to weeks or longer.  My Linkedin Profile button on the right column has all my contact details in there along with in my experience section here, with links back to samples on my blog. 

    That Google search widget window up top in the Blog page itself is helpful for finding work going back to 2009 with over 6300+ posted images and growing here.

Thanks for stopping by.

 

                                 Cheers, THOM

The Kingsman: The Secret Service 2013- Firearm Logos and King's Crowns PART II

 

 

My first crown design alternated the firearms to create visual gaps to match an actual crown that would typically have points.

 

 

 

 

This Clay Shader Screen Grab showing the wire-frames of this file I built from a higher angle.

 

 

   

This Second crown design spaced out the firearms to create visual gaps and had a band-ring made up of a variety of ammunition that I had from prior projects as well. I also sell the models for those online for $35.oo at TurboSquid Stock Models.

This is a Clay shader Screen grab showing the wire-frames for this second design I built out in 3DSmax at a slightly elevated angle.

This second Screen Grab of that design is a close up on the model details as you can see that the hand-grip was modeled, and not mapped. The 3D Bullets are all Sub-D built.

 

This Third crown design spaced out the firearms in a circular array with the objects rotated to interlock and space them out.

 

 

This Third Design Screen Grab is closer on the model at an elevated angles showing the full 360 nature of the model. I frequently build the files like this as I am asked to proved them to Motion Graphics artists for MGFX Trailer work.

 

This Fourth crown design snugs the object much closer with less gap between them.

 

 

 

 

Moving forward I am reviewing the 3D logos built into a firearm for a Secret Service Agent. This is a sheet of preliminary designs I rendered out at a smaller resolution to get feedback without breaking the budget prior to more direction.

 

 

 

 

Another Clay shader Screen grab showing the wire-frames from the preliminary design work at a 3/4 lower angle.

 

 

 

 

 Clay shader Screen grab closer to the Camera View showing the wire-frames. I love the multiple stacked Kingsmen on the grip texture it emulates.

 

 

 

Clay shader Screen grab with the wrapped text on the silencer at a low angle showing the depth the text is going into the main model to get those deep shadows as the file is extruded more.

Clay shader Screen grab closer to the Camera View wrapped on the frame and silencer here.

 

A much simpler design with different versions of fonts to render on the same file.

A bit bolder and brighter with the font on this one for better legibility in this larger render

 

 

 

A low 3/4 angled view of the above design showing off the dimensions a bit more.

 

 

 

 

Large Text over the frame of the firearm covers it almost entirely.

 

 

 

 

The final design I curved the text on the silencer to conform to the cylinder shape. You just cant beat a curved surface to get the best value contract in the lighting.

 

Project Review

The Kingsman: The Secret Service 2013- Firearm Logos and King's Crowns

PART II

Client:  20th Century Studios via BOND
Project Date:  June 2013.
Direction: Patrick Dillon.

      This is my second post for the work I did for Patrick Dillon at BOND, and today I am going to review my firearm based logo's and King's crowns I was directed to create for the franchise, The Kingsman: The Secret Service. 

 
       I was provided ample direction and vector files for the typeface work so I could begin the project. As a concept artist I can start from nothing or from just a little, to full direction, it's up to the client.

      I have been building firearms going back to the Glass Walther PPK I did for the James Bond franchise going back to my time at BLT Communications when I began in Key Art in 2001. I have more than a few 3D Models of Firearms and weapons that I have built, and for this project I used many assets including the Dessert Eagle and a Beretta I made. These were built with BREP objects that are NURBS from nPower Software based builds, so not a Sub-D build in Quads.

     This work did not make it to finish for the final Key Art, but I continue in my craft for each assignment I get the privilege of working on.To visualize in 3D is a challenge in composition and lighting and I love what I do, do it is a win for me.

     I will be posting more Key Art 3D Illustration and 3D Logos I did for this The Kingsman: The Secret Service for BOND in future blog posts here.

-Here is a link to PART I: covering 3D badges and Emblems I did.

     I am back to 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: 3D Title Concept Key Art Designs for Army of the Dead 2019 -PART I

 The final Key Art Title I built as a 3D Illustration for Army of the Dead for BOND. This design was my favorite of the 7-8 designs I did for the project. This was most definitely the most complex of all the designs I did as well. To achieve the motion blur on the falling chips I set up the render as a 3 frame animation moving the chips down and rendered out the center frame only to get the right amount of motion blur.

 The Ambient Occlusion/ Dirt Pass is a second render pass I provide my clients as you can use it in post to add depth and details to the 3D final rendering. Multiple use of overlays can really add weathering and with added noise effects to the pass you can achieve some great alternates with a single render pass for the Key Art teams to 3D Paint on the file.

This third pass shown is a standard 3D Depth mask based on pixel distance, a Z-Depth pass. It is great for distance based editing , like fog effect, saturation and de-saturation changes based on closeness to camera, and rack focus effects can also be achieved in Motion Graphics work with just a single rendered multi-pass file like I deliver or Depth of Field aka "DOF" in a still image.

  

Here is the 3D Camera POV shaded in a clay material for this Screen Grab showing the reflection dome hidden from camera behind the design so it does not render, however it is seen in the reflective surfaces so you can control the color and mood via whatever sky or background used.

Super close on the details of the 3D Model with the Dice 'Eyes" with diamond pupils inside the skull eye sockets as well as all the fun details up close in the Clay shader Screen Grab here showcase in my build.

 

This Screen Grab is tipped a bit to show the 3D layering going away from camera. Was hoping for a 3D fly through if it was picked, lots to fly around in this design. You can also see I bent the title and curved it back a bit on the sides. This alleviates the extrusion looking so much deeper on the far ends of the title with the camera distortion effect you get with a 3D Camera.

 This second design I present today is a one-line title with a really fun carved skull center to the 3D Logo. I subdivided the skull so I could use a bitmap to displace the 3D Mesh Geometry and due to the intricate details in the design the mesh was over a million faces to get the curves just right for this level of use. Sub-D is advantageous as if you do need to go closer you merely add more polygons, but you'll need a good high end PC to render it out as it gets mesh heavy.

 

 

The Ambient/ Dirt pass really fills in the cut out filigree in the skill so you can get it to pop out much better in post after the color pass. Try Overlay and Multiply in Photoshop with these passes they work the best IMO

 

The Z-Depth shows the spade on the skull forehead was the closest to the 3D Camera as seen in the lightest color displayed here. A leveling pass in Photoshop can isolate that element for glints and use it for any lighting movement in a MGFX use.

 

 

The clay pass of the final locked camera for the render on this second 3D Illustration design I provided to BOND.

This Screen Grab is a lower angle showing how I rotated the skull down in the Poker Chip 'Halo" object to give the eyes a more sinister look. You will see actors tip their heads forward to accentuate the eyes peering out from under the eyebrow, Think of Pennywise in IT.

 

This last Screen Grab is much closer to the skull design element in center and I did a wireframe overlay to show the million face object needed to get the 3D carvings to be smooth enough for the title view as described below.

Project Review

3D Title Concept Key Art Designs for Army of the Dead 2019

PART I

Client:  Netflix via BOND
Project Date:  October 2019.
Direction: Patrick Dillon.

      I was contacted by Patrick Dillon at BOND to build out a few Key Art Titles for Zack Snyder's film, Army of the Dead that was being produced by Netflix.

 

        Today I cover PART I for the 3D Titles with two Key Art pieces that I really enjoyed building. High concept beyond extruded typefaces which are a lot of fun in themselves, but these had some nice 3D element with Skulls being used along with multiple props as well which is a rare gig to come along. I have built a number of concepts using skulls in the designs that I had built for various projects including the Pirates of the Caribbean franchise, so I was ready to go on the designs.

 

      The film takes place in Las Vegas, thus in the first concept presented you see the Casino Chips in the comp, and the direction was given to me to add in a variety of elements including the sword / dagger as well. Working out the composition in 3D along with the color look and feel with bright colors,  gleaming gold and a lot of shine.

 

      For the second design the skull was also used with added intricate carving into it with detailed filigree patterns and presented it in a White Gold or Sterling Silver material. I reused the 3D Poker Chip I made for Comp 1 behind the skull as a nice halo on the skull and framing device. The font was supplied to me to use as usual by BOND, and was extruded to be heavy and bold book-ending the skull design in center.

 

     For the post today, again I also threw in some screen grabs showing the base mesh and surface details without lighting or textures in a flat Clay material in 3DSmax. 3D Models are the first step in any good 3D illustration and built out details always are there to catch lighting. Less flat objects look deeper as they are actually deeper. It takes longer to build but the payoff is huge. A Bump Map texture fake can never replicate what a modeled out object will provide a 3D Designer.

     The work did not make it to finish for the final Key Art, yet I was able to create some memorable pieces for the client and myself. It expands my 3D concept knowledge each time I use an element in a piece of work, as each surface is a lighting challenge as well as all 3D composition taken into consideration not just the 2D X and Y tangents and composition but the added third dimension of depth in the Z direction. [ 3D Geek talk! ]

     I will be posting more Army of the Dead Key Art 3D Logos I did for BOND in the future.

    I work project to project, be it a half day to weeks or longer.  My Linked in Profile button on the right column has all my contact details in there along with in my experience section here, with links back to sampleon my blog. That Google search widget window up top in the Blog page itself, is helpful for that.

 

                                 Cheers, THOM

Project Review: 3D Title Badges for The Kingsman: The Secret Service 2013 PART I

 

The First Badge Concept for Key Art use for The Kingsman: The Secret Service. I used a crosshatching texture engraved into the background field to give it a finished filigree as a second read on this 3D Badge concept I built.

 

I always render out a Z-Depth pass which is used as a mask in Photoshop or After Effects to mask based on distance the pixels are from camera so lens effects and Depth of Field can be applied in post.

 

The same 3D model from the First Badge Concept with a much more simple patinas metal finish with smooth surfaces.

For this version, I added in a dirt procedural shader with Cebas Final Renders Dirt Shader Material to get rust in the tiny cracks.

 

For this design I added in the concentric circles into the background area to once again add in a second-read level of detail behind the type itself to increase legibility. Holding devices are typically used in 3D Logos work to help with any legibility issue that may arise.

This was a lighter version of the top design above that was not as moody and dark, but still had that cross hatch had drawn texture in the design.

The 3/4 angels render show the model depth and stacked plate design as it was built for use in Motion Graphics and animation use as needed.

A Screen Capture of the 3D file in 3DSmax with the clay shader showing just the surface. Here you can see the Center Bevel, or single point bevel for the small type on the lower ribbons in the badge that I built Sub-D as Quads.

This Screen Capture view of the 3D file shows the leaf sprig details that surround the center crest design , and these were also built using Sub-D as Quads.

 

Another Screen Capture of the badge showing the multiple levels on the "Secret Service" type and a second layer also in the center crest area to get nice little double and triple highlight in the file. These especially show up in Motion Graphics with lighting and object.

A Screen Capture showing the full design with all the vacuous layers and object used to give it real-world depth.

 

The Second Badge concept for Key Art use is rendered out here based on vector files provide to me by the Agency BOND. I built out the hammered texture in 3D and applied it to the design in the version. This render is also a top favorite for me in this design concept set.

This Concept went a bit warmer in lighting and I added a fine mesh screen detail to the holding device back of the badge here. It really added that legibility needed for the Euro style font as it is much thinner than the top concept and it really helped it pop out better.

The  crosshatched texture from the top post was added to this second design as I loved the semi rough feeling it gave the design as a hand cut look as the texture I build was hand drawn then scanned and made to tile for this work.

 

 This last design was smoother look but with a bit more patina added to show an older object with weathering and some light rust corrosion with runs and drips.

Project Review

3D Title Badges for The Kingsman: The Secret Service 2013

PART I

Client:  20th Century Studios via BOND
Project Date:  June 2013.
Direction: Patrick Dillon.

      I was called in by Patrick Dillon at BOND to build out a few 3D badges for a new franchise, The Kingsman: The Secret Service. After leaving The Cimarron Group in 2009 I was a contract freelance 3D Designer for his company, and this was one of my favorite jobs that I did for him. He graciously allowed me to share my work from my projects over at BOND, do go check their work out at the link above.

       I was provided a packet with Adobe Illustrator vector files as well as visual reference for a variety of concepts that I will be posting for this film. Provided direction helps move me into the work that the teams have already put into the designs and gets me up to speed quickly. I can work from a few words, but visual reference is always a way to save money and especially time on Key Art projects like this.

      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.

 

     The Entertainment Advertising world is a very fast paced business. All work I have done for this industry in the past decades is always needed very quickly with turnarounds in hours and days, whereas most VFX 3D work is weeks and months, so I have learned ways to build and render quickly. I applied that to this set of projects and was very pleased with the results.

      I have been building out 3D Badges used in Key Art going back to my first poster work on Minority Report at BLT Communications. I was building out the Badge used in the film and it became a huge part of the Key Art once I was hired in full time back in 2001. So when this work came in from BOND, I jump in with high enthusiasm, and my skills had grown since that first work I did.

     The work did no make it to finish for the final Key Art, but for me the process and the designs were one if my favorites to do. As a 3D Designer, I learn something new on every job, each time I build, and I had some break through moments in lighting and procedural texturing on this job that I still apply to my craft to this day.

     I will be posting other Key Art 3D Illustration and 3D Logos I did for this project for BOND in future blog posts here.I also will post some other Kingsman work that I did for various other Agencies as well.

     I have worked remote since 2009, and this work was one of the last jobs I did for BOND prior to relocation out of Southern California back to Colorado. Thankfully the work from Patrick followed me out here, and I continued to do work with them from Colorado up to Covid in 2020.

     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