Project Review 3D Key Art Illustrations Proof of Concept for Total Recall August 2012 PART II Power Extraction Tower

 

 

 

 3D Key Art Illustrations for Proof of Concept for Total Recall 2012 PART II Power Extractor Tower- The final Comp Proof rendered out with Photoshop post using the added render passes.

 

 

 

3D Key Art Illustrations for Proof of Concept for Total Recall 2012 PART II Power Extractor Tower- An ambient / Dirt render pass used in post to add form and details to surfaces as well as intersections in geometry. It is a lighting pass and a geometry based dirt render in one. This pass is great for darkening overlays for all the little part lines in the concrete. really adds realism.

 

 

 

 3D Key Art Illustrations for Proof of Concept for Total Recall 2012 PART II Power Extractor Tower- a Z-Depth pass is standard as a render pass in Cebas Final Render, and I use this for near every render I do as time permits.

 

 

 

3D Key Art Illustrations for Proof of Concept for Total Recall 2012 PART II Power Extractor Tower- A Screen-Grab Behind the Art showcasing the wireframe from the Camera view with a clay shader showing form not textured or final colors used.

 

3D Key Art Illustrations for Proof of Concept for Total Recall 2012 PART II Power Extractor Tower- My Client provided the sketch on the right I used to start the project, and a small final proof of concept layout comp as delivered on the Left.

 

 

3D Key Art Illustrations for Proof of Concept for Total Recall 2012 PART II Power Extractor Tower-A Screen-Grab Behind the Art showcasing the wireframe closer up and elevated above the ground plane with a clay shader showing form not textured or final colors used.

 

 

3D Key Art Illustrations for Proof of Concept for Total Recall 2012 PART II Power Extractor Tower-A Screen-Grab Behind the Art showcasing the wireframe at a bird's eye view looking down with a clay shader showing form not textured or final colors used.

 

3D Key Art Illustrations for Proof of Concept for Total Recall 2012 PART II Power Extractor Tower-A Screen-Grab Behind the Art showcasing the wireframe even higher up on the tower.

 

 

 

3D Key Art Illustrations for Proof of Concept for Total Recall 2012 PART II Power Extractor Tower-A Screen-Grab Behind the Art showcasing how spread out and sometime floating assets are. I learned this in live action commercials early on with a locked camera you can fake a city as those gaps are never seen in frame.

 

Project Review

 3D Key Art Illustrations Proof of Concept

for Total Recall August 2012 
PART II
Power Extraction Tower
 

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

     This is my second post with another Proof of Concept piece that I did for the Cold Open Agency for the reboot of Total Recall back from August 2012. A Proof of Concept is pure concept design that helps sell an idea. This is what this design phase is for.

    I did get some screen captures of the Power Extraction Tower as Pre-Viz blocking models as the CGI for the film had no finished renders. Sometime we get the 3D models but here a screen-grab image was more than enough to block out this concept and move forward with the days work. This concept was directly for the VP Executive of Creative Gardner.

 

      As a student of architecture I have a shape language and proportion understanding when I do work like this. I have done built environments for real work situations, as well as for Sci-Fi in TV Animation as I did for  Phantom 2040.

       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. This was a longer shot very low to the ground a "Worms Eye " view looking up. There were a few older structures as well with the new future city as a build over with massive new futuristic structures overpowering the older gothic structures.

      The challenge in Key Art 3D illustration work is budget and time constraints. All projects have these, however the time factor is usually one day to get a finial image so the Creative Director has time to add in the talent and titles. This was no exception. I had one day, so around 10 hours to build and design, light texture and render at a 2500 pixel wide larger comp size. That means  you need to work very fast.
      Here rule #5 in the Etiquette of the Art Critique apply here. Having a week or month on a 3D Illustration like this would produce a much richer design.
      Rule five is: 5. Always keep in mind the time frame the artwork was done in so you are not criticizing a one day project with the standards of a month long one.

      This is the second of five 5 total posts I will be sharing on Total Recall, so do visit again to see those proof of concept pieces. 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: The Suicide Squad- Main Title Treatment Concepts February 2020

 

The Suicide Squad 3D Title Treatment- a soft subdivision extrusion gives those nice liquid soft edges to the title. It has the jelly reflection popularized by Apple in the UI Design they still use. Rendered out in a basic Yellow was a simple starting point.

The Suicide Squad 3D Title Treatment- A Double piece design with an outer lip and a rounded pillowed face inner design, avoiding a flat face extrusion. Gradient textures and lighting gives crown and movement to the surface via shape, light, and textures.

The Suicide Squad 3D Title Treatment- Here is a sharp edge single point bevel design with alternating colors of Red and Yellow in the design. I heavy deep chiseled design with cracks and destruction coming out from the red "Suicide" text in the center of the design.

The Suicide Squad 3D Title Treatment- I love this one with the type filled with spent bullet shells filling the inside of the font with the back extrusion with a red bottom to show of the brass shells.

The Suicide Squad 3D Title Treatment- A softer single point bevel with rounded edges that were filled with bullet holes and some red blood splatters.

 

The Suicide Squad 3D Title Treatment- a Yellow steel painted logo with procedural textures used for random 3D rust on the surfaces. Texture built node based and built in Darkling Simulations Dark Tree program.

 

 

The Suicide Squad 3D Title Treatment-A shattered design displaced with a 3D map so the parts of the title were cracked as well as were on different levels.

The Suicide Squad 3D Title Treatment- This design as a Concept I was inspired by what I did for Hellraiser and SALT with an inner and outer object, with this one using a Superhero suit in a red skin over shiny chrome metal inside the type. Bullet ridden and torn thru. A fun concept to design.

The Suicide Squad 3D Title Treatment- I did a stair step design surface off a single point bevel. Stair step designs like a Mayan pyramid. This was a warm gold yellow design.

The Suicide Squad 3D Title Treatment- A rounded profile design with bullet holes and cracks with both yellow and red in the shiny gradient. Distressed concept.

Project Review

The Suicide Squad

Main Title Treatment Concepts

February 2020
 

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

      I'm sharing my visual development work I did for Patrick at the BOND Agency on Key Art 3D Title Treatment concepts for The Suicide Squad back in February of 2020.

      This was the second film in the franchise for Suicide Squad. I was given one vector file and tasked with creating a full set of 3D Logos from one shape. I do this a lot as a 3D Artist, I see the possibilities, with that one shape can be dimensionalized out to. I was given a color palette with red and yellow as the primary colors, so I was off to work.

 

      I built a range of designs with a variety or 3D surfaces, pillowed, flat, rounded, sharp-edged, and deep back extrusions with both clean concepts to broken designs.I has a blast working on the Key Art for this film.

     I am continuing 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 been working remote since 2009, so I am ready to go with over a decade working with clients as most were forced to do a few years back.

                                 Cheers, THOM

Project Review: Star Trek Beyond -Main Title Treatment Concepts January 2016

 

 Star Trek Beyond: 3D Key Art Title Treatments- This was the first design with minimal bevels and mild textures. It had the most color in the lighting and this went all the way to an 8K ready to finish, when they went with a more simple while look for most of the posters.

Star Trek Beyond: 3D Key Art Title Treatments- I put the gradient into the brushed metal texture to help with a lighting look especially seen on the Beyond object.

Star Trek Beyond: 3D Key Art Title Treatments- This 3/4 Bird's eye screen grab show the reflection sphere surrounding the scene, that is set to not render in camera but be seen in all reflections and refraction's. It gives the final render a blend to black in the background.You also can see the green original vector file I place behind the logo build-out to make sure nothing moves in the build.

 Star Trek Beyond: 3D Key Art Title Treatments- This second design was similar to the first with a different font layout using the one file that was only attempted once. you will also see slight distressed textures in the lit surfaces as well.

Star Trek Beyond: 3D Key Art Title Treatments- In this design I went with a curved extrusion with a back extrusion so the face sits inside with a lip casting a slight shadow on the face. The sides were polished and the face had some DA sanded scratches applied to it.

Star Trek Beyond: 3D Key Art Title Treatments- Here is the Texture layout with the materials I used in 3DS Max with the GI renderer Cebas Final Render to execute to look.

Star Trek Beyond: 3D Key Art Title Treatments- Here in this Clay Shader Screen grab image, you can see a much more complex lighting set up with individual light for each letter as well as box lights from Final Render to achieve the brighter edge lighting I wanted for legibility.

Star Trek Beyond: 3D Key Art Title Treatments- 3/4 Screen grab shows a smaller bevel used here in this design.

Star Trek Beyond: 3D Key Art Title Treatments- A very rough texture was used in this design with a strong up-lit staging for this Key Art Title Treatment in 3D for the Logo.

Star Trek Beyond: 3D Key Art Title Treatments- This Clay Shader 3D form Screen grab shows the multiple plates I make for the titles in an exploded view to see them better. 

Star Trek Beyond: 3D Key Art Title Treatments- Here the multi plates are back where they belong in this high tipped angle. The weight is always on the large font below for this concept work with a more delicate "Star Trek" up top.

Star Trek Beyond: 3D Key Art Title Treatments- Polished sharp machined edges and bevels used here on both Star Trek, and Beyond , with a much rougher face texture on the Title Below.

Star Trek Beyond: 3D Key Art Title Treatments- I backed out on this Screen grab to show the camera with a longer lens to flatten out the title along with a whole bunch of spot lights and rectangular Box Lighting used.

 

Star Trek Beyond: 3D Key Art Title Treatments-A camera view in Clay Shader showing minimal parallax with the longer lens.

Star Trek Beyond: 3D Key Art Title Treatments-  This last pass had a holding device added to the back  of the Beyond type, with this one textured out in a chrome material.

Star Trek Beyond: 3D Key Art Title Treatments- This last pass ALT, had a holding device added to the back of the Beyond type, with this one textured out in a gold material with a saturated green face texture with deeper roughness added as well.

Star Trek Beyond: 3D Key Art Title Treatments- Here is a screen grab for that ALT. gold materials and green metal roughed up.

Star Trek Beyond: 3D Key Art Title Treatments- I backed out in the camera view to show all lighting used for this last render.

Project Review

Star Trek Beyond

Main Title Treatment Concepts

January 2016
 

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

      Today I'm sharing work I did for Patrick at the BOND Agency on Key Art 3D Title Treatment concepts for Paramount's 13th film in the franchise; Star Trek Beyond. I built these in January 2016 for the film that was released in theaters later that year. It was a fire drill with a fast turn around.

      I have loved the Star Trek franchise since I was a kid, with the original series back in the 60's as my top favorite, so to work on one of current the films Key Art was a true honor for me. 

     I have some older posts for the franchise where I did Location Based Entertainment work for Star Trek the Experience in Las Vegas where I did two hotel room design visualizations for the Federation, and the Klingon's. I also did custom DVD packaging work for Home Entertainment TV spots as well that can be seen at this link here.

       I am posting the Key Art Title Treatment concepts I was given to create. For this job the font and title were all laid out, so I had one vector file to work with. I also had to connect back it to the history of titles so as to stay in the same design universe so to speak. Direction was straight forward to make them all metal, to use a warm to cool lighting scheme with a yellow and green hue to the overall palette, and a variety in look and feel withing those guidelines.

 

      For this 13th film, I did some more slick and clean versions as well as some lightly distressed ones as well. No displacement and rough ones were asked for, so it was a texture exercise along with dramatic lighting. They were generally a heavy depth of extrusion for the film name; Beyond, and a lighter and less extruded weight for the Star Trek series ID up top. In the final posters they dropped Star Trek on many of the Key Art pieces to focus on just the name Beyond.

    I have posted more Behind the Art Images in this post than usual, showing the various extrusion types with rounded more polished look with more form and curve to them, as well as sharp edge machined look logos typical in the X-Men work I have done in the past. I included Clay shader screen grabs in red showing form and camera and light set ups as well as shaded screen grabs showing some material and texture properties in my set up I make.

 

      I tend to build using a multi-plate design method with the title face as a separate object with it's own bevel along with other objects for the extrusion and holding devises. This allows me to create color picker channels easier by object, as well as to exclude some objects from lighting so I have more control over the final design. I started this back when I did more MGFX; motion graphic animated titles as they would often want me to deconstruct the parts so I started building them out that way.

 

     I am continuing 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 been working remote since 2009, so I am ready to go with over a decade working with clients as most were forced to do a few years back.

                                 Cheers, THOM