Project Review: Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- The First Final Round Design: Metal over latex/leather with a red backlight accent.

 

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- An Ambient Occlusion Dirt 3D Render Pass for advanced GI lighting as well as adding in dark materials into the cracks and intersection. Used in post work to enhance the 3D render.

 

 

 

 Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- A 3D Z-Depth 3D render Pass used for distance based editing[ blurs focus length, de-saturation, fog, etc.. ]

 

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- A Color Picker is part of what I call a Smart 3D Image. With the Alpha channel these two additional renders allow the final user to grab by object for fast masking of parts in the 3D render.

 

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- Screen Grab with materials and textures in the viewport: This shows the basic materials I build as well as a blurred simple refection sphere for the chrome work.

 

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- Camera View Screen Grab in Clay shader showing 3D form and surface.

 

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- Camera View Screen Grab in Clay shader showing 3D form and surface: This in the Base Mesh with no subdivision active. You can see all the box light between the letters I used to get very specific reflections on the edges this way.

 

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- Screen Grab in Clay shader showing 3D form and surface: Subdivision High Poly final 3D Model at a Lower Angle.

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018-Screen Grab in Clay shader showing 3D form and surface: A Low Poly view at a lower up angle here shows the holding device on the back of the Center Bevel[ Single Point Bevel] style of hand modeled text in this title.

 

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018-Screen Grab in Clay shader showing 3D form and surface: This is pulled way back to show the elongated box lights from Cebas Final Render visible in reflections needed to fully wrap the shapes.

 

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- The Second Final Round Design: The type was interlocked so I uses a bit of distance as well as multiple stacked plates with a variety on texture. You can see these object in the Behind the Art exploded view with all layers spread out below.

 

 

 

 

 Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- Screen Grab with materials and textures in the viewport: Up top right you can see the custom bump map built for the seams in the Latex/ Leather use in this concept to align with the title design.

 

 

 

  

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- An Ambient Occlusion Dirt 3D Render Pass for advanced GI lighting as well as adding in dark materials into the cracks and intersection. Used in post work to enhance the 3D render.

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- A 3D Z-Depth 3D render Pass used for distance based editing[ blurs focus length, de-saturation, fog, etc.. ]

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- The Color Picker is part of what I call a Smart 3D Image. With the Alpha channel these two additional renders allow the final user to grab by object for fast masking of parts in the 3D render.

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- Screen Grab in Clay shader showing 3D form and surface:

 

 

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- Screen Grab in Clay shader showing 3D form and surface: A lower angle shows the various plate levels. Each edge catches light enhancing the final design. This is especially used in MGFX [ Motion Graphics] applications.

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- Screen Grab in Clay shader showing 3D form and surface: A side shot of the 3D build.

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- Screen Grab in Clay shader showing 3D form and surface: An exploded view showing all the parts of the logo separated out. Each part has a channel, and a different texture.

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- Part of the Runner Up Designs-Design A: Here I used a straight stack design with the "and" used as a light source, here in red.

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- Part of the Runner Up Designs-Design B: Here I used a horizontal part line pattern on the font on the front main titles with Metal holding device edges.

 

 

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- Part of the Runner Up Designs-Design C: For the last two the type itself is a hole and used the negative space. I new concept for me on this project. I put the Alpha Channel top Left to show the black hole in "Black" for this design.

Silver and Black: Black Cat and Silver Sable 3D Title Treatments January 2018- Part of the Runner Up Designs-Design D: For the last negative space concept, I put the Alpha Channel top Left to show the black hole in "Silver" for this design.

Project Review: Silver and Black: Black Cat and Silver Sable 

3D Title Treatments January 2018

Client:  Columbia Pictures, Marvel, Sony Pictures via BOND
Project Date:  January 2018.
Direction: Patrick Dillon.

      I was called in by Patrick Dillon at BOND to work on a Comic Book Film adaptation for Marvel Comics Film the Black Cat and Silver Sable characters called: Silver and Black back in January of 2018. The project began in 2009, and it ended in February 2018 and you can read up about it here.

       I was provided a packet with Adobe Illustrator vector files from Patrick and his team to create 3D Logos for. I did research into the history and look of the two characters as well as the history of the logo used in the comics. Black Cat wears a sexy black latex/leather as her tight outfit so some of that look was used by me. Silver Sable was in a metal Chrome like outfit hence the Silver tech design for that name in the title.

      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.

 

     This work did not make it to finish for the final Key Art as the project was sidelined indefinitely the past 8 years. As always, a majority if what I do done not get uses as many projects are pro production development work, and this is typical in the Film industry.

 

   I have worked on quite a few Comic Book based properties , and as an avid reader and collector I find these gigs very enjoyable. Most of these projects are here on the blog and you can search them out top Left Goggle Search Widget.   NOTE: Some I cannot post.

 

Here is a list if projects I have been on in this genre:

 
X-Men 2, X-Men 3, and X-Men 5.
Wolverine.
Superman Returns, and Man of Steel.
Batman vs. Superman.
Batman Begins, Batman The Dark Knight, and Batman Rise.
Aquaman 1 and 2.
Shazam.
Daredevil.
Avengers Age of Ultron, and Avengers: Infinity Wars Part-1.
Guardians of the Galaxy 2
Underworld.
The Flash.
The Phantom Legacy.
Astro Boy.
Sucker Punch.
Priest.
Fantastic Four Rise of the Silver Surfer.
The Green Hornet.
Judge Dread.
She RA: Princess of Power.
Masters of the Universe.
Doctor Strange.
MIB: The Men in Black- 1 and 2.
Blade: Trinity.
Iron Man 1.
Sin City.
Spider-Man 3, and Spider-Man: Homecoming.
The Watchmen.
300 Rise of an Empire.
DC: The Last Boy on Earth.
DC: Metal Man.
The Crow:
Judge Dredd.
Captain Marvel.
Ghost in the Shell.

Phantom 2040.
The New Adventures of Flash Gordon.

     I have worked remote since 2009. After leaving GM in November 2024. 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

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

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