Project Review: Architectural Visualization 3D Furniture Modeling 2017 The Olaf Chair

 The end product for this 3D Service is the 3D Model itself, I do a surface render check for every one, thus ensuring that the subdivided Quad Sub-D Model is good to go when delivered. This is a typical test shot as delivered to the client.

Here is the base mesh with Subdivision removed to show the low poly base build I do. Subdivision Modeling allows for as much resolution as needed in the asset, yet provides a lighter base mesh for dial in of pre-lighting textures and animations.

This underside view shows the 3D Model build out of the legs with supports.

 

 A close up details on the supports attachments with rattan.

 A few quick test renders on a virtual Photo stage

 Another angle on the 3D Model.

 Birds Eye overhead view on the Olaf Chair.

Side View of the 3D Chair.

 Here is a high front angle on the chair.

Project Review

Architectural Visualization

3D Furniture Modeling 2017
The Olaf Chair

Client: Three Marks.
Art Direction: Michael Golden.
Project Date: February 2017

Of the various 3D services I offer, one is to model out hard surface 3D assets for various clients to have them take my 3D Model into their program for a variety of uses from animation, Design, Visualization both for still print, as well as animations, and in today's blog post I am covering Furniture 3D Modeling.

I have worked with Michael Golden for a few years on a project by project basis, assisting with sets of custom furniture for his incredible visualizations he does out in NYC. For me, to build out custom furniture for Architectural Visualizations in still format or a  walk through is one of my favorite things to build in 3D, and Mid Century Modern is one of the styles I enjoy the most.

Today I have a really fun chair I got the pleasure of building out, that of a weaved wicker high-back Olaf Chair. As a prior furniture builder and a woodworker myself, I love virtual furniture building.

Having to build great iconic furnishings done in the past by great designers always builds up your own design abilities, since whenever you are forced to build another designers concepts you are challenged as a designer yourself. It takes you out of your own comfort zone, and allows you to see thru another designers eye, and sensibilities.

This will be followed by other pieces I have built out, as I have well over 100 custom furniture pieces for the Architectural Visualization work that Michael does at Three Marks.

Cheers, THOM

Project Review: 3D Illustration Key Art-All Def Comedy Jam 2016

The first Pendant render of the 3D Logo I did for the HBO All Def Comedy Jam.

I did a second pass of an ambient occlusion render that is overlaid in the final PSD file I deliver to the in-house Art Department.

The angle view on the 3D Pendant Logo.
3D logos allow for multiple angles and views using the same asset, a distinct advantage over a 2D Logo.

The Ambient overlay showing the reflection sphere I have hidden in the render to fine tune the metal brightness on black.

This was the final pass at the stacked Comp. I put all three light effects into one comp, the 3D Neon tube, the round bulb type, and the inner volumetric glow inside the microphone head.

Here is the Second Pass render of the Ambient/Dirt shader overlay.

 I also provide a distance based mask, or a Z-Depth Pass, for these renders so focal length effects and saturation based on distance is already masked out for the Art Team that takes this and integrates the 3D Logo into the final product.

The first alt was no light effects just metals and a dark look.

I then added a volumetric light casting rays out from indie the Microphone next.

Here is the alt with the vintage round bulb marque feel to it.

Project Review

3D Illustration Key Art

All Def Comedy Jam 2016  

Client: HBO via Leroy and Rose Agency.
Art Direction: Melchior Lamy.
Project Date:October 2016.

Last Fall I worked on some 3D concepts for Key Art for the new All Def Comedy Jam 2016 for HB via the Leroy and Rose Agency out in California.

I was given two basic directions, one of a big gold pendant utilizing the circle logo provided to me by L&R, and another of a stacked black on black logo dark with some gold and light accents.

I started with the pendant concept first, as directed, and built out the 3D Logo and set up the textures and lighting. I have done many 3D Pendant logos in the past[ Goldmember, Marci-X etc.] so I utilized what was learned from those in this one as well. I did two views which is why 3D is so beneficial when the client wants alternates[ or Alt's] , since I just create another camera view, adjust lights as needed, and render a second concept based off the cost of the first.

The second direction is what took the most of my time, a stacked dark metal on dark metal logo with gold accents. Once I had the majority of the scene built, I rendered it out in various ways as seen above. The final was a comp with light bulb text, neon tubes, and a lit up microphone mesh all in one.

Though these did not finish[ make to the finals], it was a great exploration and application of technique for proof of concept.

If you need a 3D assist on a 3D Logo for your project, contact me for a quote today!

      Cheers, THOM

Project Review: 3D Neon Logo for Key Art for 'The House' 2017

The Neon tubes and clips were ultimately used for the final Key Art for The House 2017

The full render with the back tin plate[ removed for final]

Here is the base Quad Mesh for the 3D Logo. Note the reflection sphere behind the logo, to add details to both the glass objects , as well as the metal clips. 

 Early on I did an alternate with broken glass tubes and dented and gritty back tin.

If requested by the client I can provide an ambient/dirt pass to overlay the color pass to accentuate edges and intersections to add some light grit to the render.

A Close Up shot of the full 5K finish.

 A Color render at a low angle of the 3D Neon Sign I made for The House.

 The Quad Sub-D build with subdivision removed to see the base objects.

Close up details on the 3D Neon Sign design and build.

This Quad Mesh shot shows the inner glow object inside the outer glass tube, as well as the build for the retaining clips.

 This is a Distance Based 3D Mask, or Z-Depth pass I include so the team can do distance based editing on a pixel by pixel basis.

This first Color-Picker Mask I rendered out isolates the inner glow inside of the Neon Tubes, this is SMART 3D. 

This second Color-Picker Mask I rendered out isolates the outer glass of the Neon Tubes.

Here is a Wide format Key Art piece using the Neon Sign I made in 3D to assist the team at Leroy and Rose.

Project Review

3D Neon Logo for Key Art for

'The House'

2017

Client:New Line Cinema via Leroy and Rose Agency
Art Direction: Melchior Lamy
Project Date: March 2017

Back in the Spring I was asked to create a 3D Virtual Neon sign for the New Will Farrell film, The House. This is what I call a '3D-Assist', as the Posters and logo were already locked in by the client, and I was called in at Finish to help with a 3D version of the logo, as that is my expertise.

Most clients I have are limited in-house with 3D Designers and Artists, so they call me for these smaller jobs, which make up the bulk of my work.

For this one, I had to create all elements including all base vector splines, and as I have done dozens of 3D Neon signs, I have a procedure down to create them on time and on budget.

I was originally tasked with a clean version of the 3D Neon Sign, and a distressed alternate, with these delivered at a smaller size for approvals to save cost. A typical 3D Logo like this is first delivered at 1500 pixels wide to get approval for the larger final, which in this case were 5000 pixel wide final. I have rendered up to 18,000 pixels wide in the past.

When I build 3D Neon Signs now, I have some 'off the shelf' parts I have already made to reuse, like the glass clips and fasteners. I build the neon tubes themselves with two objects, an outer glass shell, that is not solid inside, but skinned with a shell command to get a thickness on the glass edges for proper reflection and refraction characteristics in the final render, as well as a second object, a glow object inside the glass at a smaller diameter representing the 'gas' inside the tube.

The final deliver is usually a multi-pass render with extra channels and masks to use, including a Z-Depth pass, and my Color-Picker layer to grab elements, include the glow inside the tube to add outer glows in post as needed by the Art Directors I deliver this too.

Neon is getting popular to use in Key Art, as I worked on Guardians of the Galaxy Vol 2, Despicable Me 3, and the Defenders all using 3D virtual Neon Signage, just in the last few months.

If you ever need a 3D-Assist, contact me for an estimate to make your logo into 3D Neon signage.

Cheers, THOM

Project Review: The Cimarron Group-3D-Department Promotional Screens 2008

I did the animated splash screen for the Portrait-Promotional in-house HD monitors, that was re-purposed to the AV department for all our outgoing AV work.

 From selling generic 3D Models online, to iconic architecture for film, I also did 3D Architectural Visualizations, here Countrywide was highlighted.

 As a Graduate from Art Centers Transportation Design program, building 3D cars is a large part of what I did at The Cimarron Group.

 As an avid VW fan, building a 3D Herbie was a dream job. This asset was used in print and AV for the film Advertising campaign.

 3D-Logos are my 'bread-n-butter', so I created a screen to showcase some then current Images.

 I did a lot of 3D-Illustration work for the Film, Night at the Museum, this was a Project Specific Image I made for In-House Promotion.

 For our in-house Home-Entertainment Division, I did 3D-Illustration work for packaging various Star Wars Properties.

 A Project Specific Poster highlighting some of the 3D Design work I did for Superman Returns[ 2007].

Here is a Project Specific Promotional Image for the X-Men 3 Work I did.

Project Review
The Cimarron Group
3D-Department Promotional Screens 2008

Client: The Cimarron Group.
Art Direction: Thom Schillinger.
Project Date:Summer 2008.

In November 2003,I set up the 3D Design Department, in-house at The Cimarron Group, and provided 3D -Design, 3D-Illustration, and 3D-Animation services to the existing other 11 departments in-house at the Agency, and each department was asked to create some promotional images for the various HD monitors located throughout the company.

Each department was tasked with providing a set of images to display on the HD monitors that were rotated to portrait format, to emulate one of our main products,One-Sheets. My 3D Department was asked to provide specific work that the Owner wanted to showcase.

These Images provided our guests with a quick 'sketch' of what we offered via the 3D Design Department at The Cimarron Group.

Cheers, THOM

Project Review: 3D-Illustration Key Art One-Sheet FInish for Salem Season 3 on WGN America 2017.

Here is the finished one sheet with my 3D Illustration service as the grid-backdrop for the Agency.

 My Raw 3D render as delivered to the Agency.

 

 I always so an Ambient/Dirt pass so the Art Director and Finisher can add dirt and grit in post

 I also provide as needed, a Z-Depth pass for post adjustments as well.

 

 A crop in close up of the Key Art for Salem.

 

 Details of the build rendered out in Ambient Occlusion/Dirt Shaders.

More details of the build rendered out in Ambient Occlusion/Dirt Shaders on the top sides and posts.

 The detailed scroll work on the the 3D-model were 3D, not a 2D bump-map effect. The Cebas Final-Render Dirt Shader works wonders if it has real geometry to fill in that a Bump-Map is not suitable for.

 An Exploded view of the various parts and groups built for the Gothic 3D Illustration.

 

 Here is the working 2D-Layout to 3D Vector grid, to the blocking of the Gothic piece in 3D.

Key Art 3D Illustration

Season 3 SALEM 2017

Client: WGN America via The Arsonal[Agency]
Art Direction: Whyte Limtrakul.
Project Date: July 2016.

I was called in to help create a full 3D rendered Gothic Architectural framework for the One-Sheet for the new Season 3 of SALEM on WGN America back last Summer.

The agency had mocked up something for me from old photos, that was to give me the general layout and scale for each window for the characters to be comp'ed into it once my render was done.

Step one was to drop the image into 3DSmax my 3D software, and build a vector scale object over the bitmap so I could built to it in 3D. Once adjusted for perspective I proceeded to build out the parts. Once we went thru a few rounds to adjust the details and scale of the parts I proceeded with the gilded wood texture and look. Once approved I rendered out a 9000 pixel huge final for use on Billboards,  One-Sheets and 30-Sheets, or web.

As an architectural nut, I love High-Gothic, and have build Gothic architectural elements in the past, so this was a pleasure to create for Brad Johnson and his team.

Cheers, THOM

Happy New Year 2017!

HAPPY NEW YEAR 2017!

3DCD