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: Jurassic World 2: Fallen Kingdom Main Title Treatment Concepts December 2016

  Jurassic World: Fallen Kingdom 3D Main Title Key Art- I used a second displacement object over another extruded one on the the T-Rex in this logo concept over the wire cage mesh to layer the effects and have better control for dialing the look in this 3D Logo.

 

Jurassic World: Fallen Kingdom 3D Main Title Key Art- A screen capture showing the use of individual lights for each letter in the the logo to ensure even legibility, as well as center lights for a nice fall-off to the sides.

 

Jurassic World: Fallen Kingdom 3D Main Title Key Art- A clay screen capture of the crusty displacement object on the T-Rex with no displacement on in this view [ base-mesh ]. I used N-powers Power-boolean in 3DS max to use quad mesh output to displace.

 

Jurassic World: Fallen Kingdom 3D Main Title Key Art-Red Clay surface shader showing the high level in the crust on the Jurassic Park Icon.

 

 

 Jurassic World: Fallen Kingdom 3D Main Title Key Art- This design concept design has 3D moss growing in the holding device with very distressed textures on the Title Treatment.

 

 

 

 Jurassic World: Fallen Kingdom 3D Main Title Key Art- This Clay shader screen grab shows the high polygon count 3D moss put into the circle background over the diamond plate background object.

 

 

Jurassic World: Fallen Kingdom 3D Main Title Key Art- a 3/4 tipped to the side screen grab view showing the displaced layers and moss scatter objects I built out.

Jurassic World: Fallen Kingdom 3D Main Title Key Art- This tipped back screen-grab view shows the various depth and levels I use to build out the titles with weight to it. This is especially seen in a MGFX application camera moves.

 

 

 Jurassic World: Fallen Kingdom 3D Main Title Key Art- Cracked stone and concrete textures with heavy aging and stains for this design pass.

 

 

 

 Jurassic World: Fallen Kingdom 3D Main Title Key Art- A cleaner version of the cracked title with some metal on the T-Rex with the back racking in the holding device.

 

 

 

 Jurassic World: Fallen Kingdom 3D Main Title Key Art- Screen grab with one level of sub division to the cracked objects.

 

 

 

 Jurassic World: Fallen Kingdom 3D Main Title Key Art- The base editable poly power boolean used for the concrete holding device.

 

 

Jurassic World: Fallen Kingdom 3D Main Title Key Art-2 levels of subdivision added for close ups on this design in this screen grab in clay shader showcasing form.

 

Jurassic World: Fallen Kingdom 3D Main Title Key Art- A heavy broken up metal 3D Logo design with some motion blur effects added in post.

Jurassic World: Fallen Kingdom 3D Main Title Key Art- The subdivided mesh has 4 levels to get the mud flood cracks in the surface.

 

 Jurassic World: Fallen Kingdom 3D Main Title Key Art- This is the base mesh on the dimensional T-Rex with a good amount of 3D form to it. It was also used without the crack on the below image a swell.

Jurassic World: Fallen Kingdom 3D Main Title Key Art- A metal with a bit more hand modeling to the T-Rex adding more from to this design set.

Jurassic World: Fallen Kingdom 3D Main Title Key Art- This has a woven pattern in the holding device that was displaced not mapped. The Ambient Dirt in the weaved object fills in the spaces and adds realism in the post process.

 

 

 Jurassic World: Fallen Kingdom 3D Main Title Key Art- A single pass with carbon fiber materials.

Project Review

Jurassic World 2: Fallen Kingdom

Main Title Treatment Concepts

December 2016
 

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

     Today I'm sharing work I did for Patrick at the BOND Agency for Universal Pictures Jurassic World: Fallen Kingdom built in December 2016 that was released in theaters in 2018. 

     I loved the original films starting in 1993 right after I graduated from Art Center College of Design, so when they rebooted the franchise with Chris Pratt leading it up I was really excited to work on the sequel to the film from 2015.

       Today I have posted eight of the Title Treatment concepts I did for this film. For this job, the type and vectors for the T-Rex were all locked since 1993, so I was again tasked with doing a series of Main Title treatments to the film for Key Art for PART II of this well loved franchise. 

 

     For the sequel they wanted the logo with some destruction and cracking along with distressed texture for the most part. Also they wanted some tech materials as well in there like carbon fiber etc. which I also experimented with for the agency. I even added in some wire fencing that was bitten paying homage to the first film with the T-Rex.

     I did a good amount of displaced object with actual 3D surfaces rather than bump maps. It is a longer render, and bigger file size, however it has a much larger use especially for MGFX work where close ups and fly through work are typically needed. And a Sub-D base mesh is a lot easier to rig camera moves in as the scene is lighter to work with in 3D. 

 

      I have also added a lot of Clay shader screen grabs to show the builds of a variety of my 3D Logo designs to see what was actually built out, not mapped as a Behind the Art feature to the post.

 

     I am 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 also been working remote since 2009, so I am ready to go.

                                 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

Project Review: Onward Disney PIXAR Feature Animation Key Art 2018

3D logos for Onward feature Animation-A heavy Steel Title treatment with an inward extrusion with added design details inside. A little Middle Earth feel to this title.

3D logos for Onward feature Animation- A wood title with some gold inlay with a motif taken from a staff in the film that held a crystal. 

 

3D logos for Onward feature Animation- An almost Center Bevel with a really heavy bevel in iron. The crystal was a main light source here between Disney's and PIXAR's Logos. 

 

3D logos for Onward feature Animation- An amber Crystal that was based off the Crystal used in the staff in the concept art.

3D logos for Onward feature Animation- a simple wood with softer edges and no sharp bevels was a Sub-D model with 4 levels of turbo-smooth added for displacement.

 

3D logos for Onward feature Animation- an extruded near flat with a lighter edge bevel done in an Indiana Jone like palette. 

 

3D logos for Onward feature Animation- Using the above model with a custom red inset texture map as well as a spline based micro strip this was in a red as steel look. 

 

3D logos for Onward feature Animation- This reverse extrusion inset into the title used a fabric texture sourced in the concept art for the Van back curtains. The film revised the curtains so this was not a match after concept phase work. 

 

3D logos for Onward feature Animation- a combination of wood plates with multiple bevels and a metal face at the top of the stacked design. 

 

3D logos for Onward feature Animation- a Plaid material based on the Character Ian Lightfoots shirt. I did a pillowed soft face in a chrome frame.

 Project Review: Onward Disney 

PIXAR Feature Animation 

Key Art 2018

 

Client:  PIXAR via Leroy and Rose
Creative Direction:  Melchior Lamy 
Project Date:  November 2018.

     Today I am covering a large series of 3D Logos I was contracted to develop for PIXAR's Onward from back in November 2018. I was happy to work on non traditional looks for the 3D Logos with a wide range of looks. My typical fare is in metal logos and glass as the most common ones I am asked to do, so I enjoyed the variety in this gig.

    Leroy and Rose often called me for Feature Animation Key Art. I have a background working in Animation as a Conceptual Designer, Art Director, as well as Layout, Character, and Prop designer in Phantom 2040, and the New Adventures of Flash Gordon. My first full time job was for Hearst Animation Productions, so I love this genre of entertainment.

     Doing anything for PIXAR is an honor as they were trailblazers in 3D Animation. This work I did was before any 3D animation was sent out to vendors so I received some pre-vis and sketches to work off of mostly.

 

    I did this work on Key Art 3D Titles at a development stage, so you can see a wide range of looks. I used textures and elements from the reference in the logos as well as materials like Wood, Crystal, steel, as well as fabrics used in the film environments and characters themselves. I also combine multiple materials as well stacked and inlaid as well in the visual development.

 
    Just one set of vector files provided to us by the client were used to create multiple solutions in the 3D models. Some are flatter and extruded, while others are chiseled with heavy bevels, and some were displaced with high poly count geometry for the wood versions so the wood grain was dimensional in 3D and not merely a bump map fake. One file can be made dimensional in so many ways. Pixar ultimately chose a 2D flat logo with a bevel effect

 

     The three dimensional thinking skills I developed in Industrial Design really gets used for this kind of work. I see many 3D solutions to one file, and here the agency allowed me to explore a bit. Love that!

 

     I am full time doing freelance while 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 mostly Full Time opportunities [ Open to relocation ] would be best. I have worked remote since 2009, so I am ready to help you on your projects!

                                 Cheers, THOM