Category: Broadcast Media

Broadcast Media work completed for Various Agencies

ElderScrolls Arrival Cinematic

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Here are some animation frames from shots I completed at Blur in May 2013 for the Elder Scrolls Arrival Game Cinematic.

WATCH IT HERE: http://www.youtube.com/watch?v=DVMNQozxqos

Environment Modeling

As a Lead Environment Artist on this show, I was tasked with modifying all of the existing models created for the Elder Scrolls Alliances Cinematic to be solid air tight models that could be destroyed all together. Some of which I created and other models created by Darren Butler, Oliver Vernay-Kim and Chris Grimm. This was a very time consuming task, because I had to test the models with rayfire during the modeling process to make sure the FX department wouldn’t have any issues down the line. I also had to extend the existing models for some of the very wide camera angles.

Zbrush was instrumental in the process of “dynameshing” models together to create solid models and decimating them down to production friendly poly counts. I worked closely with FX Supervisor Brandon Riza to make sure the Final models were ready for simulation.

Look development

Darren Butler and I, working under the direction of CG supervisor Jed Denjean and Director Dave Wilson, created 4 Look Dev Environments corresponding to different story beats in the cinematic. Master Lighting setup and Final Color grading was done by CG Supervisor Jed Denjean.

Lighting, Compositing, and Scene Assembly

Once all of the assets from the other departments at Blur were approved (Characters, Animation and FX assets) I assembled the shots, implemented client notes, rendered and composited the shots I was assigned for the Show.

 

Bioshock Infinite Cinematic

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Here are some frames from an environment model I completed at Blur in November 2012 for the Bioshock Infinite Game Cinematic.

Environment Modeling

I started from building models created for a previous bioshock cinematic. My assignment was to take the lower resolution assets and recreate high resolution detailed versions of these buildings. I created several windows, corbels and other architectural details in Zbrush and added all of the fine detail needed for the 2k show. I also created several banners and flags using cloth simulation in 3ds Max. Lastly, I created new shaders for all of the assets.

Look development

As an Environment/Lighting/Compositing lead on the show, I was tasked with creating different looks and Lighting conditions during look development. I explored different times of day, weather condition’s and subtle shifts in grading. I also setup atmospherics and lens effects. Look Development is always my favorite part of the show.

Tools and Team

It was great working with Darren Butler on this show . I used 3dsMax, Zbrush, Vray, Fusion, Photoshop, Gen Arts Sapphire, Optic Flares, FumeFX…

www.blur.com

2013 CG Reel

Here is a compilation of shots I worked on at Blur Studio this past year or so. I worked with a lot of talented people on the work shown here in several departments at Blur.

I am a Scene assembler and Lead Environment Artist at Blur, So I was responsible for Environment Modeling, Lighting, Compositing and in some cases Look Development for the work shown here. Big props to the CG Sups and Directors that led me through the process and provided guidance along the way. Special thanks to all the Blurians I worked with this year. I’ve learned so much from my coworkers and its been nothing but fun!

Check out the project based blog posts on my website to see how I contributed to the work shown on this reel.

Thanks to Blur Studio for being Awesome.

www.blur.com

Elder Scrolls Alliances Cinematic

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Here are some animation frames from shots I completed at Blur in August 2012 for the Elder Scrolls Alliances Game Cinematic.

WATCH IT HERE: https://www.youtube.com/watch?v=0jNT5cMwxw0

Environment Modeling

This was a fun environment to model. Because it was meant to be “post” battle, After creating the clean version of the environment I spent some time destroying it using a combination of ray fire and zbrush.

Look development

As one of four Environment leads on the show, I was able to work under the direction of CG supervisor Jed Denjean and Director Dave Wilson to create the post battle mood for the shots in my environment. I used several FumeFX grids to create the smokey atmosphere. Master Lighting setup and Final Color grading was done by CG Supervisor Jed Denjean.

Lighting, Compositing, and Scene Assembly

Once all of the assets from the other departments at Blur were approved (Characters, Animation and FX assets) I assembled the shots, implemented client notes, rendered and composited the shots I was assigned for the Show.

Tools and Team

Working with Dave and Jed on this show was awesome and I’m proud to have been part of it . I used 3dsMax, Zbrush, Rayfire, Vray, Fusion, Photoshop, Gen Arts Sapphire….

www.blur.com

Halo 4 Game Cinematic

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Here are some animation frames from shots I completed at Blur in September 2012 for the Halo 4  Game Cinematic.

WATCH IT HERE:  https://www.youtube.com/watch?v=-kg3yxNsSzk

Environment Modeling

Starting from an environment originally created by Peter Wildman, I teamed up with Greg Kegel to complete the Didact environment used in the cinematic.

Look development

The goal was to mask the identity of the villain character in these shots while still maintaining a clear view at the Master Chief character. After receiving input from Director Tim Miller and CG Supervisor Kevin Margo, Greg and I designed a lighting scheme that would work with the FX created by Brandon Riza to achieve the intended direction.

Lighting, Compositing, and Scene Assembly

Once all of the assets from the other departments at Blur were approved (Characters, Animation and FX assets) I assembled the shots, implemented client notes, rendered and composited the shots I was assigned for the Show.

Tools and Team

Collaborating with talented people makes the Job fun. Thanks to Tim, Kevin, Greg, and Brandon. I used 3dsMax, Vray, Fusion, Photoshop, Gen Arts Sapphire….

www.blur.com

Planet Side 2 Game Cinematic

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Here are some animation frames from shots I completed at Blur in March 2012 for the Planet Side 2 Game Cinematic.

WATCH IT HERE:        http://www.youtube.com/watch?v=41QFL4QB3NE

Environment Modeling

I created the environment for the drop pod interior vehicle. I used a combination of existing components and elements I modeled to create the interior of the ship . Mike Johnson modeled the ships doors. I worked closely with the CG Supervisor, Corey Butler to create an environment that fit the art direction and story.

Look development

Look Development was starting by the CG sup, and I refined the lighting approach, render passes, compositing methods and color grading for the shots shown here as the show progressed. I also created several interactive lighting passes animated in fusion to create the chaotic lighting during the shots.

Lighting, Compositing, and Scene Assembly

Once all of the assets from the other departments at Blur were approved (Characters, Animation and FX assets) I assembled the shots, implemented client notes, rendered and composited the shots I was assigned for the Show. I also helped out on some other shots, but the images here I was most responsible for.

Tools and Team

CG Sup Corey Butler was awesome to work with. Clear direction and lots of  help along the way. I used 3dsMax, Vray, Fusion, Photoshop, Gen Arts Sapphire….

http://www.planetside2.com/

www.blur.com

Far Cry 3 Game Cinematic

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Here are some animation frames from shots I completed at Blur in February 2012 for the Far Cry 3 Game Cinematic.

WATCH IT HERE:         http://www.youtube.com/watch?v=J6gnOVJsCsM

Environment Modeling

I created the environments for the gun shack and the village which were used in 10 shots in the cinematic. I used a combination of existing components and elements I modeled to create shacks, furniture and debris scattered around the village. I used the landscape palette provided by the shows CG lead, Greg Keggel, to populate my village and mountain backgrounds. I worked closely with the CG Supervisor, Heikki Antilla to create environments that fit the art direction and story.

Look development

I was fortunate enough to be involved in the look development process for my shots as well. Working under the direction of the CG sup, I was able to define my lighting approach, render passes, compositing methods and color grading for the shots shown here.

Lighting, Compositing, and Scene Assembly

Once all of the assets from the other departments at Blur were approved (Characters, Animation and FX assets) I assembled the shots, implemented client notes, rendered and composited the 8 shots I was assigned for the Show. I also helped out on some other shots, but the images here I was most responsible for.

Tools and Team

Heikki and Greg were really instrumental in helping me find my way on my first Show at Blur. Thanks Dudes!!! I was glad to work in company with such a huge Talent Pool. I used 3dsMax, Vray, Fusion, Photoshop, Gen Arts Sapphire, Forest Pack Pro and lots of other stuff in my workflow.

http://far-cry.ubi.com/far-cry-3/en-us/home/index.aspx

www.blur.com

UFC on FOX

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Scene Assembly, Lighting, Compositing

Here are some animation frames from shots I completed at Blur in January 2012 for the UFC on FOX titles. I was responsible for assembling and rendering characters, props, environments and atmospheric FX assets created by the other departments at Blur.

I started from a great look development master file created by the CG supervisor, which contained all of the environment assets, master lighting and a master fusion comp. I made final lighting and some minor shader adjustments on the “Logo” shots. I implemented client notes, rendered and composited 8 shots for the Show.

www.blur.com

Uncle Bens Office

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Here’s a progress frame of a set that Austin and I completed for Hornet Studios back in June, 2011. This was an office set that was used on another 30 second spot for Uncle Bens Ready Rice. Unlike the previous Uncle Bens post, the render shown reflects our work without any changes from Hornet. I was responsible for textures, shaders and lighting and Austin did all of the modeling. We worked in Maya and rendered with Vray.

www.hornetinc.com

Uncle Bens Spots

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I was able to put my love for creating toys in cg to work for 2 Spots for Uncle Bens Rice. I was responsible for modeling, shaders and preliminary lighting for dining room sets to be used in the campaign. My teammate Austin Hernandez did the majority of the modeling for the sets, and I focused on UV mapping, texture mapping, shaders, lighting and modeling key props. We worked in Maya and Vray.

Austin and I created the initial models and shaders then our work was revised by the team at Hornet per further creative direction as reflected in these renderings.  It was very fun to work with Hornet Studios and their talented team on this project. Above are some final style frames and the U.S. Spot “Take Off”.

www.hornetinc.com