Category: Broadcast Media

Broadcast Media work completed for Various Agencies

Halo 2 Cut Scenes

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Project Overview:

Here are some images from the Halo 2 Anniversary Cut Scenes completed at Blur Studio. Blur recreated roughly 60 minutes of Cut Scenes for the release of the Halo 2 Master Chief Collection. I had the pleasure of being an Environment Modeling Lead, Look Development Artist and Scene Assembly Lead on the show.

I spent 6 months working in the various phases of the project, assisting the CG Supervisors in the direction of the team of modelers and scene assembly artists and producing look development, and training and mentoring new staff. The scope of the show and team was large, so a lot of my time was spent leading other artists and supporting them in achieving successful assets and shots. I also worked with the tools team to develop new tools that helped the show run smoothly through our pipeline. Below is a more in depth description of how I contributed to the work shown.

Environment Modeling:

As one of 4 Environment leads on the show I was responsible for leading a large team of modelers in the creation of approximately 30 environments and Vehicles under the direction of CG Supervisors Kevin Margo and Jerome Denjean.

The Assets included everything from tropical jungle ruins, mountainous regions, evergreen forests, exterior and Interior space craft, space stations, snowy mountain tops and ancient cave like ruins. I was assigned the forerunner archetype from the Halo World. It was important for all of the assets to retain the same look and feel, so I developed a shader library for the Metals and Composite materials used in the ForeRunner construction and shared them with all of the modelers to create continuity between models. I also made sure all of the models had the same design language.

During the modeling process, I was tasked with shading and lighting for the vehicles and environments as well as creating sample stills to present to the CG Sups and Clients for approval. As the Environment Lead, I directed each modeler to the completion of their assignments both artistically and technically, imparting notes from the CG Sups and Directors, offering workflow suggestions and making sure the assets were optimized for Scene Assembly using Vray Proxies, Xrefs and Tools like Forest Pack. I also worked with the tools team to create a script that would quickly create Vray Proxies, name them properly, and create preview meshes that would make working with the models during scene assembly more efficient. This made it easier to work with extremely large poly counts in the densely landscaped environments, and extremely detailed large scale Halo Rings.

Look Development:

Once Environment Modeling was complete, each of the Environment Leads was assigned look development tasks.  I completed look development for many Scenes on the show. For each scene I created lighting and compositing master files under the direction of the CG Sup assigned to that scene. That included creating volumetric and atmospherics setups as well. I started with a general sweeping camera in each environment and created a lighting solution that worked well looking in all directions of the environment. Then I focused on 1 or 2 shot cameras and created light rigs for close up shots.

The goal was to capture the emotion from the original cut scenes, while upgrading the quality of photorealistic lighting. Since we used Vray on this show, I was able to use several HDR images for the outdoor scenes. I also used real “studio light” HDR images for any artificial lights used as rim and fill lights, rather then just using color swatches in area lights. This produced photorealistic lighting and reflection details that really enhanced the quality of our production.

I designed a script called Vray Lighter Tools to make it easier to switch between a library of Source images during Look Dev to test different types of real world studio lights and one of our artists, John Martini executed the creation of the Tool.

In some of the fantasy scenes like the golden brown gas mine planet, I created custom HDR images with tweaked colors and several light sources to recreate the atmosphere of clouds surrounded by several distant sun like stars.

During look development I used FumeFX and Vray Environment Fog to create atmospheric layers in many of the environments such as the Grave Mind Lair and the Ruins.

I assisted CG Sup Kevin Margo in creating the master grade setup for the show, which consisted of several lens effects, grading nodes and a show standard view LUT to keep all scenes in a consistent color space. I then created grading for each of my look dev Scenes using the tools in the master setup.

Scene Assembly:

As one of the Scene Assembly Leads, I assisted the CG Supervisor in directing the scene assembly team to the completion of 16 Scenes on the show, many of which I did look development for. This amounted to roughly 20 minutes of footage. This included duties such as attending and participating in daily reviews, technical direction, render solutions and management, creating training materials, mentoring and assisting the team of artists in any way needed to complete their assigned shots while retaining visual continuity established in look development.

Because of the fast paced schedule and large size of the scene assembly team, the deliveries of final shots were staggered throughout the show. This meant several scene assemblers were concurrently working on different scenes and in different stages of completion. I was constantly assisting the CG Sups with solving issues arising in other departments such as Animation, Rigging and FX to keep the shots moving forward on schedule.

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

CG Reel

Here is a compilation of shots I worked on at Blur Studio. 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