Project Review: S.W.A.T. the Movie 2003-PART III-Tactical Personnel Van

 A straight on back shot of the S.W.A.T. van that I built for the feature film marketing. This was designed around a few comps done by the team of Art Directors on the 'pod' for the project back in 2003 while at BLT and Associates as 3D Designer.

 A Worms Eye angle looking up with the back door on this SWAT van, with the back opened up with a few cast members coming at 'Ya.

 A low angled back view with a bit of 'dutch' on the camera, with the back closed up again.

 This overhead shot shows that all details were limited to what was seen in the renders so no front or even side details.

 I went to great detail to be accurate on the door locks and stays that keep the back doors open on these vans so that they would be accurate in style for the iconic vans used by S.W.A.T.

  Here is that back shot in polygons so you can see the level of detail that went into the individual parts on the van.

S.W.A.T. The Movie 2003PART III
The Tactical Personnel Van

Client: Columbia Pictures Inc. via BLT and Associates.
Art Directors: n/a
Project Date: Winter 2002-3.

It this third posting for the work I did for the TV to film adaptation of S.W.A.T., from almost a decade back now. I did this work while I was still an in-house 3D designer at BLT and associates back in 2003. I had done a couple dozen 3D Logos for the film posted here, as well as helping out with the teaser trailer.

In today s blog post we look at the back end of a typical Personnel van used by S.W.A.T. teams in the past, so they wanted an iconic look for the teaser with a van doors.

I built this 3D scene out as all hi-rez, as this was before I perfected my quad modeling techniques over the last decade,  and this was a fast turn around as usual so I did a speed model of the van.

I built out just the back of the van, and a bit of the sides, since we were just creating teaser shots for a few comps using the backside of this van for the posters.

I have a few more posts on S.W.A.T., that I will try and post up these in the future, so keep an eye out.

You can View the logos in PART I here.

You can view the M4 Carbine I built here for PART II

Cheers, THOM

Project Review: X-Men 2: PART III-3D Logos from a Single Vector

 A double plate 3D Logo design I did for X-Men 2, with some mild pitting in the scratched steel face.

 A glass plate with a heavy bevel and a thin metal plate on top for this X-Men 2 Log I did back a decade ago.

 The top X-Men 3D Logo objects have a heavy thick bevel and the holding device has about half as much. Sitting on a gloss black surface.

 Here I did a hollow face logo for X-Men, with a very big bevel in a warm environment for lighting.

 Here is a deep extrusion coming up from infinity to reveal the above logo with a much deeper holding post.

 A solid two plate design with the X objects pulled out from a bit in 3D space for this X-Men 3D Logo.

 For this alternate I revered the type move and put the "2" out front, I also then cut out the insides to make a deep pocket in there for heavy shadows on a simple x, and a 2.

Project Review

X-Men 2: PART III

3D Logo Designs from a Single Vector File

Client: 20th Century Fox Via BLT and Associates.
Art Director: Zack Ris
Date: Spring 2001

I had well over 200 logos I did for X-Men 2 from a decade back now, when I was an in-house 3D  Designer over at BLT and Associates, and today I have details on one sub-set all based on a single Vector file.

Part of what was great over at BLT, was that an Art Director would give me a single vector file designed in 2D, and also give me plenty of design space to create a dozen solves, not just one. 

Since I am versed in 3D design space,and most importantly, I was taught to think in three dimensions via my Industrial Design Degree from A.C.C.D., I always see a flat vector in multiple solves at delivery in 3D. I usually drop a few suggestions to an Art Director, but typically I do just one design for each logo, but here on X-Men 2, I had time to do about twelve per vector file.

I will be posting a few more solves from other vectors in the future for this X-Men 2 series I have here on my design blog.

You can view PART I here and PART II here, or you can search the blog using X-Men to see my X-Men 3, and First Class stuff as well.

Cheers, THOM

Project Review: Mazda 2-3D Illustration 2009- PART I

 The little Mazda Racer posed with a Flag for the Print Ads for the Launch of the Mazda 2 back in 2010.

 Each render had a layer with a color picker matte[ Smart 3D ] to use to grab individual areas on the image by the Art Director.

 A relaxed pose done for a print ad for the Mazda 2 ad campaign.

 An early pose with the simple reflection we originally used in the face shield.

 Here is a shot of the Mazda Racer winning First Place with Trophy in hand.

Project Review

Mazda 2 3D Illustrations for Print Advertising.

PART I

Client Mazda USA via Rhythm and Hues.
Art Director: Marta Knudsen, and Nick Pugh.
Project Date: Dec 2009- Summer 2010.

This is my first post covering the 3D character Illustration work I did for the Mazda 2 launch done by Rhythm and Hues studios. I have a soft spot for Rhythm and Hues, since my first job after graduation from Art Center was produced by R-n-H, and as it would happen, it too was a Mazda job as this one was.

I was contracted to help with the print advertising work that was to accompany the CGI done in house for the TV spots.

I helped to establish a system of production with my off site studio, and was able to cut the production time for each pose[ about a dozen separate projects], to just over a day of work from a few days each. I recommended that the animators rig the model in a way as that each part was a separate skin so I could re-texture them quickly in my program, since we were on different platforms we did not have a pass over type of file. They use Light wave for TV spots and I am a 3DS max user, so I got FBX exports, and used them for my 3D Illustrations. It cut my cost, but helped my good client meet their need.

All were rendered at about 9000 pixels tall with a 10 passes of render elements, so the shadows, highlights, diffuse, ambient, etc. were all separated on a layer so the key Art Director, Marta Knudsen could easily adjust.

I also provided a matte color picker as these 'SMART 3D" assets make implementation a snap for the in-house Art Directors as all masking is simplified greatly.

Cheers, THOM

Project Review: Laptop PC- Stock 3D Model 2007

 Here is the main shot of the generic laptop in a gun-metal plastic case.

 A close up detailing the stickers and USB  ports on the side along with the Blue-Ray DVD drive.

 A few lower resolution[ 960 x 540 DVD menu] renders of the Laptop model I designed and built out.

 A Polygon Mesh view showing the details built out in this laptop model.

 A close up of the USB port side of the laptop detailing the start button, speaker grills etc.

Project Review

Laptop PC- Stock 3D Model 2008

Client: The Cimarron Group.
Art Director: Myself.
Project Date: Summer 2007

While I ran the little 3D department of one, at The Cimarron Group, I built up a library of 3D assets for a variety of jobs that had come in, but I also anticipated what I might need, and more than once, I needed a generic laptop, so I built one out quickly for a few presentations.

I used in for Neurocomp Systems for the EEG meter design they used a typical laptop on the cart so I had this available for that render. I also used it for the WB Live website renders, to illustrate how to transfer data from an iPhone to a Laptop, though they ended up buying a Mac model instead. I also used it for some blue Ray menus for Sex Drive, for the Home Entertainment department as well. 

The model was built very quickly, as I was in between projects and fit it in. I rendered it in various materials for the differing jobs but it worked out well animated with the lid, as well as the lights etc. I plan a full quad version that I will re-design and sell in the future.

Having had 3 years of product design at Art Center certainly helps to get a quick generic product design that emulates what you would find in a real store, but still be generic enough not to stand out as a specific model of a Mac or Dell etc.

Virtual stock photography has the advantage, in that the corporate logos need not be covered up on a Laptop like this, you simple leave them off or make one up. 

This also saves money, in that you can buy the image outright without any added usage fees for added applications that a stock photo usually has go along with its use.

Cheers, THOM

Personal Project: Kitchen Rendering Design Tests 2008

 Here is the quad view top-sown shot with a bit of fish-eye on the lens to show the thin little space I designed out for this test.

 The same quad[ polygon view] view looking from the camera.

 My night lighting shot had blue lights outside that bledd the tone into the room with the warm glow from the counter top toaster-oven.

 My late afternoon shot had medium lighting

 My brightest noon shot with lots of orange bounce light added into the shot.

Personal Project:

Kitchen Rendering Design Tests 2008

While I was in-house at The Cimarron Group back in 2008, I had some down time , and I used this to practice my 3D skills to be a better artist, and I often took any opportunity given to me, to learn more in 3D and to practice, practice, practice!

I was doing Architectural tests at that point, as I had plenty of 3D logos to show off, so I wanted to fill in the Architectural Pre-Viz section of my work for Cimarron, with some additions to help sell this part of our company skills offered, so I designed a kitchen scene to test out a few things.

I used appliances that I had built out for the Poseidon re-make's website virtual tour, and I grabbed those assets to fill in the design. I went for a cross design mix, between a clean European Modern look, with an Asian flair in the color texture and details. 

I designed, built and added in the sink bamboo mat, and matching trashcan, some Sushi blocks and chop-sticks, as well as a Sumi painting on the wall, all lit with the round lantern type of lights mimicking the paper lanterns, though done up in a nice ribbed glass. 

I used this time, to test speed in the GI engine I was using[ Final Render of course!], and I did night, mid-day, and an afternoon sun version of the space to see what the minimum settings that could be used, and still get an acceptable output would take on this 'generic' set. 

A HUGE part of the design process in advertising is rendertime. Those lacking experience forget to factor this in, and you could end up with a three day render for a project due by days end, so tests like these help me more accurately get a time frame for my clients, which is usually the first thing asked is how long will it take[ or how much $$$].

Cheers, THOM

Project Review: X-Men 2: Part II-Cerebro Door Icon Designs

A Cerebro Door Icon I designed that had a metal brushed front plate, with blue glass sandwiched in between, with some fasteners l holding it all together.
 

By far my personal favorite for the Cerebro Doors I did for X-men two, was this example, with a cast iron double base plate, and a machined top face.

I took the top brushed face and first level of casting from my 'fave up there', and created a "spherical" LOGO that would spin up for the AV and web usage[ my first intro into Motion Graphics]

Metal face with blue glass within with a floating negative space reading "X". A fun solve for X-men that ended up looking alot like what was finished for Fantastic 4 a few years past[ by another artist].

I had this one with 'pachinko' pinball balancing the four parts forming the X for X-men 2 Cerebro Doors that I designed.

 An X door on a rock wall split into tow doors, with the lighting taken from the first films finished look at BLT


Project Review
X-Men 2: PART II
Cerebro Door Icon Designs

Client: 20th Century Fox Via BLT and Associates.
Art Director: Zack Ris
Date: Spring 2001

I had well over 200 logos I did for X-Men 2 from a decade back now, when I was an in-house 3D  Designer over at BLT and Associates, so today I have gathered up a set of my favorite Cerebro Door Icons that I did for the project to foucs on them in a better scale to view.

I love doing big metal superhero logos , and this part of the project was a blast to come up with some looks. I had a basic brushed metal look, established in the first film that I used as my spring-board, so I did some direct replicas in 3D, since the first film uses a 2D illustration for the big X, since it is not a real 3D asset.

I had a great amount of design room given to me on this[ BLT's strength!], to come up with some heavy metal, and iron looks for these icons. I did cast metal, brushed metals, lots of blue glass[ that eventually went to Fantastic 4]. A fun process and end product.

You can view PART I here or search the blog using X-Men to see my X-Men 3, and First Class stuff as well.


Cheers, THOM

Project Review: 21: Blue-Ray and DVD Menus-3D Animation + Illustrations

 A frame from the final HD Animation I did for the Blue-Ray DVD menus for Art Director Hesham Morsy at The Cimarron Group back in 08'

 Here is a 'Hero' shot of the Virtual Blackjack table I built for the project

 A Player POV[ Point of View] shot for a menu. I was ready to animate cards etc.

 The overhead move down to the table felt is seen here in the opening frame of a proposed Style Frame.

 A Dealer POV shot for the Blackjack game done for the presentation for, 21 the film back in 2008.

 Here is a shot if the blackjack table built fast and dirty with only the padded rail done in quads.

Project Review

21

Blue-Ray DVD Menus

Client: via The Cimarron Group.
Art Director: Hesham Morsy.
Project Date: April 2008.

Back in the fall of 2008, I was still in-house at The Cimarron group, and got to work with Hesham Morsy, on the Blue-Ray DVD menus with him as I did on, "So I Married an Axe Murderer" the prior year. I have worked on a a couple dozen projects with the AE[ After Effects] team on Home Entertainment over the years, always a pleasure.

For this project, I provided two parts; First a 3D animation sequence in HD of flying poker chips, cards, and Playing Card Icons of Hearts, Clubs, Diamonds, and Spades, and Second a Blackjack table interface for the menu itself.

I built out a fast and quick model of the Blackjack table game, as the budget was smaller, as they had been each year so 3D got squeezed out of production over time, but it was sure FUN while it lasted. I reused some stools from the Felini's Model I built for the owner of Cimarron, and the chip was a reuse as well, but the piece was scrapped, though the 3D animation transition I did, was rendered and put in the final.

Cheers, THOM

Project Review: Piranha 3D 2009-PART II:3D fish Illustrations

 Here is the base fish I built out for Piranha 3D, and in a few Hrs it was ready to render.

 The first shot I did of Virtual Piranha was a swarming shot no specific direction.

 This shot the Piranha came at camera

 A fast swim shot going to a single point in a straight on perspective for Piranha 3D.

 Here is the same basic shot pulled back with 4X the fish in the shot.

 I dropped the camera on that last shot to look up to the swimming hotty added into the comp in this last one from back in 2009 for the first remake of Piranha.

PIRANHA 3D
PART I I 3D Fish Illustrations

Client:Dimension Films via The Cimarron Group.  
Art Director(s): Brian Lauzon, Chris A. Hawkins, Rob Russell.  
Project Date: Fall and Winter 2009.

In this second posting for my contributions to the Key Art for the Remake of Piranha 3D back in 2009, I cover the fish themselves I did for the project.

After seeing the Posters for the next one, Piranha 3DD, I see that there is nothing new under the sun, as this direction was used in the 70's and again in 2009[ as seen above], and again now in 2012.

At the time I started, we did not have good scrap for the fish so I built a modified regular Piranha to adjust it to use for the comps presented. The fish itself, was a fast mock up in 3D and I did a few variations with bends and turns so I had about 5 to 6 different fish to scatter about. I did get the shot from the film but we did not update the renders due to budgeting.

Most of these were done for Art Director Brain Lauzon, and he provided some sketches for base direction as he had a series of ideas that had the fish going up, back, and right at us.


This is a perfect fit for 3D Illustration, as I know many an Art Director cutting out fish and doing a 200 layer PSD comp to achieve this with photo-scrap, whereas in 3D I merely move the camera lights and pose the fish to get exactly what is needed in a single render.

You can review my first set of 3D logos in the first Posting here.

Cheers, THOM

Project Review: Launch City PART VIII[ 8th]-The Target Jukebox Design 1999.

Here is the original final shot for Launch CD-zine Issue #40 from 1999 @ 640 x 480 the size limit at the time fro shockwave to run smoothly.

I did a quick open and re-render at a higher rez to show some details[missing a few maps though after 14 years...]

Here is the main screen shot in geometry showing the model details I added in.

The set was a two wall configuration and I built a little conduit with the parked gum pushed up in the crack.

Here is a shot of the full to the floor jukebox as geometry for Launch.com

 Launch City Part VIII

The Target Jukebox design for Issue #40

Client: Launch Media Inc.
Art Director: Myself
Project Date: 1999

In this 8th post on LAUNCH city, I am posting work done on a jukebox built out for a Target sponsored space with a fully animated 3D jukebox.

This was one of my very first projects I worked on when I joined the three man team as Art Director in 1999. I love to model in 3D, and that seems to be something that many people do not like. 

 

To me the fun part is the build itself. I love the process of construction. This may be due to the fact that I am an avid woodworker, copper smith, and I love to sculpt and create, so naturally I would love virtual building too.

 

I made the model close to, but not exact to a famous iconic Juke box from the 50's for the project, and I passed it over to Cayce Justus and he skillfully rigged it up and animated the arm and curtains inside for me.

As a point in 3D history this is the project where I made a material editor breakthrough in 3DSmax with Chrome and Glass and applied it here in the default scan-line rendered. 

 

Remember this was 14 years back, pre GI and all the good render tools we know see as commonplace were not out yet, so lots of ambient lights to simulate bounce etc.

Cheers, THOM

To view PART I on Launch City you can go here.

To view PART II go here.

To view PART III for the Train Station "Twitch" look here.

To view PART-IV look here.

To view PART V- you can click here.

To view PART VI [ the sub!] go here. 

To view PART VII-The Vault, go here.