CASE STUDY: 3D PRODUCTION ART FOR TV CARTOON SERIES
DAILY ROLE: At Animation Collective, in NY. I worked with a small team of 3 to 4 3D Artists, making sets, props, particle systems, characters and rigs.. We also worked closely with the layout department when setting up camera angles for set renders, and sometimes worked on pitch material, for new series..
Here are some of the finished backgrounds, after highly talented 2D artist added their over painting. This was the case for all of the still backgrounds. For animated backgrounds, we finished the texturing in Maya and rendered the final images directly.
The following images show the before and after process, thanks to 2D artist Lawrence Valenti and Soonmin Chung.
KAPPA MIKEY - 3D PROP MODELING
Created props in 3D for this TV Series. They were toon shaded, and output to vector graphics for animators to use and incorporate with characters, in Flash.
CASE STUDY: 3D SUPERVISOR / SET MODELING LEAD
DAILY ROLE: Set up and constantly fix render pipeline. Define the rendering methodes to achieve the final look. Solve 3D technical challenges, and keep a team of 5 to 14 artist on task (without a functioning producer!), for set modeling and feeding sets to animators to work with.
Company: Animation Collective Client: Nickelodeon / Lionsgate Project: Speed Racer The Next Generation (23 Episodes) Date: 11/2008 - 08/2009
SPEED RACER - MEGA ANIMATED SET CREATION
The majority of sets that comprised the school location for this show, were produced in India. They did a really good job, but the work came back to us, and it was not ready to be rendered, and it did not look good, and was not cohesive. So we went about unifying the look and re-texturing everything, re-lighting everything, and setting up our own pipeline for the final art. MY role was to facilitate that and keep the look consistent, and help solve any technical challenges.
SPEED RACER - LARGE ANIMATED SETS
Every week or two weeks, we had to produce a new or extended 3D set for the animated sequences of the series. We set a goal of 6 seconds per frame render time, and achieved it in most cases. This was a requirement of the rediculous schedule that the show required to keep, but it made for some very creative use of pre-lighting, and matte painting (Big thanks to 2D artist Megan Crisp).