WIP of the lookdev of this character. Learning Katana for this project. Lots of fun so far!
Explorations for B&O products
Work done at WDAS back in 2016. I had the pleasure to be part of the amazing Look Development team and work on the surfacing and set dressing of several environments and assets for this show! I was also responsible for painting a good part of the sand footprints' displacements. =) Special thanks to Pedro Conti and Sara Cembalisty for all the teamwork on the Kakamora boat asset/environment. =)
A few years back I worked as a Texture Lead at ILM on the Warcraft film by Duncan Jones. It was a really enjoyable project and we had a lot of fun working with the bold style of the Blizzard's IP. Here are a few of the characters I textured/surfaced.
A 3d model based on the concept by Yann de Reval
Final lookdev of the Hogwarts asset - 3rd WIP of my biggest up to date personal project of recreating Hogwarts establishing shots from Harry Potter movies. Modelled in 3ds Max, uv-ed in Maya, textured in Mari and Substance Painter, rendered in Clarisse and comped in Nuke. Also used Quixel megascans and Houdini for some procedural cliffs. Especially texturing was interesting. I have used Painter to generate ISO masks for use in Mari, textured all the brick in Mari, and the rest of the materials (roofs etc) were textured in Painter, as it didn't take too many udims as the brick. Also it was my first time using nodes in Mari - and it is waaay better than layers. Not coming back to layers. I was blown away with Clarisse - the speed and interactivity of rendering such a huge assets poly-wise, UDIM-wise and displacement-wise - it was just insane. Definitely going to use Clarisse more often for big environments - highly recommend to anyone. The project was a cool test for my new workstation rig - Rendered the turntables overnight on the 16-core Ryzen 3950x - lets just say it passed the test :D The project is not done yet - I am currently working on some stills - going to recreate some of the establishing shots of Hogwarts from the original Harry Potter movies. Coming up soon! I am also going to release a making-of featuring modelling, uv-mapping, texturing, layout and lighting in the end. Huge credit to the awesome Isotropix team for letting me render it without a watermark. Huge credit to Pawel Rosiak for saving me with the comp :D
The "LightRig" is a python plugin for Maya and Arnold and should help create a fast and consistend scene-setup for Look-Development. Right now the tool is able to quickly create 2 different backdrops, Macbeth-Chart with grey, chrome and white sphere, 3 different lighting-scenarios, automatic turntable-animations for selected objects and a center-object function. While the tool is already pretty helpfull for me, it is still very much work in progress. But I plan to extend its functionality and release it for free when its ready.
Model and sculpt by Burjis Shroff . I did the groom and lookdev. Groomed in houdini, textured in substance and rendered in Arnold GPU
Exploring some ideas for my personal project Lily Black
This is a preproduction lighting variation that I did while working on Hunt: Showdown. Even though it did not and WILL NOT make it to the final game due to gameplay complications I still wanted to share it. The main idea behind this setting was to create something that feels less like hell but more like an inbetween/limbo realm that you need to escape. Everything should feel like there is no life anymore in this world, therefore I heavily relied on colorgrading to achieve the desaturated look. All assets were done by the awesome art team at Crytek. Additional thanks to Artem Shumnik for providing concepts and feedback. https://www.artstation.com/artemshumnik Game Director: Magnus Labrant Art Lead: Stefan Heinrich
I worked with our rendering programmers to create a real time fur shader that could give us desired looks for both thin and clumped hair. Part of the overall look is baked into the Fur diffuse to generate color variation, then I painted a custom flow map in Mari to groom the fur shells which I then baked into vert color(RGB). I used the grayscale channels of the vert color to drive which areas had fur vs those that did not. We used the height to drive overall fur length and then an additional procedural detail height map that was made in Substance Designer to alter the fur clumping style. The shader then drives clumping AO as well as spec and translucency. I was responsible for all of the grooming and fur lookdev for almost every asset in the game aside from a few smaller assets. Coding and shader support from Tom Low, Jasmin Patry, and Matthijs De Smedt Additional fur textures https://www.artstation.com/littleredzombies
For this I made the LOOKDEV of the character and also LIGHTING for the Ingame Pose. I was also Lead for the Marketing Pose, giving feedbacks and managing the work along with the artist. I´m really glad for Ocellus Studio and Supercell for the opportunity of working with such cool characters. You can check the whole team, on the credits below: Supercell art team : Art direction and Concept Ocellus Art team : Sculpt, lookdev, rig, posing, lighting and lowpoly model ----------------------------- Ocellus team: Lead Charater sculpt: Mariano Tazzioli Lead Lookdev and Lighting: Anya Mozharovska and Bruno Macedo da Silva -- Sculp : Nina Tarasova Lookdev : Bruno Macedo Rig : Michael Spokas Posing: Justine Viel and David Encinas Sculpt pose: Mariano Tazzioli Lighting: George Damiani and Bruno Macedo da Silva Compositing: George Damiani and Bruno Macedo da Silva Lowpoly model: Morgane Tartaix
Groom and lookdev details for Isabela from Encanto.
In this Houdini video tutorial, we'll show you a few advanced Arnold techniques including shading, instancing, and look development.Learn More: https://www....
This astronaut was developed as the main character for the Opening Motion ID of the Winter Olympic Games in Vancouver 2010. Was made for n3design studio with Alex Dimkov and Dmitry Dolgikh.
Hello! Some time ago at Platige Image I have a pleasure to work on a few textures and shaders for the The Division 2 E3 Trailer. I was mainly responsible for characters shading and textures detailing. Thanks to my team colleagues for help and all advice - Bartosz Skrzypiec, Piotr Orliński, Piotr Nowacki, Filip Adamiak. Characters model and base textures: Tudor Fat Groom: Grzegorz Flaga Full credits available here: https://www.platige.com/pl/project/filmy-do-gier-komputerowych-pl/the-division-2/ Thank you!
RENDERFOLK WAS ASKED TO PRODUCE STOGGLES STUDIO IMAGERY FOR THEIR WEBSITE BRAND RE-LAUNCH. Eyewear CGI, 3D rendered glasses, Glasses 3D rendering. CGI.
These are some early lookdev explorations of Ironwood plants I did during Ragnarok pre-production. The goal of these was to solve the look/direction of the plant set, attempt to define their world/character interactions, and get approval for production. . Some of these are Zbrush sculpts, some hybrid Houdini/Zbrush workflows, and some entirely procedural. Renders were done in Zbrush (ortho/detail) and Keyshot.
I textured this Black Pearl fanart model for my friend Aleksandar Nadj and his personal project. Beside textures, I did UV and lookdev for this ship. I had 49 UV tiles of 4k res and all textures are done in Mari. All work from beginning to the end was in ACES color management. You can see his artwork here: https://www.artstation.com/artwork/JlEVAZ
Hey all! Here are some shots from the Ceremony Dance sequence from the movie Black Panther (2018) in which I had the honor to contribute last year as a Texture Painter/Lookdev artist along with the fantastic Scanline VFX team. It was amazing to work on such a powerful sequence. I was responsible for the initial and intermediate textures and look development of the panther statues along with textures and lookdev for the barges that can be seen far away from the camera. (I left the studio before we finished the movie so other artists might have adjusted some of the maps) I used Mari and Substance Painter for textures and Vray for shading.
