Set up environments, shading and lighting for the "Covenant" areas. The leads on this team oversaw a number of environment modelers as well as scene assemblers when the studio expanded to get this very large project underway.
Modeling, shading, lighting and compositing setup for the Covenant Chambers:
The Blur team completed an epic 60 minutes of full CG footage for in-game cinematics.
Halo: The Master Chief Collection
Scene Assembly Lead
Environment modeling, base lighting, compositing setup and lookdev.
For this cinematic we divided up the various locations seen in the cinematic and gave each one a lead and team. As Scene Assembly Leads, we are tasked with modeling, shading, lighting, compositing and general look development overseen by a Supervisor.
Set for the the lake environment, I knew from the beginning it was going to rely heavily on Forest Pack, a plugin we use extensively at Blur. I started with developing a few libraries of assets (trees, rocks, plants) that would each have their own Forest Pack setup. For reference I pulled a bunch of photography from Bass Lake, a lake near where I grew up.
(click to enlarge)
I got comfortable with Speed Tree for modeling trees, but also appreciated how Onyx came packaged with geometry-needles for their coniferous presets. Alternatively, I was able to model some meshes in 3DSMax and bring them in to Speed Tree and output a nice model. I wanted to stay away from using opacity mapped leaves due to the fact that VRay can slow down pretty badly when tracing rays through multitudes of opacity-mapped cards. Unfortunately it was a bit later that I found a different workaround for this, though the liked the way the 3d needles caught the moonlight.
The water was a bit of a problem. Working with the FX team, we went back and forth as to how extensively we planned on using RealFlow and how large of an area could be simm'ed realistically. As it turned out, only a small square in the middle (where the water pours into the chamber) was simm'ed. For the rest, I had to find a quick solution for moving water using maps and shader tricks in VRay. In the end I compiled some moving water images in Fusion to make a tileable, animated map sequence that I later applied as a displacement map. For the more distant shots, I used a series of normal maps (blended in Max's composite map) that I generated using ShaderMap.
Batman Arkham Knight
Scene Assembly Lead
Environment modeling, shading, light setup and look development for the forest area.
Lighting, compositing and rendering for other specific shots.
Dark Souls II
Creation of volcano environment with help from matte painters. Look development, set up of base lighting and compositing flow
Lighting, compositing and rendering for specific shots (shown in images below)
(characters by others) Video
of 3D models and renderings I created for Android phone advertisements
(very fast paced). The renderings were later integrated with other
graphics and text, however I've placed most of them into this collage.
I modeled a super-high-detail laptop for my friends at Element-X.
Unfortunately importing this stuff into Softimage isn't so easy, but I
got through it. Anyway, I took the model home and had some fun with it
(and thought I'd give Mental Ray another shot):
VFX work including bemish removal, several set-replacements, adding
planes, volcanos, cities, blowing up and mutilating actors and turning a
woman into a dust cloud. Limited budget / time, but it helps when you
love what you do. For the most part, it was a lot of fun, and the
gigantic Red Camera footage was really nice.