In this section you will find a variety of works done using softwares like Maya, Mari, Nuke, Arnold, Vray or Redshift.
My duties in the show includes help the CG Supervisor John Huikku in the look development and shader network setup in Maya 2016 of the cg character Mary.
I was also responsible in optimize the render settings, lighting some shots, and provide support to the lighting department with technical stuff like scripting.
Discuss techniques approaches with the lighting team and lighting supervisor helping the artists to find better ways to improve the lighting setup, render passes in order to improve the integration of the cg character with the plate, so we could attend the compositors needs.
This is a marketing image that I was responsible for the lighting setup:
This is the link to the trailer of the show where you will see 2 shots that I was responsible for, which are the ones from the
sequence in the Cafe. One at 0:32 and the other at 0:39 of the video.
Smartcar Retro (Shading/Lighting and Compositing)
MPC Montreal - VFX for Films
Started on July 2017, as Environment Artist with focus on Look dev, Texturing, Shading and Lighting in Mari and Katana with Renderman.
Films that I've worked on:
The Nutcracker and The Four Realms
Murder in the Orient Express
another episode where the parrot shows up in the end.
Parrot look dev wip.
Imaginary Mary - TV Series Pilot
Worked for 2 months in the pilot for a TV Series called Imaginary Mary at EGG Post Production in Dublin, Ireland. Started on July 2017, as Environment Artist with focus on Look dev, Texturing, Shading and Lighting in Mari and Katana with Renderman.
Films that I've worked on:
The Nutcracker and The Four Realms
The Greatest Showman
Murder in the Orient Express
Booba - Web Animated Series
Worked remotely for 1 week during 2017 helping to look dev, texturing & shading the cartoon parrot for the Booba Web Animated Series done by PFX Studios in Prague.Parrot look dev wip.
Imaginary Mary - TV Series Pilot
My duties in the show includes help the CG Supervisor John Huikku in the look development and shader network setup in Maya 2016 of the cg character Mary.
I was also responsible in optimize the render settings, lighting some shots, and provide support to the lighting department with technical stuff like scripting.
Discuss techniques approaches with the lighting team and lighting supervisor helping the artists to find better ways to improve the lighting setup, render passes in order to improve the integration of the cg character with the plate, so we could attend the compositors needs.
This is a marketing image that I was responsible for the lighting setup:
Smartcar Retro (Shading/Lighting and Compositing)
This is a personal project where I focused in Texturing, Shading, Lighting and Compositing. I did one or two things here and there like model&uv a few props, animated, as well create a very basic rig for the car... but these are not my goal in sharing this video.
Rendered in Maya with Redshift, comped in Nuke with pg Bokeh plugin.
Hot Wheels T-Hunt model - "The Boss"
This is a model that I kit bashed from some of the internet car models mainly a vehicle pack from 3D Element. It's inspired in some Hot Wheels car illustrations.I am responsible for Surfacing, Texture, Shading, Lighting, Compositing.
see in full resolution here
Softwares used: Maya, Mari, Nuke. Rendered with Redshift(GPU)
A little bit of the texturing/shading process using Mari and Maya - mGo(Bridge Project) at:
http://paintmore.co.uk/viewtopic.php?f=8&t=1997
Hot Wheels T-Hunt model - "The Boss"
This is a model that I kit bashed from some of the internet car models mainly a vehicle pack from 3D Element. It's inspired in some Hot Wheels car illustrations.I am responsible for Surfacing, Texture, Shading, Lighting, Compositing.
see in full resolution here
Softwares used: Maya, Mari, Nuke. Rendered with Redshift(GPU)
http://paintmore.co.uk/viewtopic.php?f=8&t=1997
MARI Turntable WIP of a Lego using Arnold Shader
Modeling, surfacing, texturing, shading. This is a turnable out from Mari 2.6 where I was using the custom Arnold shader that I've wrote in OpenGL for a project for Mari's developers team.
I did this series of Render Comparison just for the sake of see how close we can get between Mari shaders replica and Maya Renderers.
see in full resolution here
new 2.0 Redshift version, different BRDF comparison
see in full resolution here
I did this series of Render Comparison just for the sake of see how close we can get between Mari shaders replica and Maya Renderers.
new 2.0 Redshift version, different BRDF comparison
Steam-Fantasy Lantern
Modeling and UV this Hard Surface prop in Maya.
Texture paint the Lantern using Mari and V-Ray.
(modeling, surfacing, texturing, shading, lighting and compositing)
Download the abc file with textures(jpg for the matter of internet size/compression)
Download the abc file with textures(jpg for the matter of internet size/compression)
The following images are earlier work in progress screenshots from Mari of how my texture was looking inside it using my custom V-Ray shader that I've wrote in OpenGL for a project for Mari's developers team.
Turntable from MARI 2.6 with the V-Ray shader.
Final render using V-Ray.
After finished I send it to Maya all the texture and shader setup though our python script exporter called "mGo!". The following image is the end result of the render done in Maya with V-Ray and comped in Nuke.
4K Still picture of the Turntable Beauty render.
Turntable rendered with V-Ray 3.0 in Maya. 1080p
Raw render tests on an Environment.
Some raw test renders of the earlier wips in Mari. 3d Environment download from the http://www.3drender.com/challenges/ website
All the UV separeted by Shaders arrangements.
mGo MARI 3.0 - Latest Video
This is the latest video from mGo(September 2015). The Foundry green light it for us to publish it to open public. mGo is target to be released with Mari v3.1, while the Arnold, Vray and Redshift shader will be released with version 3.0 that should be out soon.
mGo Project - The Begging of everything...
Arnold, V-Ray and Redshift Shader Development for MARI
I am happy to share with you guys images from the development phase of Arnold and V-Ray shaders replica for MARI 2.6.A friend and I have been working for months with the goal of making Mari a better look development tool.
Some of the last updates about this project that we are doing for The Foundry - Mari developers team:
Arnold comparison images from the development stage.
V-Ray comparison images from the development stage.
Arnold Shader for MARI 2.6 - TEASER
V-Ray Shader for MARI 2.6 - TEASER
This is a continuing from where I left in the Arnold Shader for MARI 2.6
Video, the V-Ray Video goes to a more 101 comparison between my Custom
shader and the Final Render. But this time I will be using my V-Ray
Shader as an example.
In case you haven't seen the Arnold Shader for MARI Video yet, I highly recommend you to watch it first.BRDF Shaders for MARI 2.6 - TEASER
This is the last Video about the project we have been working on during the Alpha/Beta phase of MARI 2.6.
If you haven't seen any of the others 2 videos, I highly recommend you first to watch them.
Redshift Shader for MARI 2.6 - TEASER
This is a video showing the latest updates about the project we have been working along the past year(2014).
If you haven't seen any of the others videos, I highly recommend you first to watch them.
Mari's Viewport using Arnold Shader Replica
model design from Harald Belker - Mari Texture Challenge 2013
Crossing Shader Network Data
We are in the opening phase where studios are allowed to test our tool - mGo!
Now our exporter script is capable to export special Procedurals created by me that could replicate more complex Maya Shader Network. The image below is an example of how you could easily and fast setup a complex shader that is wavelength dependent such as Gold, then send all the data from Mari to Maya.
Layered Shaders
We are now supporting layered shader system, and send all the shaders and the entire network from Mari to Maya.
Export Scene Description (Light and Camera info)
Our tool now support you to export all your Camera info, as well your Mari lights. It recreates everything inside Maya accordingly to the render you are going to use.
Export and Import your shaders from Mari.
Our last implementation to our tool, allows the Artists to export out to a file the data from our shaders parameters, like Diffuse Color, Specular Weight, Specular Roughness... With those presets saved out in a folder, later on the Artists could import then to Mari avoiding any necessity in start to create a new shader from scratch. This certainly will help speed up any future project as well build up your own library of shaders, or even share and download from Internet as people does for other softwares/renders.
Screenshot of the Python and OpenGL Shaders developed by me and Stuart Tozer.
Hope you had enjoyed mGo!
Turntable test of my Sub-surface scattering skin look development
Turntable test of my Look development for a Sub-surface Scattering Skin Shader using Redshift GPU render. *Model/Texture by Lee Perry-Smith at http://www.ir-ltd.net/infinite-3d-head-scan-released
This was rendered in 3min in a gtx 560m(laptop). Animation, all passes, no flickering.
Displacement, normal map, spec color, spec roughness, diffuse.Couple more images using Lights in different positions, while I was still testing the shader setup.
(Shader/Texture/Look Development Study)
Hand Painted Textures
(Photoshop)
Some renders from Maya using Redshift Render. Comped in Nuke.
High resolution here
High resolution here
High resolution here
Credits:
Responsible for: Surfacing, Texturing, Shader/Look Dev, Lighting, Render/Comp.
*Treasure Chest model by Jeff Parrott
Some of the texture maps used in the Treasure Chest
You may notice that the Cage metal sheet has less texture maps than the others, the reason why it's because sometimes I reuse some texture map when that map gives me a good result without tweaking. For example the Diffuse Roughness uses the same map from Spec Gloss, the Anisotropy Rotation uses the Bump Map. Floor Texture Map sheet
High Res
Wood Texture Map sheet
High Res
Metal Cage Texture Map sheet
High Res
WIP: CGChallenge - MARI Texture 2013
(Look Development/Shader/Texture/Lighting/Compositing)
This is a WIP of a project for the CG Challenge texturing with Mari. Model design by Harald Belker.
You can find the description and details of the ideas and the process at the link of the entry here: http://challenge.cgsociety.org/mari2013/entry/netocg/10006428
Rendered with Redshift in Maya. Textures Photoshop/Mari.
Last WIP - MARI's textures assing the the shaders.
Displacement, normal map, spec color, spec roughness, diffuse.Couple more images using Lights in different positions, while I was still testing the shader setup.
Look Development Shaders - Solidangle Arnold
These shaders react according to the light and viewing angle, create for animation purpose. Like the Soup Bobble, the CD, the Iridescent Pearl and the Chameleon Glitter Paint. They have layers of materials with only specular reflection that reflect different range of wavelengths accordingly to the viewing angle.
Some materials like the Balloon, CD, Chameleon Glitter Paint, Iridescent Pearl have a coating layer.
The Red Silk, Satin Metal, the Crushed Fabric, the Asphalt, Concrete, Velvet, the CD and the Brushed Brass, are ward that has Anisotropy values that changes accordingly to the viewing angle, making the highlights oriented by the bump be scattered in a uniform direction, like a streak or as normal like the original shape of the light source.
Metals materials like Gold, Brass, Copper that are wavelength dependent to show their tone in their specular reflection are created using a ramp node piped with the facing ratio attribute of a sampler info node, so they can reflect the surroundings as should it be in real life.
Some of them has procedural textures to break patterns of create random fractal noise, bumpiness etc...
View here with higher resolution 2700x4560pxSome of them has procedural textures to break patterns of create random fractal noise, bumpiness etc...
Hand Painted Textures
(Photoshop)
Some samples of hand painted
textures done in Photoshop. In the first samples, it was used a looser paint approach
resembling "old" 2D TV Animation backgrounds that were painted with
watercolor. In the following samples, a neater and more cleaned up paint
approach was used. Each
texture took two to four hours to be painted from scratch. The different wood
variations were created from the same initial wood texture with the usage of
different blending modes and filters in Photoshop. All these variations were created
in about four hours.
Having in mind that the
paintings could be later on used to texture 3D Assets, I decided not to paint
any "light information" on them, considering that the 3D software is
responsible to lit and render them appropriately to the scene. I also painted them by layers making it easy
to adjust and extract different information maps such as Glossiness, Bump
maps... that could be used later on to compose the shader's look of the 3D
Asset. Some
of the textures were initially painted at 4k resolution, so they could be
render fine at full HD resolution, and their brush strokes would not be notice.
Photoshop layers breakdown example 
Washed Stone Wall
Leaf
Wood
From this wood I tried to extract different variations using filters and some blending style effects in photoshop.
Cracked Wood.
Rough Wood(Bark)
Wood grain
Wood (tightened clean up version)
Crushed Leather
Leather
Rust Metal
Treasure Chest Turntable - MARI 3.0 with Redshift Shader
*Unfortunately it seems this feature in Mari is limited to 8bit files
formats like png, and introduce banding to them, or suffer from some
gamma issue. Video with better quality(I think):
Some renders from Maya using Redshift Render. Comped in Nuke.
This model have been texture&shaded by myself in Mari 3.0 using the Redshift Shader.
All the textures have been hand painted in photoshop from scratch as a 4k sheet for general usage.
Later on the texture have been brought into Mari and enhanced with procedural noises to generate all the edge wear, dirt&moss into the crevices, as well all the rust and patina over the large planar surfaces.
All the textures have been hand painted in photoshop from scratch as a 4k sheet for general usage.
Later on the texture have been brought into Mari and enhanced with procedural noises to generate all the edge wear, dirt&moss into the crevices, as well all the rust and patina over the large planar surfaces.
Credits:
Responsible for: Surfacing, Texturing, Shader/Look Dev, Lighting, Render/Comp.
*Treasure Chest model by Jeff Parrott
Some of the texture maps used in the Treasure Chest
You may notice that the Cage metal sheet has less texture maps than the others, the reason why it's because sometimes I reuse some texture map when that map gives me a good result without tweaking. For example the Diffuse Roughness uses the same map from Spec Gloss, the Anisotropy Rotation uses the Bump Map. Floor Texture Map sheet
Wood Texture Map sheet
Metal Cage Texture Map sheet
WIP: CGChallenge - MARI Texture 2013
(Look Development/Shader/Texture/Lighting/Compositing)
You can find the description and details of the ideas and the process at the link of the entry here: http://challenge.cgsociety.org/mari2013/entry/netocg/10006428
Rendered with Redshift in Maya. Textures Photoshop/Mari.
Last WIP - MARI's textures assing the the shaders.
3D Environment - Lexus RX Hangar
This is one of my projects for my demoreel. It's a Car animation in one of the environments that I made.
It started this project in spring of 2012 with only the intention to be still picture for my final project in the Commercial Production Techniques class at Gnomon School.
Later on in Summer of the same year I took the project and build the complete CG Animation and compositing with the intention to be a final pack shot of Car Commercial Advertising.
Resposible for modeling, texturing, shading/lighting, animation, dynamics(smoke elements), realflow and compositing. 3D Car and the driver was provided.
Resposible for modeling, texturing, shading/lighting, animation, dynamics(smoke elements), realflow and compositing. 3D Car and the driver was provided.
Softwares used: Maya, V-ray, Nuke, Realflow
3D Environment - Sci-fi Subway Facility
This is an animation done for the class Lighting and Redering with Vray at Gnomon.
PS: During the Breakdown I Time-remaped some parts quite a bit to show where the effects passes comes in. Like the Contact Shadow and Dust for the Background, and the Lens Flares on the second shot. So it will look like the FPS are Off.
3D Environment - Sci-fi Subway Facility
This is an animation done for the class Lighting and Redering with Vray at Gnomon.
My intention was to pursuit the Blur's style of their games cinematics.
Resposible for modeling, texturing, shading/lighting, animation, dynamics(particles in the air, smoke elements, and sparkles) and compositing.
Softwares used: Maya, V-ray, After Effects
Maya Fast Track
One of my first images done for Maya Fast Track at Gnomon.
Texturing/ Lighting(Mentalray)/Compositing.
There's a lot of compositing in photoshop to get the final visual effect.
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