Seventh son was a quick project for me as I was only on the show a very short time. R.I.P.D. had just about wrapped up and the seventh team needed a little character support. The Bear had been given a first pass of maps by the most talented Jennifter Stratton, however the pass was quite rough and Jennifer was swamped with other assets for the show. I painted fur and skin maps as well as 32bit displacement sculpting for the visible wounds on his body and face. Though I was given an initial set of maps to start with, all of the visible areas were either highly up-resed or repainted entirely. I painted and sculpted teeth, lips, gums, tongue, nose, eyes, eyelids, ears claws and all visible scars and wounds etc...
I lead a team of over 20+ artists on R.I.P.D. To complete a series of upwards of 30 characters including full bodies with clothing as well as head replacements for onset actors. Nicolas Barnes was my co-lead on the show responsible for the hard surface portion of our work. Though I contributed to several of the "deados" my main focus throughout the show was Kevin Bacon's character Hayes. I painted all maps related to his skin as well as some sculpt work. I developed both his deado version as well as his normal Kevin Bacon version in tandem updating and reworking them simultaneously. Toward the end of the show, Kevin and Hayes were passed off to the capable hands of Cheri Fojtik for some crack exploration (which was later nixed) and general end of show tweaks and updates. Other than Mr. Bacon I also painted and sculpted the skin for the multi-mouthed deado seen below. Only a very rough concept of his look was given so It left up to me to add details and sculpt variation as I saw fit. I also painted maps for the multi-armed girl (seen below), the cut up Asian woman, the saggy skinned granny, mouth sewn shut girl, Julia's digital double and a head replacement. I shared work on several of those characters with a number of artists on my team. On top of that character work, we also had a enormous amount of hard surface and environment work. I was evolved in the painting of the parking garage, the orb, the R.I.P.D. car door and a couple of other items.
Life of Pi
I was one of three leads that lead the texture team on Pi at different times. I was also the primary painter for Richard Parker. My responsibility was to create detailed color, sss, spec, normal and 32bit displacement maps with the ultimate goal of matching the real tiger from set one for one. I created stripe charts to match our stripes to the tiger actor where I numbered and tracked each stripe as it wrapped around the tiger's body. The look-development artist ( the fantastic Betsy Hall) created extensive reference composites to compare our tiger to the real tiger at almost every possible angle and lighting scenario. Some other challenging aspects of the tiger where the details in his non furred areas. A great amount of attention went into creating his eyes, eyelids, nose, teeth, tongue, lips, paw pads, and claws.. each of which needed to match the real Richard Parker exactly. Aside from the main tiger, I also painted the emaciated version that needed cataract corneas, sunburns, bald spots, and even eye goo.
Some of the other assets I worked on for Life of Pi include the yellow fin tuna, a whale shark, and a few other miscellaneous fish and props. The yellow fin tuna was also a fun little side project because it was a very paint and sculpt heavy creature. Each scale on his body was hand painted and placed to match a real yellow fin that one of the production team members had caught. The scales needed to vary in size and shape along the length of the fish just like a real yellow fin would do. It also needed special iridescence maps to give it a colorful sheen.
Red Riding Hood
I was responsible for painting the wolf for Red Riding Hood, as well as a couple of props including the sword Gary Oldman uses in the movie. When painting the wolf, I created very detailed color, spec, normal, sss, and 32bit displacement for his nose, both sets of eyes as well as his inner and outer mouth, claws, paws, and any exposed skin. Toward the end of the painting process, particular attention was payed to his eyes because of the extreme closeups in the film. It was crucial that the maps hold up at very very close distance.
Myself and another painter worked on the Phantom Jets for this movie. I was the last to paint on these assets so my job was wear and tear. I added general grunge, drips, scraped paint, smudged glass, worn logos, and discolored panels. I also added 32bit displacement and specular panel variation to make the jets feel older.
Some of the assets from the film I painted. Including the missile, dockside gantry, and some shipping containers.
Land of the Lost
Here are a hand full of assets I worked on for the film. I've included snapshots of some of the dumping ground props I painted, A tree that was entirely sculpted ( general shape, tendrils, vines, and bark), and the hero Humvee limo. The limo was painted to match one for one with an onset vehicle down to rust spots and window drips. The limo also had damage variations that were needed for crushing it in the sequence.
Night at the Museum 2I painted the hero hourglass for the film. This served as a prison cell for the cowboy character played by Owen Wilson. It was a digital replica of a prop on set.