I was tasked with working with the Production Designer and CG supervisor to create the skin, clothing and hair for this main character.
I created alternative versions of the hair geometry and materials in order to get the look of freshly wetted hair. I also created the material for the wet version of her uniform.
I created the wet version of Dubois' hair and clothing.
I was tasked with working with the Production Designer and CG supervisor to create the skin, clothing and hair for this main character.
I also created the lipstick applied material for this shot. I was tasked with working with the Production Designer and CG supervisor to create the skin, clothing and hair for this main character.
I was tasked with working with the Production Designer and CG supervisor to create the skin, clothing and hair for this main character.
I was tasked with working with the Production Designer and CG supervisor to create the skin, clothing and hair for these main characters
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I was tasked with working with the Production Designer and CG supervisor to create the skin, clothing and hair for these main characters.
I was tasked with working with the Production Designer and CG supervisor to create the skin, clothing and hair for these main characters.
I was tasked with working with the Production Designer and CG supervisor to create the skin, clothing and hair for these main characters.
I created all of his hair, clothing, and skin. I also created materials and masks in order to achiever the running mascara effect.
Nice close up of one of our villains.
I needed to create a before and after version in order to achieve the band aid removal effect.
I created the hair look and material as well as the clown paint materials and fur.
All his various traits such at hair style, facial hair, brow length are instantly assignable in the shader.
We created a highly complex generic skin system in order to provide the film an amazing number of options when creating "extras". This included options such as race, age, eye color, hair color, make up levels, facial hair, eyebrow size and many other customizations.
All these characters are possible with only 6 different body/head meshes. All the variety is thanks to the modular skin/hair shader and clothing system.
His eyes required a new level of detail and vascularity for the close-up. I also created an new version of the face fur geometry in order to have smoother and more realistic look the fur as the face deforms underneath.
We developed the look on nurbs multi mesh models, then the character FX group created sim versions to enable nice fabric deformations.
I designed a system to enable lighters and directors to select from an array of T-shirt prints and colors on 'the fly'.
Another shot.
I created maps and shaders necessary to get the home made look of the school mascots.
Thanks to the surfacing, we were able to convert a model once used for a mouse, into a chilly looking opossum.
I created all the maps and shaders for this dancing crispy turkey.