Madagascar 3: Europe's Most Wanted — Hayyim Sanchez : CG Texture Artist

Here is a look at the work I did on Madagascar 3 : Europe's Most Wanted. I was responsible for the visual development of the shaders, materials and texture maps of various characters, environments, and props. I also helped construct the generic human system of shaders, which enabled the Crowds Department to create thousands of variations of humans.

I surfaced the map and all the glowing switches

I surfaced the skin on these lovely ladies

We also created a complex shader that allowed the crowds department to create variation among the characters. Characteristics like hair color, race, make up and age are all integrated in to a single modular shader.

I surfaced Dubois

A great close up to show the level of detail in her skin and eyes.

I surfaced Dubois

In this shot i created a lipstick material that FX and lighting revealed through animated compositing.

I surfaced Dubois and her Scooter

Just a great shot

I surfaced Dubois, the Animal Control team some of the scooters

The gang's all here!

I surface the skin, clothing and hair on these characters

I surfaced the skin, clothing and hair on these 5 characters

Some of my environment work

I surfaced the Fairmont hotel, including a simulated 3D interior. The tunnel underneath, and the waterfront.

I surfaced the Fairmont Hotel and the 2 characters on the scooters

The production designer wanted to have a feeling of water color in some of the macro textures. You can see that I did that on the face of the wall. Its just in the diffuse while the material properties are just that of common cement.

I surfaced this environment

The challenge was to get the right amount of spec and reflection on the interior tiled wall.

I surfaced this environment

The ceiling, walls, pillars and road are all fully rendered 3d elements.

I surfaced the environment and Dubois

More action in the tunnel

I surfaced this character's skin, hair and clothing

Great shot of Dubois in the exterior lighting scenario.

I surfaced Dubois and some of the forground

I this shot and many like it, it is necessary to create unique maps and textures specific to the shot because of a strange camera angle. In this shot, the basis of the dirt had been created by another surfacer, but I need to upres and add detail to dirt and wet shapes.

I surfaced the skin on these characters

These french cops are just special breakouts from our generic system. Once broken out I needed add some shot specific refinements so they would hold up when featured. I also spent a lot of time refining the material behavior of the clothing as the exterior lighting set up was very different than the visual development setup we use when creating the materials.

I surfaced the Rome sign

I can do props too! The challenge on this film is to add the touch of show's design to many of the natural shapes. In this case the rust been added just so.

I surfaced the dirt ground plane

My friends did the tent and the colosseum.

I surfaced the motorcycle and the store

I surfaced the entire Ducati showroom and the bike in the window. The challenge was to have brand new man made materials like chrome and plastic look new but not too computer generated. The best way to help that is to hand paint the spec maps to add just a smidge of variation.

I surfaced the motorcycle, the store front, and the store interior

I surfaced Marty in clown make up and rainbow wig

Modeling provided the MC curve for the wig. From there i used a marschner hair material and some styling techniques to give the wig its fluffy feel. I also created a make up material and painted all the color maps to give Mary his clown look.

I surfaced Dubois and the Train stop

The art dept provided the posters and maps, but I created textures and materials for all the rest.

I surfaced the wet version of Dubois

For this shot we needed an entirely different version of Dubois. She has different geometry for her hat and hair to look soggy. Then i created wet versions of the skin, cloth and fabric materials that were frisketed together with the original versions. The look of the wet hair was an interesting study. The instinct would be to just tighten the spec shape and darken the diffuse, but in actuality, the spec becomes quite broad and noisy on real wet hair. I then added a few fly aways for that just dipped look.