Category Archives: London

Thor : Ragnarok

Framestore, London (2016-2017)

Lead Modeller

Thor : Ragnarok was a huge challenge. Framestore had been awarded with the whole third act of the movie, with assets shared between multiple vendors (ILM, Method, Rising Sun Pictures). The show was that big in term of assets creation and management that Framestore had to build a team of about 30 modellers split between 3 leads : Chris CookDan Mason and myself.

On my side I was responsible of the two hero spaceships (the Commodore and the Statesman) of the third act and super hi-res digi-doubles (Thor, Hela, Valkyrie, Loki, …etc.).

The Commodore has been approached using a classic subd modelling methodology. We started by modelling the main body pieces as one single, clean smooth mesh. Then the  panelling layout was first concepted by Texture Dept. and once approved we used it to cut and and remesh every panel.
For the statesman, due to its large scale, we used the same instance methodology used for Geostorm. We created a lot of different kit pieces and we used them to create a big elements and assemble them to make the ship.

For the digi-doubles the modelling team had to build super accurate models in order to have the actors replaced with their CG version mainly in  action shots and in some cases in very close up ones.

Softwares used :
 Maya  ZBrush  Nuke Python

Dr Strange

Framestore, London (2015-2016)

Lead Modeller

On this show I was responsible for leading the modelling team (with a peak at 16 people), along with creating the “Cloak of Levitation” itself and dealing with the modelling aspects of the Mandelbrot effect.

The modelling team was in charge of delivering super high quality digi-doubles for Strange, Kaecilius, Ancient One and two Zealots, the CG version of the interior of the NY Sanctum (which include the set itself and a lot of props), the CG version of the Hospital operation room and CG Everest.

For modelling the “Cloak of Levitation”, with the pattern being provided by the costume department, I was able to create a true representation of the practical cloak in Marvelous Designer. Then I exported everything into Maya and created proper topology as well as adding small pieces and details (stitches, metal parts, etc.). Finally I used ZBrush to create the finer details.

For the Mandelbrot effect I was responsible for managing the sets and the way things were sliced based on animation’s and supe’s feedback. All the sets have been modelled using an in-house instance setup. The objects were sliced in Houdini using some in-house OTL and then re-laid inside Maya using some custom Python Tools. This workflow was very powerful and very flexible at the same time and allowed us to do many iterations in order to achieve the best possible look.

Softwares used :
 Maya  Marvelous Designer  ZBrush  Houdini  Nuke Python

Geostorm

Framestore, London (2014-2015)

Lead Modeller

On Geostorm, I was leading the modelling team and we had few challenges to deal with. We had to create a very details space suit for full CG replacement, we had to create a very detailed space shuttle but the biggest challenge (which took most of the modelling resources) was to create a gigantic space station which could be seen from far away as well as in super close-up and which could also be blown up (meaning FX friendly).

With the CG Sup and Pipeline Dept. we’ve elaborated a new in-house instance approach which was offering a lot of flexibility in the build process in order to achieve what is the biggest asset Framestore created so far.

Maya was used as main software with a lot of Python tools developed by ATDs and myself to help the modelling team doing fast iterations and turn around.

Softwares used :
 Maya  ZBrush  Nuke Python

Exodus: Gods and Kings

Moving Picture Company, London (2014)

Environment TD

On that show I was working on the sequence when Moses and his people are crossing the red sea after the water went away and where had to re-create a digital version  the exposed seabed.

I started by layouting the various elements such as rocks, sand dunes and ponds in Maya. Then Zbrush was used to sculpt details. Finally lookdev (using procedurals and tri-planar maps) and lighting were achieved using VRay.

Softwares used :
 Maya    ZBrush  Nuke

Guardians Of The Galaxy

Moving Pictures Company, London (2014)

Environment TD

On Guardians Of The Galaxy, I was responsible on delivering full CG environments for several shots of the intro sequence on the planet Morag. I had to create a giant “spiky look” crater where Starlord’s spaceship is hit by a massive geyser while escaping.

I started by layouting the entire scene in Maya with relatively simple geometry. I then used Zbrush to create highly detailled version of those elements and I made an “intense usage” of Vray proxy in order to manage the amount of data. I used also World Machine to give the surrounding mountains a really believable look (using its great Erosion function). For the lookdev I used a mixture of procedural and tri-planar maps. The final lighting and render has been done in VRay and Nuke was used for the comp.

Softwares used :
 Maya    ZBrush    Nuke

Jupiter Ascending

Framestore, London (2013)

CG Modeller

I was responsible for building various spaceships (Titus Jumper and Ibis Jumper) and droids. As reference we’ve been provided with few 2D artworks and some Sketchup concept models.

Maya were used as main software to build all the shell pieces. I was also able to use a lot of greebles from previous shows made at Framestore to build the mechanical parts.
I’ve also used a mixture of Nuke and ZBrush to create bespoke decorations used as displacement at render time.

Softwares used :
 Maya  ZBrush  Nuke

Man Of Steel

Moving Picture Company, London (2012)

CG Modeller

For this show I had to create an array of digital soldiers which are getting crushed by Faora.
Lidar scans and a photo shoot were provided as references. I’ve started to retopologize  what can be used from the scan inside 3DCoat and then I used Maya to build the rest of the model of the character along with all the pieces and props of the costume.
ZBrush was used at the end of the process to add finer details to support the model.
Additionally I’ve also worked on faceshapes for Superman and Faora characters using multiple angles video footage as references.

Softwares used :
 Maya  ZBrush 3DCoat

Dark Shadows

Moving Picture Company, London (2012)

CG Modeller

On Dark Shadows I was in charge of creating the digi-double to replace Helena Bonham Carter’s face in the shot we she’s getting bitten by Depp.

Utilising a 3D scan and photo references I used ZBrush first to quickly match the volume before progressing to Maya for fine adjustment and finishing.

I addition I was tasked with primary faceshapes for the werewolf girl (Carolyn – Chloe Moretz). I did it directly inside Maya using videogrammetry as references to output the final result.

Softwares used :
 Maya  ZBrush

Wrath Of The Titans

Moving Picture Company, London (2011)

CG Modeller

My work on this show was to create the many mountains and rocks which are getting smashed by Kronos.

The look had to match real mountains for the shot and also fit the technical needs of the FX Dept in order to fracture them. I started with Maya to create different shells of the mountain helped with some geometry provided by matchmove, before switching to ZBrush for sculpting them for the final look.

Softwares used :
 Maya  ZBrush