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Search Results - Showing 60 - 72 Of 107
The Altar - CG scene
⏲ 28 sec ✓ 17-Dec-2020
HOME
⏲ 1 min 72 sec ✓ 01-May-2020
CG Food - Inside A Peanut
⏲ 36 sec ✓ 13-Oct-2020
Dylan Neill VFX Reel March 2015
⏲ 1 min 53 sec ✓ 24-Mar-2015
For a Minute
⏲ 60 sec ✓ 11-Nov-2020
adidas UltraBOOST 2.0 Unvaulted - Jade
⏲ 13 sec ✓ 23-Jan-2019
Matchmove and Lighting Reel: Captain America: The First Avenger
⏲ 34 sec ✓ 09-Dec-2011
Lexus December to Remember Commercial – “Racetrack”
⏲ 30 sec ✓ 01-Dec-2015
THE INVISIBLE BOY: SECOND GENERATION|VFX-Driven Project Reel
⏲ 2 min 22 sec ✓ 01-Dec-2020
Winnebago | 2014
⏲ 92 sec ✓ 09-Sep-2014
Showreel 2017
⏲ 64 sec ✓ 22-Sep-2017
Sony PlayStation 4 - Greatness Awaits
⏲ 90 sec ✓ 10-Apr-2015
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_home.jpg "Fromdirector, Ben Craig, comes Home, a touching emotional animated short film about a man, nostalgically remembering the simple things he misses about his lost past on Earth.nnThe online released short film brought by Braw Production, brings awareness to a must needed action for our home planet health and condition.nnThe film features Ian Hanmore as the man, in a complete full Cg production made by Lua Studios, performance capture by Di4d and 3D scans by Ten24. Ben Craig's vision is supported")
_the-altar-cg-scene.webp "Started this as a terrain test, then found out about mega scans. It took the shape it did probably because I began playing the card game Magic the Gathering over 2020 hah. In the essence of MTG, I thought it'd be fun to create a quote to go with the story of the scene. nnTwo gods, turned to statues and trapped to this summoning altar, waiting to be freed to shed light, or darkness on the world. Which to choose??")
_home.webp "Fromdirector, Ben Craig, comes Home, a touching emotional animated short film about a man, nostalgically remembering the simple things he misses about his lost past on Earth.nnThe online released short film brought by Braw Production, brings awareness to a must needed action for our home planet health and condition.nnThe film features Ian Hanmore as the man, in a complete full Cg production made by Lua Studios, performance capture by Di4d and 3D scans by Ten24. Ben Craig's vision is supported")
_cg-food-inside-a-peanut.webp "The idea behind the shot was to showcase the realism and amount of detail of our new peanut scans at creative crops in an interesting way while still making clear that it is a 3d model.")
_dylan-neill-vfx-reel-march-2015.webp "This is my visual effects demo reel encompassing projects I've worked on.nnMy contributions to included shots in order of edit:nAustralian War Memorial: CG SupervisornFoxtel: Created LED VFX procedural models and lit all shots using V-RaynTelstra: Created explosion and energy trail particle effects using 3Delight and MayanBank Mandiri: Created cloud effects in Mental Ray using Maya fluids and lit all cloud shots.nSydney Dance Company 6 Breaths: Created all 3D using Maya and 3Delight, models were")
_for-a-minute.webp "For a Minute came to life through a project at the National Film & Television School where I was randomly given a one minute soundtrack which I had to turn into an animation in a couple of weeks. I started off with making the backgrounds with charcoal on paper to get the burnt feel right. Then I imported the scans of the drawings to Blender where I camera mapped them to simple geometry to fit with the design of the CG character.nnnDirector & animator: Matti VesanennSound designer: Carlo")
_adidas-ultraboost-2-0-unvaulted-jade.webp "CLIENT: AdidasnAGENCY: SwiftnCG/POST: HingenLIVE: Photon StudiosnnHinge and Swift agency partnered to create the adidas Ultraboost 2.0 #unvaulted campaign for Footlocker and Champs Sports social channels. Our design team created the vault entirely in CGI, instead of building a complex and costly physical set. nnWe created 3d scans of the shoes, and seamlessly integrated them with their live action counterparts, shot on blue screen by Photon Studios, into the digital environment. This approach yi")
_matchmove-and-lighting-reel-captain-america-the-first-avenger.webp "I worked on this from the Double Negative Singapore facility. I was co-lead for matchmove. I was later moved to become lighting artist for the fight sequence at the end.nnFront part of the ship and the windscreen were CG and had to be lit and rendered to match the rest of the ship on the plates. I had to animate lights for on-screen light source changes like the moving sun and flashing energy blasts,nnI also helped to model, texture and LookDev the interior of the ship from high density LIDAR sc")
_lexus-december-to-remember-commercial-racetrack.webp "SCANable provided 3D scans of the toy cars used in the racetrack shots.nnClient | LexusnAgency | Team OnenChief Creative Officer | Chris GravesnGroup Creative Director | Craig CrawfordnCreative Director | Kathryn McFarlanenAssociate Creative Director | Davide VismaranProducer | Leah Bohl, Tiffany OtoyanExecutive Producer | Sam WalshnProduction Company | ElasticnDirector | Pat MurphynDirector of Photography | Carl Nilsson nLive Action Producer | Ron CosentinonProduction Designer | Greg Loewen nEx")
_the-invisible-boy-second-generation-124-vfx-driven-project-reel.webp "The visual effects of The Invisible Boy: Second Generation place Italy at the cutting edge of technology and art in the international independent film scene. The sophistication of the project required 19 months of work and collaboration between Academy Award® director Gabriele Salvatores and Victor Perez – between pre-production, filming and post-production - with a team of more than 60 specialised artists and technicians of new visual effects technologies, working all together from different")
_winnebago-124-2014.webp "Andrew has constructed a 3D environment of a desert-based ranch with the intention of improving my abilities in modelling and texturing. My scene features an old barn house amidst a range of scrap objects strewn around the exterior. A hovering drone explores the scene as it curiously scans through the surrounding environment, and is used as a means of viewing the 3D models within my scene. The dilapidated nature of the environment gave me the desire to push imperfectionsu2028in my models and tex")
_showreel-2017.webp "I am a recent graduate of Computer Animation Arts at NCCA, Bournemouth University.nnNoodleBot - This is my final major project, an animated 3D illustration that shows the story of an old robot. I am responsible for all aspects of this piece. Modeled in Maya. Textured in Substance Painter. Rendered with V-Ray.nnThe final film can be viewed here: vimeo.com/219748521nnA full breakdown of the project here: vimeo.com/220381364nnBlue Zoo Baby Bottle Pop - I did some modelling on this project. I modele")
_sony-playstation-4-greatness-awaits.webp "Provided LiDAR/3D Laser Scans of the backlot set at Warner Bros. Studios (Exterior Casino), Pacific Palm Resort (Casino Interior), MBS Studios (Building Repel scene), and utilized a structured light scanner to capture detailed, full-color 3D models of the spacesuit, props and actors. We also created models from the set point clouds that were used for CG duplication and other visual effects.")
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