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Had the opportunity to work on some of the Background asset and Set extension asset for Justice League on my very first two weeks at Double Negative London. It was exciting when i was given the task to actually texture the set extension for Wayne Hangar. The challenging part was to get as identical as possible for the texture to look matching to the centre platform that was shot in the plate. The grungy concrete texture, some rough scratches marked on the ground, some white decals that was left on the surface of the platform and some rust on the edge that was covered with metal borders around the platform.

The other texture work done was for some of the background props scattered around in Wayne Hangar. They were missiles, missile racks, crates, cabinets, gas cylinder and Wayne Enterprise crates.

Worked very closely with one of the Modeller, Dara whom i get to communicate most of the time. And also Lighting and Lookdev Artist Christopher regarding lookdev and getting constant feedback and guidance from Ben Cowell.

Texture work was done in Mari and Photoshop. Lookdev in Clarisse.

I had fun working with these guys and hope to work together again in near future.

Here’s a short promo of Justice League.

 

 

 

Here are some of the screenshots featuring some background props. Unfortunately there wasnt any shots revealing the Wayne Hangar platform.

Will post an update in 2018!

 

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Im excited to share a piece of work done during the past couple months – Pacific Rim Uprising Trailer released!

Had the opportunity to work on some environment assets for the project. It was a great opportunity to be able to work along with great peers like Alexandre Guerre and Keziah Bailey during my time at Double Negative London.

The buildings marked were texture procedurally as a first pass to get quick feedback from the Sup and hand painted weathering, details and decals on to it after much deciding how up close it was to the camera. (Side note: the signboards were not done by me). And Lookdev was done in clarisse with disney pbr shader that was setup. The renders turned out to be quite amazing with the pbr shader that had setup and im quite pleased with the results.

Will share more of the assets that was done from the show when it is released next year March 2018!

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Its been exciting over the past 9 weeks at Double Negative London. Although its short but its been fun to work on three upcoming shows.Working closely with the leads and sups improved my vision on how to work things around smartly.

I had the opportunity to work on some mid ground to far background assets, terrains and set extension in terms of texturing and lookdev work.

Lookdev was done in clarisse which is something new to me, as I have lookdev with Renderman, Arnold and Vray before only.

As for texturing its done in Mari and Photoshop.

And here is a short teaser of the shows that i was involved in.

*stay tune for more updates in 2018!*

Filmography


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Filmography

Visual Effects

 

 2017   Thor: Ragnarok(texture artist: Double Negative)

 2017   Pacific Rim: Uprising (surfacing artist: Double Negative)

 2017   Justice League (texture artist: Double Negative)

 2016   The Great Wall (surfacing artist: ILM – credited)

 2016   Warcraft: The Beginning (cg generalist: ILM – uncredited)

 2015   Jurassic World (cg generalist: ILM – credited)

 2015   Strange Magic (cg generalist: ILM – credited)

 2014   Unbroken (cg generalist: ILM – uncredited)

 2014   Transformers: Age of Extinction (cg generalist: ILM – uncredited)

 2012   Les Misérables (matchmove artist: Double Negative – credited)

 2012   The Bourne Legacy (matchmove artist: Double Negative – credited)

 2012   The Dark Knight Rises (matchmove artist: Double Negative – uncredited)

 2012   Snow White and the Huntsman (matchmove artist: Double Negative – uncredited)

 2012   Battleship (matchmove artist: Double Negative – uncredited)

 2012   John Carter (matchmove artist: double negative – uncredited)

 2011   Captain America: The First Avenger (matchmover: Double Negative)

 2011   Harry Potter and the Deathly Hallows: Part 2 (matchmove artist: Double Negative – uncredited)

The Great Wall


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Worked on a couple cg assets for The Great Wall.

  • 14 Sections of the Great Wall’s Wall Extension
  • Great Wall’s Main Gate
  • Digital double weapon LinMae Sword
  • Digital double weapon William Sword
  • Digital asset Eagle Cross Bow
  • Digital asset Repeat CrossBolt and Flute CrossBolt

 

Main key responsibility are UV Unwrap, Texture and Lookdev.

Most challenging asset are the Great Wall’s Extension.

  • create tileable textures to be able to run on all wall sections
  • weathering each section different from one another

 

14 Sections of the Great Wall’s Wall Extension

– UV Unwrap, Texture and Lookdev

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Great Wall’s Main Gate

– Digital Asset created for set extension , far shot background purpose

– UV Unwrap, Texture and Lookdev

 

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Digital Double Weapon LinMaeSword

– Digital Double Weapon created for LinMae Digital Double

– UV Unwrap, Texture and Lookdev

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Digital Double Weapon William Sword

– Digital Double Weapon created for William

– UV Unwrap, Texture and Lookdev

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Digital Asset Eagle Cross Bow

– Asset done as weapons for Digital Double Eagle Army Troops

– UV Unwrap, Texture and Lookdev

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Digital Asset Repeat Crossbolt and Flute Crossbolt

– Asset done as weapons to populate for the Armies

– UV Unwrap, Texture and Lookdev

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UV TILE – UDIM


Created this UV TILE – UDIM graph for reference purpose.

Its also a good reference for Artists to use when using Mari to export its UV texture out.

It starts at 1001 (0,0) and continues in U for 10 tiles only. And it moves on to the next row of V, every 10 tiles in U it will move up 1 in V.

Below is a UV TILE grid to show relationship of its coordinate in U and V.

 

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Hope its useful to anyone out there  🙂


 

Had  a chance to work on a couple of minor assets in this commercial.

The main challenge of this project was using Solid Angle Arnold as main render as well as Arnold shader.

Ive played with Vray shader previously in 3DsMax, and would say Arnold shader settings are fairly similar with Vray shader settings. However, still figuring under AiStandard, how is  reflection being affected when tweaking just Specular setting. While there is another standalone “Reflection” tab in AiStandard.

 

Responsible for lighting, lookdev and render. All was done in Maya, some texture paint in Mari and lookdev using Arnold.

 

Below is a short breakdown of the Scene with couple of main passes.

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Some of the materials prepared for the scene.

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Didnt really have the original location HDR to light the scene while using a similar indoor studio HDR to help cast reflection on the assets. If given sufficient time, would love to craft more details on the assets itself. 🙂

 

 

Generalist Reel 2015


Before I was working as a Texture and Lookdev Artist, I was a Generalist…

Majority of the work are Digital Matte Painting (sky and clouds, grass), track removal, cg grass extension, paint patches, modelling, texturing, lookdev, rendering, compositing.

Softwares used: Maya, 3Ds Max, Vray, Zbrush, Photoshop, Mari, Nuke

2014 – Transformers 4 (Uncredited)
– To reconstruct a clean plate from original shot for additional FX and Animation interaction
– Far background digimatte extension
(3 shots)

2014 – Unbroken (Uncredited)
– Sky and Cloud extension over blue screen plate (4 shots)

2014 – Stange Magic (Credited)
– Texture work on tree barks, ground, leaves
– Digital Matte Painting of skies, clouds
(Approximately 34 shots)

2014 – Jurassic World (Credited)
– Digital Matte Painting of skies, clouds, trees, grass, ground
– Set Extension
(Approximately 27 shots)

Some of the shots that was done for Jurassic World.

Matchmove Reel 2012


Before I was working as a Generalist, I was a Matchmover…

Involved in camera tracking and facial tracking. Most camera tracking are for set extension as well as visual effects purpose. Part of the task involves object tracking as well.

Matchmove Artist on:
2011 – Captain America The First Avenger  (Credited)
– Layout for Set Extension (Approximately 7 shots)

2011 – Harry Potter and The Deathly Hallows Part 2  (Uncredited)
– Layout for Set Extension (Approximately 3 shots)

2012 – John Carter  (Uncredited)
– Facial matchmove of Tharks – Green Martian Clan (Approximately 14 shots)

2012 – Battleship  (Uncredited)
– Layout for Set Extension and Sky replacement (Approximately 10 shots)

2012 – Snow White and The Huntsman  (Uncredited)
– Layout for Set Extension and additional Creatures (Approximately 6 shots)

2012 – The Bourne Legacy (Credited)
– Layout for Set Extension and additional FX (Approximately 26 shots)

Matchmove Reel 2012


This was completed about a year ago. The task was to recreate a digital asset base from the real world, and the requirement is that it has to have more than four different surface quality. I chose razor as its more challenging in terms of surface shading. Below is a final render of the Razor.

Modelling was done in 3dsMax, and UV unwrap with Maya.

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razor.wireframe

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Some mask maps created in Photoshop for certain details.

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Some of the materials created specifically for the razor. Rough and smooth metallic surface,rubber, plastic, matte surface.

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Didnt really have a good HDR to use for environment reflecting on the razor. But the render was pretty descent with the details in it. If theres chance, would spend a little more on getting the metal surface looking more closer to the reference especially on the razor body.

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And last final render with Vray without grading in nuke and photoshop.

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