Motion Graphics Title Sequence The Painter

This is a motion graphics title sequence called The Painter. The idea of the story was thought up and conceptualized first, and then a motion graphics title sequence was developed to visually communicate the mood and plot of the story. I am personally not a fan of horror movies. So the goal was to push myself out of my comfort zone to create a horror/mystery title sequence that portrayed a scary, eerie, dark mood without seeming cheesy. The story is about a disturbed painter who also happens to be a serial killer. He is obsessed with killing people, and then uses their blood to paint his masterpieces.

Here is a link to The Painter title sequence:
http://www.youtube.com/watch?v=I1nr2TXVXSA

CG Car Model on Backplate in 3ds Max

I was given the CG car models, but I textured and placed the models on the backplate I was given.

Final Comp of the CG car models on the backplate

This is my first texturing pass of the cars after first placing them onto the backplate, and reflecting the HDR image into the environment.

First pass of matching the CG ground plane to the backplate, and testing how the HDRI will reflect into the scene.

Pinball Animation using MassFX in 3ds Max

This is a pinball animation I modeled, textured, lit, staged, and animated using MassFX in 3ds Max.  This is a link to my final animation video that I edited together using After Effects.

Final Pinball Animation
Video Link

This is my first block modeling and animation test of the pinball machine.

Tornado Simulation Test with PFlow in 3ds Max

This is a simulation test I put together of a tornado kicking up debris using Pflow particle system in 3ds Max.

Sci Fi Scene CG Lighting, Texturing, and Compositing using 3ds Max, Mari, and Nuke

This is a Sci Fi Space Station Scene that I staged, lit, textured, and composited using 3ds Max, Mari, and Nuke.  This is my final render of the scene with all the lighting, reflection, specular, z depth, AO, volume light, and volume fog passes put together and composited in Nuke.

This is a look at all my final Nuke composite node tree.

Key Light Pass (front hall side lights)

Key Light Pass (front hall floor lights)

Self-Illumination Light Pass

Sci Fi Scene CG Lighting, Texturing, and Compositing

These are all the other lighting, reflectivity, and specular passes of the Sci Fi Space Station Scene rendered out of 3ds Max and plugged into my node tree in Nuke.

Fill Light (Front Omni) Pass

Fill Light (Middle Omni) Pass

Fill Light (Back Omni) Pass

Environmental Light with Star field Pass

Main Room Side Ceiling Light Pass

Main Room Control Panel Light Pass

Main Room Center Ceiling Light Pass

Back Hall Light Pass

Robot Specular Pass

Robot Reflection Pass

Fruit Bowl CG Lighting, Texturing, and Compositing using 3ds Max and Nuke

This is my final fruit bowl composite rendered out of Nuke.

This is my complete pass rendered from Max to compare with the final Nuke composite render above.

Here is a look at my final Nuke node tree.

Fruit Bowl CG Lighting, Texturing, and Compositing using 3ds Max and Nuke

I was given the models and then set up the camera angle, lighting, and staging in 3ds Max. For the textures I unwrapped the fruit and painted bitmaps in Mari, and then loaded the maps back into 3ds Max into a Sub-Surface Scattering shader for all the fruit.  For the plate I used bitmaps plugged into an Arch and Design shader.  These are all my lighting, reflection, and z depth passes rendered out of 3ds Max.

Key Light Pass (no reflections)

Fill Light Pass (no reflections)

Fill Light 2 Pass (no reflections)

Environmental Light Pass (no reflections)

All Reflections Pass

Z Depth Pass

Fruit Bowl CG Lighting, Texturing, and Compositing using 3ds Max and Nuke

These are my three AO passes of the fruit bowl (wide, medium, and tight).

Wide

Medium

Tight

Greenscreen and Keying in Nuke

The professor shot footage of me on a greenscreen, and then I used Nuke to key out the greenscreen and place myself onto a temple backplate.  To blend myself with the environment I had to do some color grading and correcting in Nuke.  I also added some noise to the overall final composite to make it look like the composite was original footage shot in a temple.

Rotoscoping and Tracking in Nuke Continued

This is the final composite of the rotoscoped out biker placed on top of a grey background.

Rotoscoping and Tracking in Nuke Continued

This is the roto matte of the rotoscoped out biker on a black background.

Rotoscoping and Tracking in Nuke

I used a camera tracker and rotoscoping to separate the biker from his original environment in Nuke.  This video shows the area that I rotoscoped highlighted over the original footage.