Motion Design Pitch



My research varied from watching motion graphics sequences like music videos and movie titles, to watching tutorials on how to create certain motion graphic animations.

I watched lots of videos with silhouettes and stylized projections of people such as the ipod adverts. i came across a music video called purple haze by groove armada and i really liked the editing effects.


I like the graffiti style motion graphics from recorded footage. I would want to recreate a similar effect using blue screen footage that has been keyed and colour corrected to achieve a street art effect.

Project Pitch

My motion graphics sequence will be a music video to a song from a band called Purple Thread and the song is called “Alive”. I work with one of the band members and he is more than happy to let me use a recording of the track.


The sequence will portray a still intoxicated man returning from the club and walking the streets as everybody else attends to their lives as normal. as he walks, the graffiti on the walls move. acting out parts of the night before for example drinking, dancing and fighting.

The sequence will mainly consist of keyed bluescreen footage being integrated on to the walls of houses and buildings as the actor walks past. There will also be 2d animations and both 2d and 3d camera tracking. . I am hoping to add some 2.5 d parallax as well as effects much like the “guy Ritchie” effect which you can see down the page.

To give the effect of intoxication i will be using lots of motion blur, camera motion and camera shake.


Mood board


I created a few mood boards along with some pictures that i have tacken for background textures and the type of walls around the area that i will be most likely filming.wall mood board wall textute mood board


I created my own grunge background in Photoshopcolourful grunge rust using some effects and the images that i had taken.

Others were put into after effects and edited in there.


Story Board

Image (15)

seconds 0-4 .walking staggering wall to wall with camera shake and motion blur. a 3d track of the club sign on the walls as you exit.

Image (16) Image (17)

a time freeze of a single frame masked out with added effects. then to revert back into the footage. seconds 4-9


Image (19)

a 2d vector sun like image that expands and rotates on screen and it pushes the gradient of darkness away.

Image (18)

footage of man walking through the streets as the motion graphics animate on the wall. using separate sections of footage for each style graffiti style art I have completed.

Image (20)

The use of a 3d object in the scene will interact with the animations on the wall.

Image (21)

Arriving to where he needs to be. a colour transition plays over the drunk state filters and blurs and it is replaced with real footage.



My main asset will be my footage on the streets as well as blue screen footage from inside university.

Here are some tests of the different styled assets i will include in my sequence.

The silhouette. These dark shadows will show the more darker side of animations such as abuse and the threatening actions.

This street art art effect will be the biggest asset with fading in and out and stop start (come to life animations).

Here are a few more similar style tests

black multiply soft light soft shadow


(The process here which is transferable to most of the bluescreen footage but with different tweaks at settings was to use keylight 1.2 which is ‘the foundary’ keyer and i found that it is the best available from what i have experimented with. once keyed out, i added a hue/saturation filter and also levels, which you can further tweak settings such as gamma etc. a lot of the work here was just trial and error to see which cool looking affects i can come up with. i also used masks and opacity levels within to make it looks like it fits in as wall art and to add feathered techniques so it doesn’t stand apart bold from the wall.

Here is a delayed by frame dance movement with different style of affect on each layer

dance delay


For this effect i duplicated the footage and with different filtered effects, i placed them just off time to one another on the timeline to give a lagged shadow effect.

Another effect is turning live footage to still stylised image like (the guy ritchie effect)

(how i achieved this effect was i separated the layers after duplicating them and stretched a single frame out using time freeze. i then masked out the character and added a b`cground image. i have used a grunge background texture that i created. i then turned the colour levels down with threshold and used curves and changed the graph values until i was happy with how it looked. i then used blur to soften the image up a little and used grain and added noise to the background. i then proceeded to use stroke and drop shadow to give the cut out effect with the white border. after adding text, i used a null to animate the scene a little and scale and rotate to shapen the whole effect. when the scene is created properly for my sequence it will have a better threshold, a better mask beacuse this was only a test, and also it will be accompanied with the music which really sells the transtion effect.

rusty sick rusty syle sick


This test did not give me the best results as the leaning over created a big shadow under the eyes due to the fringe. I hope to bring it back into the footage where it left off. because i did not want to simulate real sick i just wanted the cool effect i thought i would stick with the guy ritchie effect and portray it in a colourful style sray mid effect.

I have a green spray for above and a red blood type splatter spray for a another motion graphic within the sequence.



2D vector images

book book2


sun motion graphic


I used basic geometry within after effects to create a 2d sun like design that will rotate and pan across the screen pushing the dark from right to left.




the club text traffic light


Action Plan

week 6 – Finish assets and pitch presentation.

week 7 – get footage of outside (buidings/walls etc.)

week 8 – get bluescreen footage and edit.

week 9 – Finish animating 2d motion graphics.

week 10 – make sure all effetcs like camera tracking, motion blur, camera shake are implemented.

week 11 – get feedback and improve.

week 12 – improve and write up.

week 13 – hand in.





written deconstruction to be no longer than 1000 words.

Between 30-60 seconds in length.

to be MP4 movie 1920 x 1080 with h.264 codec. 25fps





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Digital Visual effects Final

Final VFX sequence

Final Breakdown

Technical Report

This is a short written report to talk about what my part was in the group and project and what i accomplished. After the research, we decided as a group to recreate a scene from Gareth Edwards’ 2010 film ‘Monsters’. A highly rated film based on the fact that it was largely completed by himself, and that was one of the enticing aspects as we should be able to re create the scene by using the same programs and techniques he used. An achievable task made slightly harder by the fact we would have no source materials to work from like tutorials. What we had to work from was Edwards  talking about how he completed the scene for example he used 3ds max 2011 and simulated tentacles from ropes in reactor. The main challenges we faced were that we were shooting at night. we did not want to implement day to night, only slight matching colour corrections. The other difficult task we had on our hands was the fact we were trying to seamlessly fit CG objects in real life. This is something that is done to a perfect standard even in the real movie shot which looked promising for us but we underestimated how difficult a task that would be. The problems we faced were that when filming, we parked the two cars too close together and there were too many reflections  bouncing off the car in front from the headlights behind. Our shot was considerably lighter than the original and also we filmed the drop scene with the car in front . it would of been much easier to move it out of the way as it was not required any more. These were the problems we knew we would have to deal with as the cars were not available to shoot again. A tough learning curve that taught us about time management and also what to do if something like this happens again. We knew that this would be a challenge shooting at night especially with high ISO and noise and accurate lighting was needed to get the shot away.

I acquired a basic model of the same car on the internet and I needed to model things like the reg plate, the car badge and all of the bottom of the car for when it is flipped over.

The texturing process is something fairly new to me and i tried different techniques to achieve the likeness i needed, unfortunately this is where i feel i struggled most and if things were done differently i would like to use UV mapping to texture the car to get the realism. there were a few set backs in terms of the car not being available and the footage being too close and having difficult reflections to mimic. From what i have learnt, i would now render out the care in passes like the tentacles.

To simulate the car drop, i attached all of the editable poly’s and added a dynamic rigid body modifier using 3ds max’s mass fx. i gave the rigid body steel like properties so when it drops in the sim it looks realistic and acts how it should. It took a while to set up the drop as the simulation is very random and i changed the height of the drop and added ramps etc. until it simulated how i wanted which was landing and flipping and rolling on its side just like in the real shot.

The car needed to be damaged as it is being crushed and dropped by the tentacles but as the move happens so fast, i could afford to have the car already damaged before the impact. what i did do was have the taillights sharply go off (break) just after the moment of impact. I tried a few modifiers to disfigure the car but the most effective was the F4x4x4 which you can set volume with and position and then pick the the vertices of the 4x4x4 cube and manipulate the box and it will pull/push the object modified.

In the editing process, i helped with masking out and colour corrections but in terms of compositing shaun’s strengths were higher so he took charge to begin with as i learned more about it and then i used what i had learned to help out in the final shot . We were always together as a group when editing so we could all have our imput and it it always good having more than one pair of eyes on the screen.

Overall, apart from the problems that we knew about i thought that it was very well shot (maybe the acting could of been better ) but we struggled with willing participants as i appear as two different characters. I think the car drop is very effective and would of been even better if we didnt have to mask out the car and add the clear floor shot into the scene; but the switch to the car model from the real one was not good enough for me and we tried for as long as we could to fix it and this is the result.

Other things that we could of done better was working with sound. We did not have any proper sound equipment to work with and shooting on campus you could hear ‘party’ music in the background for most parts of the footage taken from the camera.

I think we worked well as a group when we were all together and our strengths played off each others and we achieved the shot to a good standard.




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Performance capture


My idea for the 30 second motion capture take is to feature a boxing fight. One character animated by motion capture, and the other key framed. Most likely in motion builder.

Before I start my story board, I need to know what normally happens in a standard round of the sport.

What happens in a boxing round?

Each person sits in their own corner of the ring preparing for the round.

Both boxers go to the centre of the ring

Both show fair play by hitting the opposition’s gloves.

As I am not a big follower of the sport I needed to know how the boxers move and what situations they get into whilst in the ring so that I am familiar with the motions and I can repeat the basics in my animation and in my motion capture as it is more than likely I will be in the motion capture acting out myself.


I found a good website that will teach me the basics:

Basic combos

For motion capture and animation I need to be able to perform and know about basic punches in boxing.


I need to know how the body reacts to that finishing punch that floors the opponent.

This link shows what kind of knockouts there are and also a top 10 video.

Motion capture planning. I was hoping to get some practise on the motion capture before having to do it properly for the assignment but with two failed attempts with the old cameras I will just have to plan and be ready for it.

Picture of the trying to work the blade system. We got as far as using the wand to show if the cameras were responsive. The cameras were picking up the points but it would not record due to an error so we had to leave it there.



Second take – after the first failed attempt. We got as far as actually putting on the suit but whilst doing the range of motion, it would not pick up enough points. On average it would pick up 40 out the 53.


Fellow student Chris trying on the mo cap suit.

Planning for blended motions

The examples of a blended motion we were given for our motion capture we a walk to a run to a sprint. We would have three different takes and blend them together so that they look seamless.

There will be a total of 3 takes resulting in 2 blends which can be seen below in the story board. Three frames represent one motion capture take.

Motion capture take 1:

The character will start by sitting (in the corner of the boxing ring) on a stool. He will then pick up a sports bottle from the floor and drink from it. I plan to use a parent/child constraint with the hand and the bottle so it can activated when he picks it up and disabled so it drops from his hand when he is finished with it. The character gets up and heads to the centre to meet his opponent doing little jumps and neck stretches on the way. The scene ends with the two characters meeting in the middle and hitting each other’s gloves in fair play.


Motion capture take 2:

After the encounter in the middle, the character take a step back for the start of the round. He continues to dance his feet around and throwing a few short jab combos in preparation/warm up. The motion capture dodges a long jab from the key framed character and performs a short 2 hit combo, one to the chest and one to the side of the head. There will be two little interactions here.


Motion capture take 3:

(The key framed character turns defensive as he grabs his opponent to stop the multiple punches coming his way.) This is the main interaction between the key frame and the motion capture as the two characters are interlocking. The character who is control pushes himself off the defenceless character ready to apply more damage when a wild swing comes his way and knocks him to the floor in one. The animation will end here. If I have time I might add a forth scene where the winner is declared. I will perform this take with motion capture and apply another blend if I have the time at the end. The reason being is that the animation ends just after 30 seconds (approx.) and that is the specified time on our assignment.

Things to consider:

The Fall- I will fall to the floor on the motion capture take but I was thinking it would be suitable to apply a rag doll affecter to the motion capture if my falling over acting skills are not up to scratch. It is always good to have more than enough ways to do something.

Hands –

Will I have to key frame the fists all of the way through the 30 second take?
Will I add gloves to the hands in the animation process, possibly as a parent/child constraint.

I will have to take the bigger surface area of the hands (with boxing gloves on) in the motion capture process.





Timing between story board frames:

1. between 0-4 seconds,

2. 4-10,

3. 10-13,

4. 13 -18,

5. 18-20,

6. 20-22,

7. 22-27,



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Digital visual effects research


As a group, we looked at various films but we decided to each look at two in more detail to see how they accomplished the film and its effects.

World War Z – Zombie tower

When watching the film, i was curious how they created such numbers in the amount of zombies that we see and interact with each other. Whilst they may use actors in some scenes, there are some shots that would need to be digitally simulated.

MPC, who did the majority of the effects including the zombie tower needed to find a way of generating swarms of zombies that would react and behave accordingly. with the tower at its peak having over 5000 characters, they started by using motion capture clips of people climbing up things like walls and nets, and also them falling down from ramps and different heights.

“MPC’s most exciting work was the huge crowd scenes. MPC’s CG Supervisor Max Wood captured mocap clips, adapted MPC’s proprietary crowd system ALICE, and tested the technology needed to render these huge crowds.  The crowd characters were built from reference photography and scans gathered on set. MPC’s Modelling and Assets team creating 24 different body types with different textures, which resulted in 3,000 possible crowd variations.  

In all of the complex crowd shots we added layers of hand animated zombies.  For falling and landing zombies we used PAPI, our in house rigid body dynamic solver, which is based on the Havok physics engine. MPC’s Crowd team worked with the Animation department to ensure the zombies moved realistically when in a crowd and when interacting with live action or digi doubles.”



Man of steel

Having been told that his cape would be fully CG in this film i wanted to know how the vfx team made him fly etc.

The next thing i wanted to know was how they destroyed the buildings in metropolis, a task that Double negative were given.

Double negative looked at Esri’s city engine which has been used previously in total recall.

 “That was a much more sci-fi based role,” notes Dneg visual effects supervisor Ged Wright, “so we took what they had done and extended it a great deal. The work we were doing was based around the Downtowns for New York, LA and Chicago and that gave us the building volumes for heights. We’d skin those volumes with kit parts but most of it then had to fall down! So we had to rig it for destruction and use it for other aspects of the work as well.”

For building destruction, in particular, the studio re-wrote its own asset system to be geared towards dynamic events. An implementation of the Bullet engine inside Houdini – dubbed Bang – became Dneg’s main destruction solver, with a core philosophy of allowing for quick iterations with heavy control. 

In addition, fire, smoke and water simulation tools were further developed at Dneg. The studio moved from its existing proprietary volume renderer DNB to working in Houdini and rendering in Mantra for elements such as fireball sims. Dneg’s in-house fluids tool Squirt also benefited from new development to handle larger scale sims and interaction for more tightly coupled volumes and particles





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Animation and Simulation

Before starting working with the human body within my work. i thought i would do a bit of research on basic human anatomy. With added research i think it will make it easier for me to understand how to build/animate if needs be.

Skeletal System

the skeleton contains all of the bodies 206 bones and joints .

the purpose of the skeleton is to act as a support for the body and to protect the body from what else it is made up of for example the muscles.


The muscles are responsible for the movement within your body. muscles vary within your body but each have important tasks such as making it possible for you to digest, talk, breath and walk.

We started our work in the first week reading the assignment brief and we needed to create a CAT rig and skin it to a character that we have be given. we were given the spider man rig and we started the basic process.

spider cap

After working on that rig for a small amount of time there were faults pointed out by our lecturer and so he supplied us with a new mesh that would be smoother and less hassle to work with. we were given a zombie to work with and i was happy not just because it would be a mesh that worked fully but zombies are a lot cooler than spider man.

we were also given an animation that would stretch every possible movement with the mesh to the max so that when we come to add our own, the mesh shoud look perfect. With the animation you could see that the mesh was reacting to the moving rig but it doesnt just work like magic, we would have to spend a lot of time fixing the mesh.

to change the way the mesh reacted, we had to select the vertices we want to manipulate and change the weight on how it is affected dependent on the bone we want it to be affected by.

I started with the feet as that what is affected by the animation first but i think it is always sensible to work your way up. we were told to only work on one side of the body as there is a process of copying limbs later that will come in useful for legs and arms. as the character is wearing shoes i wanted to restrict the stretch that was in the animation as shoes are rather rigid and normally reduce your foots bending movements.

week 1 capture foot 1

Working my way up the leg, i rounder off the knee bend as it was very pointy. by selecting two of the vertices, i could create a loop and when i change the weight to affect the movement, it would act as a ring and that way you can keep it even. it is a good trick with cylinder parts of your body.
back knee 2 back knee 1

bottomThe top half of the body was still looking poor with vertices sticking out all over so i decided to quickly weight the certain areas influenced by the bone.

bellyMuscle man

We started to look at muscles within the cat rig system. we found that you can link muscles to bones for a more realistic movement.

mucle add

even in the simple animation you can see the muscle crunch in here..
stretch1 stretch2

stretch out here as the neck muscle is still crunched..

stretch3You can see both sets of muscles responding to the animation and stretching accordingly.

Continued Zombie rigging


After sectioning off parts of the body with the certain bones, i came to what is probably the hardest part of the mesh to rig. you can see under the armpit on the image above, there is a gap. we were told that it is better to have and overlap than a blatant gap between the two body parts so this was when i knew i would have to really fiddle with individual vertices to get the best results. you can see below that the problem was fixed.
armpit fix

Moving onto the top of the shoulder, after a long time with trial and error, i managed to get past the awkward joint and more further down the arm where the vertices would be in bulk with a good amount of weight as it is a bone and can not be twisted as much.

Getting the wrist to be able to move but to avoid the arm being twisted like a knot was i big challenge i fell and i one that i am still not overly pleased with but after doing the action myself and making other people perform, i didnt know what else i could of done. if i stopped the twisting then the wrist would be almost immovable so i had to find a reasonable balance. wrist hand

The hand would remain sturdy but all the fingers would prove tricky, and they did! The way i tackled it was i would give no weight affect on any of the fingers so they would not move with the animation and i would skin them individually. the problem i faced was that when i completed one finger and moved onto the next, it would assign effect onto the different digits bones and the other fingers mesh would be dragged down when the bones are animated. it wasn’t a major issue just a lot of hassle and time that i did not expect.finger tip middle of finger finger base finger thumb

When it came to the thumb, all other aspects of the hand were rigged so it wasn’t to difficult. i did however restrict some of the movement on purpose as i feel it looked accurate even though the animation pushes the bone a little further .

We used a separate mesh for the head so we had to add the skin modifier on again and add the appropriate bones  .

bottom of head

I started off by fixing it to the rest of the body so it lokked like it was attche like how it should be. even on a zombie. i took the top spine bone and fixed the top weight and all the bottom vertices in a loop.

I next to the head and used the drawing loop tool to grab all of the vertices on the head and round the bottom of the chin area as that should not be moved.neck

The main part was to link the fixed parts of the top and bottom of the head with the neck so it looked like a smooth process when linked with he animation. it took a short while to get things looking good and a lot was trial and error. but common sense really it can just get a bit confusing when your dealing the a mesh, and sometimes because it is low poly, it feels a bit sharp but most the time it is fixed up and sometimes it can’t really be helped.

These are my rendered images the are fully skinned and rigged up with a human bone structure.


Zombie rig skin render front

SideZombie rig skin render side

TOPZombie rig skin render top

I made the skin mesh more transparent so you could see the rig.

This is a video showing off the range of motion. i have added a moving camera 50 mm lens and also some 3 point lighting to fit the scene.

We had to show of other animation using the rig so i created a short jog cycle adapting the pre set animations that are available for certain cat rigs in 3ds max.

Final animation

The final animation that i created was a short scene of a point of view or a hand held camera shot of the zombie hearing a sound, turning round, the person gets scare and falls on their back and the zombie is standing over them. i was really enjoying playing with the camera and animating the rig but towards the end, things started going slightly wrong and i may have done something to upset the mesh because it started playing up. i would of liked to develop it further adding more walking and trying to perfect the zombie motion. i tried practicing but i am not a very good zombie actor. the end of the video could be developed further with facial rigging and animation. it is something to think about.

I tried to get a good camera angle and i think it worked in terms with the scne but it is on line with the walk cycle and i tried to add a zombie walk onto it by dragging the left leg like it doesn’t function but you can’t see it very well at this angle.


Skinning this character was different to the zombie as to start with, it is more hi poly, which should be good as it is more detailed but there is more to work with and more to potentially go wrong. we are not just skinning with the bones in the rig, the muscles are also influencing the mesh.


The two that i added were the Pectoral and the Trapezius muscles.

muscle see through

As there are too many vertices in a high poly mesh like this, it would be silly to affect them all like we did the zombie so we used the paint brush tool. you can set the size of the brush you want, and how intense it will be in terms of affecting the mesh and then you pretty much draw onto the skin. Each method has its high and lows but it a good way of targeting areas without worrying about backfacing etc.

you see here i am weighting the pectoral muscle

muscle man pecanother useful tool was the blend weights tool for smoothing.

muscle man underarm

Here are my skinned rig and muscles demonstrated by an animation

I have also added a wired version so you can see more clearly how the muscles are affected.

Facial animation

Morph targets

zbrush ape

Using simple tools (as i am not used to using z brush) we created different morph targets which are just different expressions made by individual parts of the face.

We exported them out of z brush and then imported into max to blend with the natural looking default obj. We were told two ways how to manipulate sliders to animating the face but this was the way i liked so much so that i can’t even remember the other way. The way i prefer is using the reaction manager. You add a ‘master’ which is the slider tool of your choice and a ‘slave’ which is the specific facial expression. one you have done that you put the slider where you want each expression to be moved to and create a state. slide the tool to the other end adding another state with the opposite value so for example when the slider is at one end it is the default, and at the other end the facial expression. the slider creates a smooth transition that blends the two and it can also be key framed.

morph target slider reaction manager


This is an animation of some of the expressions created by morph targets


This is a video screen capture of me demonstrating the slider system for the morph targets.




For this method of facial animation, i would use a different approach of how i get the certain facial expressions. unlike the morph targets, i would add bones to the head and jaw and use the skin modifier and fix the mesh appropriately. i used a short range of motion so i could have reference on fixing the mesh and then i would add adjustment layers onto the animation to animate the certain bones like the mouth and the eye brows. Although i was new to z brush, the time it took to get a basic expression was nothing compared to doing it with bones. a lot of problems i had were coming back to it and adding more bones for example the nose, and it would mess up or disrupt the rest when working in the layer manager. you can see that it is a powerful tool in animating and when skilled enough you will have total control in the facial movements. adding the individual motions to the sliders works in a similar way to the morph targets as you select the master and the slave but you have to select the base of the rig and select the adjustment layers depending on their global weight.adjustment layer animation

Here is a simple animation showing off some of the bone facial animations

Here is a video showing the sliders affecting the facial bones.


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Concept and Branding

Logo design.

This was the the stage of my logo design before the feed back. After trying not to over complicate things i was finally happy with a structure for my logo. i needed to re design the arm to help people realise the power bar and the bicep tense come together to make the letter ‘P’.


(insert pic of arm re design )

i used these images from the internet to create the shading style for the arm. keeping it simple and clear.

bicep 7673895-muscular-bicep-flexing-the-arm-is-on-separate-layers-as-are-the-background-elements

(insert pic of re design)

I then put the image into Photoshop and used the tools within to recreate the design and separate parts for colouring.

My original idea was for the power bar to range in grade of colour from green to amber to red but after testing it out, i saw that i did not look right.

power games logo1

After being told that it would be included in multiple things and in different ways, it would really help if the logo was still clear and visible in low saturation or ‘black and white’power games logofinal black and white This is my final logo design. i used a gradient tool to achieve the colour chart for the power bar. power games logofinal3Web banner

we bannerThis web banner would appear on webpages and you can see it as you enter and scroll down the page. it is a simple design to show the up and coming release of the games company launch.

Launch Ticket

lauch part ticket power games

This ticket shows the invitation for the release party. i added a name and a plus one section as well as a bar code for entering, and special silver strip to ensure it is a genuine ticket and information about the event.

Company Freebies

These freebies would be given out to people who purchased our goods, who attended the launch and also to people who have came across an advertising section promoting the company.

Sports top

This uses the title to an advantage as power games aims to be the best, and that includes in health so this will encourage players to exercise in leisure as well gaming.

power tee

Key ring

This is a key ring that i created in 3ds max it is stainless steel and also a bottle opener.power key ring This is a note pad you get when you enter the launch.notepad power games

Story boarding


1. player chests the ball, controls the ball with the aid of his knee and then flicks it to the side of him ready to run with it.

2. As he flicks the ball a defender comes rushing in recklessly and fouls him

3-4 as the player is rolling on the floor, the defender gets a red for his offence.

5-6.He slowly gets up and dusts himself off and heads towards the dead ball.

7-8 puts the ball down and heads to the penalty spot to take his shot.

WP_20131215_23_46_14_Pro9. takes 3 strides back and two to the left and takes a huge breath and separates his legs. (like Ronaldo)

10. Takes a step and strikes the ball

11. celebrates by cheering and raising his arm in the air. (Alan shearer style)

12. continues to celebrate by doing the Michael Jackson moonwalk and finishes on his toes.

Concept design

To change my character from a generic human proved tricky without changing the entire idea. the only way hat i could think of was to keep him human but with abilities like what i have researched like ghost rider for example.

Character information

Name : Sledge

Weight 90kg

Height: 6ft’2

Sledge is the main character in a part action part strategy adventure game called ‘Jail Blaze’  made by Power Games. The game play similar to ‘prince of Persia’ and you find yourself in jail for the killing of your family in a house fire; but you did not commit the crime and were stitched up. a similar thing happens behind bars and he is in bits, but luckily escapes with his life. with added abilities he did have before. you have to tackle your way through the game trying to control the fire and not using it in bad ways. depending on your actions, is how the game goes.

(Add pencil drawing)

WP_20131215_23_43_50_Pro WP_20131215_23_43_58_Pro WP_20131215_23_43_38_Pro

Here is what the character looks like after being digitally edited

(insert photoshop character)

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3D Modeling

Final Renders

full room sofa corner1 pool table final render2Assets

1. Pool table

asset pool table

pool cues

2. Stool

asset stool3. Tableasset table4. Curtains

asset curtains

curtains bump5. sofa

asset sofa6. bar

asset bar7. beer taps

asset tapsales

8. Bottles and glasses

asset bottles and glasses

I really enjoyed modelling the bar and i want to carry on the work even though it is past submission to fix the lighting as i could not get it the way i wanted. I started working with the mental ray lighting setting and i was coming along ok after looking at tutorials and all before i went to render my final image, there was a problem and i had to use the standard lighting system within 3ds max


Pool table.

I started off with getting the right measurements and using a reference image for the main parts of the model.

pool devel1

I worked by creating a corner and then i would mirror it when the basic shape was created.

pool devel2

After the basic shape i mirrored once and started looking at creating the legs/lower part

pool devel3

I wanted it to look elegant for a nice bar not a bulky pub table so i looked at creting legs. pool devel3 leg pool devel3 leg2

render pool table 2

It just looked wrong somehow and i wasn’t happy with it so i had to and research tables a bit more and come back to it.

I added the bit that was missing in making this a a nice looking pool table. now i could progress forward.

pool devel4

The table needed a lot of cleaning up. it was all over the pace and not rendering very well. i cleared the smoothing groups and tried to patch up the model and done a decent job of it.
pool devel5I stated to texture the model.

pool edge pool corner render test ehsg

No uvw

Finished result

no uvw

asset pool table



I started by creating this shape.


I used a modifier that links the bottom perimeter shape to the hook like shape and it extrudes it. a very useful tool that i have not came across before.  sofa3

I converted to a ed poly and i think i created the circle from the vertex.sofa4

I cteated the gaps between the shapes and increased the volume on the themsofa5 sofa6 sofa7

I created a linear shape from the edges. i have started doing this on many things as i think it is a really good way to get a nice finish on a model and not have it to sharp.


started making the solid of the sofa. and started creating cushions.sofa9

After making the leg stumps, i put it into my scene and messed around with textures.gjhfjfj

asset sofa



I started modeling this with intentions of having a glass top with a metal inder lay so it could get nice light and reflections.table2 asset table


stool 1st

I tried to save each step i did in all my models but this one it seems i have missed out (or lost) the other files of its progress.

I started with a cylinder and then used the polygons and edges to extrude and chamfer the back of the stool for the back area. i next scales several parts to get the basic shape. i added little things like a foot stool etc. to make it complete.stool

Here is the final render of my stool. i have textured the base but i liked the simple colour as there are many different ones going on throughout the scene.

asset stool


I started by creating a shape like the bar i work in

bar bar2When i started merging in my models i found that it was hard to get right because that is as far as my reference went and the scene being set up wasn’t actually a real place.
bar3 bar4

After adding everything and placing them i could start to texture the room.


It was a lot of trail and error but i got there in the end (i think). I was was finally happy with the room scene textures. The skirting boards were created by using a sweep modifier on a perimeter outline i created of the room.


Below you cans see the finished bar.full room



This is the final render of the asset. the glass top and the metal underneath really help spark up the scene.

bottles ect.

I used the lathe modifier to create this . after i created and edited it i looked for different ways to texture and potray the glass and the bottle render wine develp

After the textures i used a bump map to get the creased leather effect.

Some of the methods and images i used to texture

Most of the images were my own that i had taken but there are also phhotos taken from the internet.

These images i used as bump maps to create a better effect to my texture.

379 crumple-paper leather_texture368 pattern-48

These are a few images that i took from the pub that in work in for reference.
wood WP_20131117_02_01_22_Pro WP_20131117_02_01_51_Pro WP_20131117_02_02_13_Pro WP_20131117_02_03_03_Pro WP_20131117_02_03_30_Pro WP_20131117_02_04_14_Pro WP_20131117_02_06_29_Pro WP_20131117_02_08_55_Pro WP_20131117_02_13_08_Pro WP_20131117_02_13_44_Pro WP_20131117_02_14_22_Pro

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