‘The World Of…’ KNGF
During the two years I worked at Colorbleed I had the opportunity to work on the wonderful ‘The World Of…’ commercials for KNGF.
In these films, we guide you into the internal world of the main characters and show the real difference an assistant dog can make.
I have filled all kinds of roles. Mainly doing Look Development, Lighting, Shading, Rendering, Compositing, and more. On this page, I will showcase some of the work I have done and the way I like to go about creating stylized animation.
Based on the illustrations of Audrey, I created textures in Substance Painter for the characters. One texture that only appears when light hits the character and one with different shapes that is only visible in shadow.
In Maya, we would combine these textures with Vray toon shading and additional shader magic like stylized rim lighting, painterly gradations, and toon lines.
When lighting you can really see the graphical shapes changing in a painterly way.
What I like to do is light out key moments of the shot first, kind of like a style frame, and next make those moments nicely flow into each other. When lighting stylized shaders it can be difficult to see what you are doing. However, rendering an extra ‘clay’ layer made it really visible and also gave me a mask to continue the ‘lighting’ in comp. In this case, I used that mask to add the yellow haze to her face for example.
With a stylized art style, a lot of ‘lighting’ usually also needs to happen in comp. Here you can see a few layers I used to build this scene. In addition to those, we also used render layers with RGB lighting, bounce layers, and many more interesting passes to really be able to give an expressive final touch in Comp.
The world of Roland
During the second film, we had to do justice to a very unpleasant world that is keeping PTSD victim Roland on edge. To visually communicate his inner world, we did our best to utilize bold and rough graphical shapes and much more aggressive textures than we used in the other films.
The smoke we used is typically seen in sports matches and was a big part of communicating the trauma Roland suffered.
To make the transition believable, the smoke needed a rough and graphical feel to reflect his experience clearly. Pulling off stylized moving smoke in 3D was difficult. I made many iterations and really liked the artistic and technical challenges.
The smoke was as much a technical challenge as an artistic one. Together with our technical- director and artist, we did our best to pull off the rough style in a clean way. It resulted in a way of utilizing the raw expressiveness of 2D design to really capture this fearful world in the grounded space of stylized 3D.
The geometry of the smoke had normals locked to the camera so that we could project 2D-painted textures onto the smoke cleanly. With shaders, we extracted useful information from the light point in relation to the smoke. This way we could create ramps based on the angle and distance of the smoke and make it react to the painted textures.
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