I was hired to create a music video for Swedish DJ AVICII‘s remix of “So Amazing” from the motion picture Tron Legacy. It’s called “Derezzed” and it’s part of Disney’s DConstructed series. I was given enormous creative freedom to work in, which is rare and fantastic, but I was also given a very tight deadline within which to produce it.
When faced with a big challenge, I always find it easier to create a story or outline to follow, so I drafted a short story which would serve as the backbone for the structure. The story is basically about the power of love to triumph adversity – realized in the video by a virus which attacks the otherwise healthy System, only to be driven back by the forces of good/love.
The piece was ultimately a combination of 2D and 3D imagery created in Maya and After Effects.
When producing this kind of video, you have to remember that it’s going to be seen mostly in clubs or in club-like venues, so it’s important to have a “lightshow” element to it, which can strobe and light up the room during the cut, so the story is intercut with breakdown eye-candy moments to do just that. The world of DJ’s and Remixers is full of both loyal fans and haters, all passionate about remixes and production, so this was both a fun and challenging video to produce. But it helps that I’m a huge Tron fan, since waaaay back.
I’m directing a series of product commercials for Mattel this year… first up: Hot Wheels. This was a fun shoot in an idyllic neighborhood, where I was going to eventually have to digitally insert some Hot Wheels artwork on the side of the white panel truck we used in the plate. For other parts of the commercial, I had to create an entirely digital Hot Wheels car and the iconic track for an animation, seen below:
The camera was going to be right up on the CG car and track, which required me to give them an extremely high-level of detail and finesse to make sure they looked photoreal in HD. Comparatively speaking, the steadicam live plate of the beautiful Kim Nielsen as the mother, and my rockstar kid actor, Xander Taylor, were a cinch to capture. Brought my little boy on set, too, of course. By the end, he was calling action…
Tons of people use Slacker.com to play music, now (including me, every day), either right from their browser or as an app for their smartphone, but when Slacker was first starting up, they hired me to do renderings of their first standalone flash player.
Once again I did the modeling in Rhino and the rendering in Maxwell Render. The beauty of Maxwell is that the renderings were so realistic, it actually helped reveal some design flaws, like edge chamfering, which were able to be corrected before manufacturing.
As usual, a ton of material tests and renders ensued before the final…
Slacker’s done well for itself, and I’m proud to have played any small part in its earliest days!
I loved the first Iron Man movie. I saw it in the theaters 5 times (I don’t think I’ve done that since Raiders), and it was just sort of on my mind a lot. So it wasn’t particularly surprising that one Saturday afternoon I felt like doing a mash-up between Iron Man and R2-D2 – which I’d already done in CG, of course. What was surprising was that Gizmodo and Reddit posted it and the damn thing went viral – in geek circles, anyway.
I’m still getting Google Alerts about it. What was especially cool was that Iron Man‘s director, Jon Favreau liked it so much it’s been his Twitter avatar ever since.
Anyway, it gets better. Eventually, one of the members of the R2-D2 Builders’ Club, Kevin Pommenville, decided to take my rendering, and actually build it for real.
Do you know how hard these things are to build? And this guy tosses off a build of an Iron Man mash-up version I did in an afternoon, and it’s even cooler than what I came up with. That’s badass. Surreal, and badass.
Anyway, I had done a few other Iron-Man-related things as well. I wanted to make my desktop look like Tony Stark’s, so I decided to recreate the Stark Industries logo myself. As usual, weeks of obsessive analysis ensued.
Along the way, since I was analyzing every reference frame I could so intently, I spotted a couple 1/24th of a second inside jokes about Iron Man‘s Jeff Bridges, who’d famously played the title character in The Big Lebowski. These images flashed by on his character’s computer screen during one sequence:
Ultimately, I did many revisions to ensure the letterforms were just right.
And finally, my desktop wallpaper was done. Looks just like Obadiah Stane’s from the film. Both Danica and I had this as our wallpaper for months.
Eventually, someone asked to use my logo to make Stark Industries T-shirts. Of course, I agreed.
Still wear it.
The first entirely-CG visual effects job I ever got was modeling and rendering the iconic Capitol Records building for an animation which would go at the top of all Capitol DVD releases. It was the job that ultimately led to my relationship with Warner Bros. Pictures, which led to me opening my own post-production company, which would comprise the majority of my creative life for the next 8 years. I didn’t know all that would come of it at the time, but I knew it was a big job; an important job. I knew I really had to do it justice. So to start, I asked for copies of the original 1954 blueprints, so I could assure the digital model was as accurate as could possibly be. I remember vividly the building engineer taking them out of their storage drawers and bundling them up for me; they were just dripping with history, yellowed and wonderful.
I spent hours just looking at them, absorbing every detail, before realizing I didn’t understand most of what I was looking at. Some measurements are pretty straightforward on blueprints – others, not so much; and they reference all sorts of other prints with cross-sections, and details, and histories of changes. I had a crash course in vintage blueprint analysis, but I was so amped up for the gig I didn’t mind.
Before the modeling actually began, I climbed all over the building double-checking measurements, taking reference photos, and capturing textures. On the roof, with an amazing view of Hollywood and downtown Los Angeles, I counted the holes on the tall spire; I noted the spacing between the giant letters, and wondered about the font. Ultimately, it would take weeks of painstaking work and many trips back to the building before I had my digital model complete, which I built in my software of choice at the time, Form-Z.
I did the texturing, animation, and rendering in ElectricImage, and then did sound design, wrote some music, and mixed the piece in Pro Tools.
Back then, making photoreal CG – or anything approaching it – was 1000x more difficult than it is today, but maybe more rewarding for the effort. I can’t imagine how much more realistic this image would look today. Maybe it’s time to dig out the model…
I was proud to be asked to do some renderings and an instructional piece for the U.S. Military, training soldiers how to use a new combat eyewear system designed especially for harsh conditions. From the product’s information page:
NIGHTHAWK™ Combat Eyewear System
The most advanced combat eyewear system ever created. Nighthawk provides superior design, clarity, adaptability, comfort and ease of use while providing a full 180° view for better peripheral vision and protection. Interchangeable goggles and spectacles with clear and gray anti-fog lenses and advanced optics are built specifically to provide protection from sand, dirt, and debris.
I was only given clearance to display the one image, above (though I think the product is public, now). Once again, these computer-generated goggles were rendered in the fantastic Maxwell Render engine.
I did several variations on the look and materials which were seen on posters, banners, consumer products, and a host of other projects related to the film. Shortly after completing the project, I was interviewed by SuperHeroHype.com about the process…
Having been a life-long Star Wars fan, I was honored to become part of the official Star Wars universe when asked to create a new CG R2-D2 for Star Wars: The Complete Visual Dictionary. I had previously done one on my own, as a personal project, which I found later was the reason I was considered for the job, initially:
I’d even done a couple of renders of him for the Fourth of July and Halloween.
Now, in truth, Lucasfilm was happy to just use the one I’d already done, but being a card-carrying member of Perfectionists Anonymous, I insisted on re-doing it. I wanted it to be as accurate as possible; after all, this was for Star Wars! – a chance to give back to the universe which had inspired me creatively, so often. Plus, I figured I could swing a trip to Skywalker Ranch out of it, and get a chance to measure and photograph the real R2’s.
And that’s exactly what happened.
Former ILM model maker, and Lucasfilm Archivist Don Bies arranged for me to come up there and spend a few days detailing every square inch of three of the original R2’s.
I took gigabytes’ worth of reference photos, capturing every detail and nuance, which I would use later to build texture maps for my CG version.
After weeks of work, I had finally modeled an entirely new CG R2, and was ready to texture it.
The materials, lighting and scene setup happened in Autodesk’s Maya, and the final renders were done by NextLimit’s Maxwell Render, which I have been proud to be on the testing team for since its earliest days. My first render was a side-by-side comparison with one of the original R2’s I’d photographed.
Next was to compare it to a well-known studio photo from “back in the day.”
When I was finally satisfied, it was time to render final images for the book, and other projects. Here’s a single shot of the final: