Buck invited me to help out in this amazing project for GitHub! I was lucky enough to be part of an incredibly talented team that pull this off.
I had my hand on a number of things, but two of which are my proud little babies are these two shots.
I had my hand on a number of things, but two of which are my proud little babies are these two shots.
This first sequence was the biggest single shot I've ever done so far. I was working alongside Cel animator Santiago Gonzalez to bring this to design by Colin Bigelow to life.
There were a variety of both 3D and 2D techniques to bring it to life. A lot of the wonderful reflections came from the base render, but the code and window animation was what really made the final shot shine.
There were a variety of both 3D and 2D techniques to bring it to life. A lot of the wonderful reflections came from the base render, but the code and window animation was what really made the final shot shine.
This was a fun exercise of combining 3D and 2D in order to create something that didn't feel like it belonged in neither. Here are some other fun little breakdowns.
Then came the compositing for the Cel animation. This was my first time, and admittedly I wasn't very profficient in doing it. Thankfully, Associate Creative Director Jen Zheng was there to guide me through it, and gave me a lot of helpful feedback. Honestly without her, I'd be lost af.
One of the many challenges was taking the shadow pass that Santiago did and selectively blur them on the character's face, to mimic the contours. Some parts would be sharp and fade into a smooth shadow, which was a real headache. What I ended up doing was creating a blur map for the shadows specifically in order to achieve the effect.
The next shot is the lovely drone shot that came after. 2D animator Simon Schu was the one that did the heavy lifting for the BG this time, and I was in charge of creating the stylised drone flying away from the camera.
This was another case of using 2D and 3D techniques in the same shot. I took Colin Bigelow's design and UV mapped it onto the model. I then used noise shaders and lighting in order to mimic the noise texture that Colin's design had. Simon was able to animate the propellers in 2D and so I used it as a reflection on the body of the drone.
This was another case of using 2D and 3D techniques in the same shot. I took Colin Bigelow's design and UV mapped it onto the model. I then used noise shaders and lighting in order to mimic the noise texture that Colin's design had. Simon was able to animate the propellers in 2D and so I used it as a reflection on the body of the drone.
Overall I had a blast working with an absolutely stacked team. There were so many people working on this, but I want to shout out the people whom I worked with closely:
Absolutely GOATED Animation Director: Daniel Rodrigues
INSANELY TALENTED Associate Creative Director: Jen Zheng
2D S-TIER Animator: Simon Schu
Cel GENIUS Animator: Santiago Gonzalez
AE WIZARD (srsly) 2D Animator: Dries Van Broeck
CHECK OUT THE ENTIRE SUPER COOL CREDITS AND PROJECT HERE:
https://buck.co/work/github-what-is-github
Absolutely GOATED Animation Director: Daniel Rodrigues
INSANELY TALENTED Associate Creative Director: Jen Zheng
2D S-TIER Animator: Simon Schu
Cel GENIUS Animator: Santiago Gonzalez
AE WIZARD (srsly) 2D Animator: Dries Van Broeck
CHECK OUT THE ENTIRE SUPER COOL CREDITS AND PROJECT HERE:
https://buck.co/work/github-what-is-github
