CHRIS LEATHERS
3D Modeler / 3D/VFX Artist / Visual Designer


LOW-POLY SET AND PROP MODELING


EXAMPLES :

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Animation Collective (Nickelodeon)
Kappa Mikey (52 Episodes)
2005 -2007 - Models, Textures, Lighting, Shot Cinematics


CASE STUDY: 3D PRODUCTION ART FOR TV CARTOON SERIES

DAILY ROLE: At Animation Collective, in NY. I worked with a small team of 3 to 4 3D Artists, making sets, props, particle systems, characters and rigs.. We also worked closely with the layout department when setting up camera angles for set renders, and sometimes worked on pitch material, for new series..

Company: Animation Collective
Client: Nickelodeon
Project: Kappa Mikey (52 Episodes)
Date: 05/2005 - 08/2007


KAPPA MIKEY - 3D SET MODELING

Here are some of the finished backgrounds, after highly talented 2D artist added their over painting. This was the case for all of the still backgrounds. For animated backgrounds, we finished the texturing in Maya and rendered the final images directly.


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Shibuya Crossing in Tokyo


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The following images show the before and after process, thanks to 2D artist Lawrence Valenti and Soonmin Chung.


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KAPPA MIKEY - 3D PROP MODELING

Created props in 3D for this TV Series. They were toon shaded, and output to vector graphics for animators to use and incorporate with characters, in Flash.


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CASE STUDY: 3D SUPERVISOR / SET MODELING LEAD

DAILY ROLE: Set up and constantly fix render pipeline. Define the rendering methodes to achieve the final look. Solve 3D technical challenges, and keep a team of 5 to 14 artist on task (without a functioning producer!), for set modeling and feeding sets to animators to work with.

Company: Animation Collective
Client: Nickelodeon / Lionsgate
Project: Speed Racer The Next Generation (23 Episodes)
Date: 11/2008 - 08/2009

SPEED RACER - MEGA ANIMATED SET CREATION

Every week or two weeks, we had to produce a new or extended 3D set for the animated sequences of the series. We set a goal of 6 seconds per frame render time, and achieved it in most cases. This was a requirement of the rediculous schedule that the show required to keep, but it made for some very creative use of pre-lighting, and matte painting (Big thanks to 2D artist Megan Crisp).


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SPEED RACER - STILL SETS

The majority of sets that comprised the school location for this show, were produced in India. They did a really good job, but the work came back to us, and it was not ready to be rendered, and it did not look good, and was not cohesive. So we went about unifying the look and re-texturing everything, re-lighting everything, and setting up our own pipeline for the final art.


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CASE STUDY: 3D PRODUCTION ART FOR AMPLIFY GAMES

DAILY ROLE: Work with creative directors to produce concept artwork and prototype tablet based demos in Unity. Create 3D models for AR experiences. Work with Art Directors and other designers to conceptualize and create art work for table and web based learning games.

Company: Amplify Games
Client: Shell Games, Preloaded, Zachtronic, Emerson Collective, Muzzy Lane
Project: Multiple games for iOS, Android, and web
Date: 11/2011 - 08/2015


AMPLIFY GAMES - 3D PROP MODELING

Librariana was a MASSIVE tablet based game, developed by Amplify and Schell Games. I worked on the first prototype, with the developers at Muzzy Lane Software, which eventually morphed into a mega 3rd person experience.


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CASE STUDY: 3D PRODUCTION ART FOR AMPLIFY GAMES

DAILY ROLE: Working under the Creative Director to explore ideas in 3D and Unity, for a number of games that were eventually farmed out to game companies like Shell Games, Pre-Loaded, and Zachtronic. The prototypes allowed us to explore how a concept would feel, first person vs thrid person, with different variations on scale, different volumns of spaces, etc.

Company: Amplify Games
Client: News Corp.
Project: ARC
Date: 2011 - 2013


STEM GAME PROTOTYPES

This prototype consisted of three levels. An underground mine (you see here), an above ground processing paltform, and a robot assembly station. The levels were linked by portals, conveyor belts and elevator tubes.

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CASE STUDY: 3D PRODUCTION ART FOR VRB

DAILY ROLE: Happily spent 6 months working on a prototype mobile/social VR world, dreaming up new ways of interacting in VR. Expressing those thoughts through sketches and prototypes. Working with the Creative Director to envision possibilities and create new skins for existing apps.

Company: VRB
Client: Samsung Accelerator
Project: VRB Photo
Date: 04/2016 - 10/2016


VR / 360 VIDEO SHARING APP

These images are from an exploration into various reskinning concepts. The common element to all was the tubes, from which photo-spheres emerged. The skns had to be 100% swappable, so tubes in one skin terminated in teh same place through all the other skins. I set up scripts in Unity to swap and test this.

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CASE STUDY: 3D PRODUCTION ART FOR VRB

DAILY ROLE: Happily spent 6 months working on a prototype mobile/social VR world, dreaming up new ways of interacting in VR. Expressing those thoughts through sketches and prototypes. Working with the Creative Director to envision possibilities and create new skins for existing apps.

Company: VRB
Client: Samsung Accelerator
Project: VRB Home
Date: 04/2016 - 10/2016


MOBILE/SOCIAL VR APP

Under creative direction, I explored various levels, for social interaction in VR. A lot of exploration on paper. The following images are from one level that was built out to a higher degree. It has a distinct New York theme. Subways cars rattled past, taxis wizzed around corners, cartoon people shuffled down the street, and pipes let out steam. There was also a musical element.

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