#sony pictures animation
Part sequence illustration part color key. This was used to inform modeling which buildings to use and the general color/lighting for this shot. This was done over rough geometry based on an old take by Alberto Mielgo. I ended up changing the position of a lot of elements except the taxi and the ground
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Early ideas for the collider beam effects. These were later done 1000x better by @zacretz and Dean Gordon. Once environments are somewhat established we start getting into designing effects and graphics. Since other departments don’t need them right away we tend to do them a little later in the process. These can sometimes be a little less glamorous than big set or environment paintings but equally important. I’ll post some more graphics I did soon.
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My design for Times Square. A big part of making our New York more believable was having more detailed signage. By the end we had a pretty big library of graphics. Half of the signs(the better ones) in this shot were painted by our art director Patrick O'Keefe with some from Zac Retz Naveen Selvanathann and Justin Thompson the rest by little ol me. I’ll post bigger versions of my celeb cameos later.
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More from the sequence I posted yesterday. Everything must be designed, from the street to the sky. You might also notice Hana is quite the little tagger
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Leaving the warmth of home and entering the cruel cold world that is middle school. .
I didn’t do too many lighting keys for this film but wanted to post the first ones I did. Lighting keys are painted over rough layout/anim as a sort of road map for the lighters on how the light/color should work. So much work goes into making a film I’ll post more of what else I had to do for this sequence.
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The final set design for the Spider-hideout. This set is extra special to me because I got to work closely with one of my good friends and Art Director of the film Patrick O’Keefe on this one. This design went through so many iterations and so many individual takes, but it wasn’t until Patrick took a whack at it that we started to find what would become the final version of this set. Patrick is responsible for the overall space and layout and I came in to basically digitally paint and decorate it, and also pepper in those sweet sweet easter eggs with a not-so-subtle hand. The idea here is that this Peter has got it totally figured out and he’s basically the best Spider-Man ever, and also learned to use his celebrity to help fund his endless watch over the city he loves so dearly. We tried to create the perfect work space for the Spider-Man of Miles’ world, who we so affectionately referred to throughout production as the “Full Potential Peter”. Imageworks killed it on this one and the set really looks like my paintings. One idea I wouldn’t let die was the inclusion of the original Spider-mobile. Anyways, I hope you enjoy.
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“The Doc Ock we see in this movie is something entirely new and original - a super intelligent and ambitious woman who is blinded by the possibilities of science.”
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“One of design’s greatest pleasures is stark contrast. From her look to her behavior, Peni is anime through and through. To see her standing alongside Miles creates the kind of variety the film embraces.” - Artist Yashar Kassai
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#NeverBeforeScene: Need a wall? Look no further than your friendly neighborhood Wall Mart, featured in an earlier version of #SmurfsMovie before the human villages were taken out.
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#OnTheProwl: “Prowler is a brilliant cat burglar who is very good at putting things together - just like his car, boots and other gadgets, he put this racer together using found parts.” - Justin K. Thompson, Production Designer
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