Added by on 2013-03-12

Here is a compilation of shots by James Atilano worked on at Blur Studio. I worked with a lot of talented people on the work shown here in several departments at Blur.

As Scene assembler and Lead Environment Artist at Blur, Responsible for Environment Modeling, Lighting, Compositing and in some cases Look Development for the work shown here. Big props to the CG Sups and Directors.  jamesatilano.com

Elder Scrolls Alliances Game Cinematic

Environment Modeling

This was a fun environment to model. Because it was meant to be “post” battle, After creating the clean version of the environment I spent some time destroying it using a combination of ray fire and zbrush.

Look development

As one of four Environment leads on the show, I was able to work under the direction of CG supervisor Jed Denjean and Director Dave Wilson to create the post battle mood for the shots in my environment. I used several FumeFX grids to create the smokey atmosphere. Master Lighting setup and Final Color grading was done by CG Supervisor Jed Denjean.

Lighting, Compositing, and Scene Assembly

Once all of the assets from the other departments at Blur were approved (Characters, Animation and FX assets) I assembled the shots, implemented client notes, rendered and composited the shots I was assigned for the Show.

Tools and Team

Working with Dave and Jed on this show was awesome and I’m proud to have been part of it . I used 3dsMax, Zbrush, Rayfire, Vray, Fusion, Photoshop, Gen Arts Sapphire….

Halo 4 Game Cinematic

Environment Modeling

Starting from an environment originally created by Peter Wildman, I teamed up with Greg Kegel to complete the Didact environment used in the cinematic.

Look development

The goal was to mask the identity of the villain character in these shots while still maintaining a clear view at the Master Chief character. After receiving input from Director Tim Miller and CG Supervisor Kevin Margo, Greg and I designed a lighting scheme that would work with the FX created by Brandon Riza to achieve the intended direction.

Lighting, Compositing, and Scene Assembly

Once all of the assets from the other departments at Blur were approved (Characters, Animation and FX assets) I assembled the shots, implemented client notes, rendered and composited the shots I was assigned for the Show.

Tools and Team

Collaborating with talented people makes the Job fun. Thanks to Tim, Kevin, Greg, and Brandon. I used 3dsMax, Vray, Fusion, Photoshop, Gen Arts Sapphire….

Planet Side 2 Game Cinematic

Environment Modeling

I created the environment for the drop pod interior vehicle. I used a combination of existing components and elements I modeled to create the interior of the ship . Mike Johnson modeled the ships doors. I worked closely with the CG Supervisor, Corey Butler to create an environment that fit the art direction and story.

Look development

Look Development was starting by the CG sup, and I refined the lighting approach, render passes, compositing methods and color grading for the shots shown here as the show progressed. I also created several interactive lighting passes animated in fusion to create the chaotic lighting during the shots.

Lighting, Compositing, and Scene Assembly

Once all of the assets from the other departments at Blur were approved (Characters, Animation and FX assets) I assembled the shots, implemented client notes, rendered and composited the shots I was assigned for the Show. I also helped out on some other shots, but the images here I was most responsible for.

Tools and Team

CG Sup Corey Butler was awesome to work with. Clear direction and lots of help along the way. I used 3dsMax, Vray, Fusion, Photoshop, Gen Arts Sapphire….

Far Cry 3 Game Cinematic

Environment Modeling

I created the environments for the gun shack and the village which were used in 10 shots in the cinematic. I used a combination of existing components and elements I modeled to create shacks, furniture and debris scattered around the village. I used the landscape palette provided by the shows CG lead, Greg Keggel, to populate my village and mountain backgrounds. I worked closely with the CG Supervisor, Heikki Antilla to create environments that fit the art direction and story.

Look development

I was fortunate enough to be involved in the look development process for my shots as well. Working under the direction of the CG sup, I was able to define my lighting approach, render passes, compositing methods and color grading for the shots shown here.

Lighting, Compositing, and Scene Assembly

Once all of the assets from the other departments at Blur were approved (Characters, Animation and FX assets) I assembled the shots, implemented client notes, rendered and composited the 8 shots I was assigned for the Show. I also helped out on some other shots, but the images here I was most responsible for.

Tools and Team

Heikki and Greg were really instrumental in helping me find my way on my first Show at Blur. Thanks Dudes!!! I was glad to work in company with such a huge Talent Pool. I used 3dsMax, Vray, Fusion, Photoshop, Gen Arts Sapphire, Forest Pack Pro and lots of other stuff in my workflow.

Elder Scrolls Alliances Game Cinematic (1) Elder Scrolls Alliances Game Cinematic (2) Elder Scrolls Alliances Game Cinematic (3) Elder Scrolls Alliances Game Cinematic (4) Elder Scrolls Alliances Game Cinematic (5) Far Cry 3 Game Cinematic (1) Far Cry 3 Game Cinematic (2) Far Cry 3 Game Cinematic (3) Planet Side 2 Game Cinematic (1) Planet Side 2 Game Cinematic (2)

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