Embedded Files
gRAVITY bOUND
Role: CG Lead and ProducerDuration: 8 Months
Modeling, Look Development, Lighting and Compositing, Character Sculpting, NPR Shaders, Set Dressing, 2D Animation Integration, Production Management
A hybrid short film about the Man on the Moon and his love for a passing Shooting Star. Gravity Bound is a modern folk tale asking audiences how far will one go for love?
On the film I primarily oversaw production of the 3D elements, working with director Frankie Lasley to manage our 10-person team. I modeled and textured the main character and hero props while supervising environment production and set dressing. I lit and rendered over 20 shots of the film, and took to integrating the 2D elements into the final image.
Moon Man
Moon Man
Moon Man is the protagonist of Gravity Bound. Tasked with observing Earth’s tides, he drives the story forward when he breaks from his duty to pursue a passing Shooting Star.
Moon Man’s design emphasized rigid surfaces and interlocking limbs, creating a puppet-like form. I began with a primitive block out in Autodesk Maya to establish clear proportions and joint articulation.
From there, I sculpted rock formations in ZBrush that follow human musculature, creating anatomical structure within the stylized segmentation. These details were baked onto the original low-fidelity model, maintaining depth while keeping the efficient geometry for production.
Shader Development
Shader Development
For the film I built custom NPR shaders to help highlight and stylize the key elements of the story. This of course included Moon Man and Shooting Star alongside the Gravity Box, a mysterious and mythical artifact that is used to control the tides from the moon.
Shooting Star
*only responsible for Look Development
Gravity Box
Console
Console
Moon Man's console, lovingly called the "tide-o-meter", is the interface of the Observatory, allowing the Moon Man to control of the tides on the Earth.
Approaching the prop, I treated it as an opportunity to explore how the observatory’s surfaces would naturally weather over time. I focused on tactical function of each element, drawing from audio interfaces and soundboards as reference.
With 2D integration and final compositing in mind, I structured the asset to support flexibility in post-production, isolationing the emissive elements through AOVs, allowing for precise control and targeted adjustments during the compositing stage.
Environment
Environment
The interior of the Observatory was a collective effort among the three 3D artists on the team. Each week, we focused on modeling and texturing individual assets, which I then integrated into the master environment file, ensuring visual consistency amongst the prexisting props.
To unify the look across the space, I developed a universal smart material in Substance Painter, incorporating prebuilt dust and damages. This workflow not only streamlined asset creation but also maintained a cohesive, lived-in aesthetic throughout the entire room.
To unify the look across the space, I developed a universal smart material in Substance Painter, incorporating prebuilt dust and damages. This workflow not only streamlined asset creation but also maintained a cohesive, lived-in aesthetic throughout the entire room.
WATCH THE TRAILER!
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